We are putting together an overview of how our friends in the animation and vfx communities are coping in this challenging and most unusual period in our lives. Give us your best survival strategies, productive tips and how you keep your spirits and creativity up during these tough times.
Email ramin@www.animationmagazine.net by March 30th to be considered for our piece.
Please stay safe and busy!
With the threat of coronavirus precautions looming over the year’s biggest film event, leading indie film companies and talent agencies are coming together to create a virtual market alternative, should the Cannes Film Festival and Marché du Film be forced to cancel in 2020. The fest is currently scheduled for May 12-23 (market May 12-21), and organizers have stated that no decision will be made until after April 15.
Deadline reports that Hollywood agency CAA is leading the virtual market project. Currently onboard are Endeavor Content, UTA, ICM Partners, and sales companies 30West, AGC Studios, Altitude, Anton, Cornerstone, Endeavor Content, FilmNation, IMR, Lionsgate International, Miramax, Mister Smith, Protagonist, Rocket Science, Sierra/Affinity, Solstice Studios, Studiocanal, STX Entertainment, Voltage Pictures and Wild Bunch.
If Cannes is canceled, the virtual market is being planned for early May. Collaborators intend for there to be coordinated film screenings (either in cities around Europe, the Americas and Asia or online, depending on travel restrictions), buyer presentations from filmmakers and talent, videoconference meetings and promo/sizzle reel screenings — with no participation fee. Buyers could start receiving projects as early as this weekend.
The initiative’s organizers believe that this virtual market model could be extended to the fall film markets if needed.
Keep abreast of major event cancellations, postponements and virtual options via Animag’s updating rundown.
[Source: Deadline]
ACCESS:VFX, an industry-led non-profit coalition of leading VFX, animation and games studios, shared the news that the prestigious Visionary Honours has nominated founder Simon Devereux for Community Person of the Year. This recognition follows the initiative surpassing 50 member studios, featuring the likes of Aardman Academy, Epic Games and The Farm Group.
The Visionary Honours celebrate popular culture, media and entertainment inspiring social change or debate, with nominees including influential public figures Lewis Hamilton and Stormzy. Devereux’s nomination honors his dedication in leading ACCESS:VFX for almost three years, connecting competitor brands across the industry and pushing towards the same goal – encouraging inclusion and diversity.
“I’m delighted to be nominated for the Community Person of the Year award. ACCESS:VFX would be nothing without the hardworking and passionate people who really care about improving diversity in VFX, animation and games. It’s a pleasure to be a part of a group that actively creates more opportunities for aspiring creatives and strives to make the industry a better place to work in,” Devereux commented.
The full Visionary Honours shortlist is available at visionaryarts.org.uk.
ACCESS:VFX delivers a wealth of experience around the globe, fast expanding in the U.K. and rapidly spreading across North America, with chapters in Montreal, New York and Chicago. The Mill, Blue Zoo, DNEG, MoonrakerVFX, Framestore, and Cinesite, amongst many others, are actively inspiring creatives from diverse backgrounds with practical tools essential to succeed in the industry.
Sponsored by international creative house Foundry and powered by e-learning platform Prospela, ACCESS:VFX’s e-mentoring scheme includes representatives of member companies supporting young talent. Currently, 266 mentees and 147 mentors work together to boost job opportunities, discuss academic needs and even add to hands-on experience with apprenticeships and work experience.
“The feedback we receive from mentees is exceptional. The mentors are doing an amazing job to help the next generation of talent. But we still need more creatives, VFX artists, creative directors, storyboard artists and pretty much anyone who holds down a role in our creative industry to join our efforts,” added Devereux.
Now with more than 50 members, the initiative’s growing workforce will enable more workshops, mentors and regional events to support the industry’s diversity drive. The U.K.’s VFX sector is estimated to be worth more than £1 billion a year to the U.K. economy, yet is currently 85% white and only 27% female.
“Aardman Academy is thrilled to be a part of ACCESS:VFX and we can’t wait to contribute to the great work you’re already doing.” — Claire Brindley, senior HR adviser, Aardman Academy.
“We joined the initiative because Ntropic is all about true artistry and amazing creative, which is in part a result of diverse and unique perspectives and life experience – it’s only natural for the Ntropic family to support the organization.” — Laura Livingstone, executive producer, Ntropic.
“ACCESS:VFX does such great things for young people and our industry it wouldn’t feel right not being involved!” — Anna-Louise Gordon, head of VFX, The Farm Group.
Learn more at www.accessvfx.org
As it celebrates its tenth anniversary this year, live-action and animation-based production company Gentleman Scholar is turning over a new leaf with a new name. Directors/Partners William Campbell and Will Johnson, the award-winning visionaries who first launched the studio in Los Angeles a decade ago, and their colleagues have announced the relaunch of their venture as Scholar, with a new website at www.helloscholar.com.
“We could not be more grateful for the legacy we have achieved over our first 10 years in business together,” said Campbell and Johnson. “We are excited to take a moment and celebrate what inspires us. Now and into the future, Scholar is a sophisticated evolution of who we are. It’s precise and deliberate. It’s cinematic with a design-driven touch, and through our sharpened identity, we are stronger… and even more dedicated to creative excellence.”
SCHOLAR – 2020 from Scholar on Vimeo.
Since launching in 2010, Scholar’s success has reached considerable heights. Partners in recent, high-profile, far-reaching marketing campaigns for Audi, Beats by Dre, ExxonMobil, Facebook, Google, Porsche, REI, Samsung, Target and Timberland – alongside the world’s leading marketers – the company constantly attracts a steady flow of emerging talents.
Regarding the studio’s wide array of multi-disciplinary creators, Campbell commented, “I’m always impressed with the passion everyone pours in and the talent and capability of everyone who works here.”
The company’s new website – a snapshot of its signature design and animation and inventive live-action works – showcases Scholar’s evolved storytelling style and the patent production approaches behind its hallmark projects. That includes the company’s widely hailed Bleacher Report #SportsAlphabet.
“What I loved was how the whole Scholar crew sat in a room together to dissect visuals, to unpack words and metaphors and decipher the best way to approach the spot,” said Johnson. “We did it our way, applying our personalities and skills to solve the riddle.”
“The creative industry changes every day, and those dynamics affect how we create and craft,” added Scholar’s Managing Directors, Jo Arghiris and Christina Roldan. “Unifying around Scholar is an uplifting, highly intentional movement, demonstrating our commitments to continuous improvement, to all of our people, and to the positive, hard-working spirit that unites us.”
Moving into the future, Scholar’s visionaries fully appreciate everything it takes to be a tried-and-true juggernaut in the creative industry. Throughout the world, a scholar is associated with a strong work ethic, perfectionism in one’s passions, being a respectful and creative person who inspires teammates and boldly embraces the unknown. For every Scholar, a force emanates from within, driven to new heights by a company culture where success is mutually rewarding, and phenomenally fun and exciting.
Scholar is a creative production company drawn together by a love for design, endless curiosity and passion for engaging viewers on an emotional level. The full-service studio has offices in Los Angeles and New York, fueled by a diverse array of award-winning creators.
helloscholar.com
With schools closing across the U.S. to cope with the COVID-19 pandemic, PBS KIDS is launching a daily email newsletter to provide free resources to parents coping with educating children at home. The daily missive will offer educational activities designed to keep children engaged, and create opportunities for both learning and playtime during this uncertain time.
For example, the launch edition invites families to explore creative problem solving with Pinkalicoius & Peterrific, make art and stories with a new game called Scribbles & Ink, create your own board game or flex your storytelling muscles with a printable worksheet. The emails will also include informative articles for parents to help them guide and understand their children’s learning process.
Sign up for the daily newsletter here.
PBS KIDS is also a solid source of resources to help families understand and address COVID-19, including tips for parents on how to talk to children about the pandemic, such as:
The kid-focused pubcaster is also sharing tips on how parents and children can de-stress, including practicing deep breathing, turning down the “FireHOSE” (Am I hungry? Am I overstimulated? Do I need to sleep? Do I need to exercise?), and seizing the opportunity to take positive action together.
The highly anticipated fifth and final season of DreamWorks Animation’s critically acclaimed and Emmy, Critics’ Choice and GLAAD Media Award-nominated Netflix original series She-Ra and the Princesses of Power will premiere on Netflix May 15 — bringing the epic battle for Etheria to a powerful conclusion.
In S5, the ruthless Horde Prime has arrived and without the Sword of Protection and She-Ra, the Rebellion are facing their toughest challenge yet. Unexpected adversaries are confronted and relationships are tested, broken and changed forever. Will Adora and the Princesses of Power be able to save their planet? Or will the universe succumb to the evil might of Horde Prime before love can conquer hate?
Led by executive producer Noelle Stevenson (Eisner Award-winning and New York Times bestselling writer and cartoonist), She-Ra and the Princesses of Power has put women unabashedly at the forefront on and off screen, with empowered characters brought to life by a diverse voice cast, an all-female writers room and a majority female crew. Stevenson and her team have created emotionally complex and diverse heroes depicted through race, gender, body type and sexuality, that have expanded what sci-fi-fantasy can be and who can see themselves represented.
DreamWorks She-Ra and the Princesses of Power features the voice talents of Aimee Carrero (Young and Hungry) as Adora/She-Ra, Karen Fukuhara (The Boys) as Glimmer, AJ Michalka (The Goldbergs) as Catra, Marcus Scribner (black-ish) as Bow, Lauren Ash (Superstore) as Scorpia, Reshma Shetty (Royal Pains) as Angella, Lorraine Toussaint (Orange Is the New Black) as Shadow Weaver, Keston John (The Good Place) as Hordak, Christine Woods (Hello Ladies) as Entrapta, Genesis Rodriguez (Time After Time) as Perfuma, Jordan Fisher (To All the Boys I’ve Loved Before 2) as Seahawk, Vella Lovell (Crazy Ex-Girlfriend) as Mermista, Merit Leighton (Alexa and Katie) as Frosta, Sandra Oh (Killing Eve) as Castaspella, and Krystal Joy Brown (Motown: The Musical) as Netossa.
***This article originally appeared in the April ’20 issue of Animation Magazine (No. 299)***
Like any good pop confection, DreamWorks Animation’s 2016 hit feature Trolls told a sweet, warm and fuzzy heartfelt tale full of catchy pop tunes that left audiences hungry for more. And more of pretty much everything that made the first movie a hit is exactly what director Walt Dohrn had in mind for the sequel, Trolls World Tour, which arrives April 10 in theaters (which are still open to the public) and on VOD on the same day.
“It was always like, okay, there’s gotta be more characters, more new worlds, and — I think because music was such a positive experience in the first film — we said there’s gotta be more music,” says Dohrn, who co-directed the first CG-animated outing.
Trolls World Tour delivers all of that and more, telling a story in which the newly crowned Queen Poppy (Anna Kendrick) discovers that hers is one of six tribes of Trolls, and each is dedicated to a different genre of music: Pop, Country, Techno, Classical, Funk and Rock. That discovery comes as Queen Barb (Rachel Bloom) launches a scheme for rock ’n’ roll to conquer and rule over all other types of music, propelling Poppy and Branch (Justin Timberlake) on a quest to unite all the genres in peace, while figuring out their still-new relationship.
The movie introduces characters to populate each land, bringing in as voices such music icons as Ozzy Osbourne, Anderson .Paak, George Clinton, Mary J. Blige, Kelly Clarkson, Gwen Stefani, Gustavo Dudamel and the K-pop group Red Velvet. The film also features the voices of James Corden, Sam Rockwell and Ron Funches.
Growing a narrative and a world big enough to include them all is a big task, one that began during production on the first movie and resulted in a rough first draft for the sequel ready by the time the first Trolls was released in November 2016.
Expanding Musical Horizons
Producer Gina Shay says the project began as a way to make sure the first movie was capable of telling more stories if there was demand. “We wanted to make sure in making the first movie that it was a world that could be expanded,” she says. “We all thought, how about we expand the world and subvert the audience’s expectations by creating this expansion through musical genres.”
The focus on hard rock as the genre that would incite the story came directly from the stereotype of hard rockers’ dismissals as inferior of everything from pop to disco, says co-director David P. Smith. ”It’s where everyone’s gut goes when you think of hard rock,” says Smith.
Leading the charge is Queen Barb, whose look and attitude was inspired by such classic rockers as Debbie Harry and Joan Jett and fleshed out beyond the surface flash of a music video to give her an extra dimension. “We started exploring the different depths of what makes this character tick, especially her admiration for her music and her community and her friendships and her father and things like that,” says Smith. Her father, King Thrash, is voiced by Osbourne — essentially playing himself — in one of the movie’s funnier cameos.
Expanding the fabric-based visual textures of Trolls lead to some interesting places as well, with production designer Kendal Cronkhite applying the fabric concept to each of the different worlds. The results were as diverse as the musical genres themselves, Dohrn says, creating everything from the underwater techno tribe and a country-inspired quilted desert landscape to a classic leather, denim and studs look for the rockers.
Hitting the Right Notes
Key to the movie is the choice of music, which ended up being a more even mix of Timberlake-produced originals and covers of classics from each musical genre. Shay says sometimes the right song for a moment in the movie was easy to find, while others took a lot more work — all of it subject to licensing availability and affordability.
“We wanted to make sure that we were being as diverse as possible within each genre,” says Shay. “And we just cast the most authentic people who could sing in that style, who also have comedy chops and acting chops. And when we cast for Trolls we do cast people who feel like they carry the core methodology or the core belief system of Trolls, which is positivity, empowerment.”
Some lyrics to popular songs were changed to fit the narrative, such as Cyndi Lauper’s iconic “Girls Just Want to Have Fun.” Lauper’s “True Colors” was used in a key moment in the first film and helped define the franchise’s musical identity, so Dohrn says they wanted to include another of her songs in Trolls World Tour. The altered lyrics were tried out internally, with a rough demo put together before the studio reached out to Lauper for her input and approval.
Animating the new characters that populate these worlds — as well as the returning characters — was headed up by animation supervisor Carlos Puertolas. A huge fan of the first movie, Puertolas is a newcomer to working on the franchise and says that gave him a new perspective on the project. “In this movie, we’re exploring so many different worlds that we decided to kind of double down on that idea and try to make each world feel a little different and have their own way of moving and have a little bit of a different kind of style of animation,” he says.
One way in which Puertolas says they changed things up was to assign animation supervisors to each world in the movie to help define each one. For example, in the Rock Troll world, the performances tried to incorporate the unpredictable behavior associated with rock stars, along with camera work with a more handheld quality.
Animators were given a workload of about 14 to 15 shots, with each being given a moment to shine. “You had your own moment to come up with your own idea and kind of be the owner of that moment,” Puertolas says.
Classic Inspirations
Dohrn says the film’s character animation takes inspiration from stop-motion and the movements of Jim Henson’s Muppets. He cites as influences the UPA style and the work of Ward Kimball doing things like holding poses. “We also thought this kind of stylized movement can live side by side with something more subtle when it needs to,” he says. “Having more real movement next to a stylized movement, it’s like it’s all one language. It stays true to the character.”
Choreographers also were part of the mix, creating dance moves the animators could use in the many musical sequences. With the characters having cartoon proportions like huge hands or an oversized head, there was a lot of adapting the moves to characters and moments when they work. ”[Animators] would use that as reference in some areas where it could work, and in other areas it was more of an inspiration,” Puertolas says.
On the technical end, Trolls World Tour used the studio’s new proprietary renderer Moonray, which was not yet available on the first film. And motion blur was removed in many shots to give the movie a stop-motion feeling.
And if Trolls World Tour is a hit, Dohrn says he’d love to return once again to their bright, musical world. “I feel so close to these characters after six years, that they start to have a life of their own,” he says. ”And I enjoy that.”
Universal/DreamWorks’ Trolls World Tour begins performing in U.S. theaters and on-demand on April 10.
Commissioner Anne del Castillo announced today that the Mayor’s Office of Media and Entertainment (MOME) awarded the second round of NYC Women’s Fund for Media, Music and Theatre to 94 projects led by artists who identify as women or coming from a female perspective — three involving animation. These grants total $2 million and are designed to help artists complete their projects. This year, MOME added $500,000 to support music projects.
The selected projects utilizing animation are:
The NYC Women’s Fund is a groundbreaking initiative intended to address the underrepresentation of women in film, music, digital media and theatre. It is a $5.5 million, three-year program funded by MOME and administered by New York Foundation for the Arts (NYFA). New York is the first city in the country to provide direct grants to women working in these industries. During the Fund’s first round, last year, MOME awarded a total of $1.5 million to 63 film, digital and theater projects, up to $50,000 per project.
“Women are more than half of the population, but they are still woefully underrepresented in music, theater, film, and digital media industries,” said del Castillo. “We are proud to have increased the number of awardees by 50%, as we take gender equity head on by helping female-identified artists get their projects over the finish line.”
“Last year, only 20% of all directors, writers, producers, executive producers, editors, and cinematographers working on the top 100 grossing films were women,” said Deputy Mayor for Housing and Economic Development Vicki Been. “New York City is the media capital of the world, and we have a responsibility to address inequality, not only in the film industry, but also in music, theater and digital media. Congratulations to this year’s grant recipients, I cannot wait for their works to debut.”
This year’s grants went to:
In total, 1,357 applications were evaluated by a panel of 48 industry experts including: Betsy Morais, Managing Editor, Columbia Journalism Review; Lana Lin, Associate Professor, Film Theory and Digital Cinema, The New School; Viktoria I.V. King, director, writer and actress; Easmanie Michel, director, writer and curator, Immigrant Festival NYWIFT; Lucy Mukerjee, Senior Programmer, Tribeca Enterprises; Efe Kabba, director, producer, writer, editor; Suzette Porte, Manager, Plan Services, Society of Stage Director and Choreographers; Miya Masaoka, Director, Sound Art Program, Columbia University; Suzzy Roche, singer/songwriter; and Jennifer Justice, music and live entertainment executive.
“New York City needs to be a place where diverse creatives can thrive. But if you’re in the arts, you know that the hardest part is finding enough money to get your projects off the ground,” said Faye Penn, Executive Director of women.nyc, an initiative at New York City Economic Development Corporation that helps women succeed in their businesses and careers. “It’s exciting to see so many female-identified creators who are finally able to share their songs, movies, plays and web series. We hope that the world will be seeing a lot more of these artists and leaders.”
The full list of projects that received awards and panelists can be found here. Grant guidelines can be found on NYFA’s website.
In a few months, fans can dive deeper into key themes and characters that fit into the expanding Star Trek universe with the forthcoming Star Trek: Short Treks collection of animated and live-action tales. Arriving on Blu-ray and DVD on June 2, the CBS Home Entertainment release offers fans nine stand-alone short stories in one set for the first time ever.
The collection includes three U.S.S. Enterprise-focused shorts featuring Star Trek: Discovery Season Two favorites Anson Mount (“Captain Christopher Pike”), Ethan Peck (“Spock”) and Rebecca Romijn (“Number One”); all four of the original shorts, starring Rainn Wilson (“Harry Mudd”), Mary Wiseman (“Ensign Sylvia Tilly”), Doug Jones (“Commander Saru”) and Aldis Hodge (“Craft”); and two animated shorts from the Star Trek universe, with animation unlike any done before for the franchise.
Blu-ray & DVD Shorts:
Fans can venture further into the cosmos of Star Trek with never-before-scene bonus content, including:
The first two seasons of Star Trek: Discovery are now available to stream on CBS All Access and are distributed concurrently by CBS Studios International on Netflix in 188 countries and in Canada on Bell Media’s Space channel and OTT service CraveTV. The first two seasons are also available on Blu-ray and DVD. The series is produced by CBS Television Studios, Secret Hideout and Roddenberry Entertainment.
Cartoon Network has launched global PSAs focused on the importance of good hygiene practices, in support of worldwide efforts to prevent the spread of the novel coronavirus (COVID-19). Designed in a fun and informative way, these short videos are currently rolling out across multiple platforms including on-air, the CN app, CN’s social channels and YouTube in their respective regions around the world.
The PSAs feature iconic characters from series like Craig of the Creek, The Powerpuff Girls, Teen Titans Go!, We Bare Bears, Steven Universe and more.
“Wash Your Hands” is a tutorial which shows kids fun and easy ways to keep themselves and others healthy, by stressing the importance of using soap and washing their hands in five in-depth steps: Wet, lather, scrub, rinse and dry.
“Be Clean, Be Cool” is an animated rap music video encouraging children to take precautionary measures that include covering your mouth when you sneeze, trying to avoid touching your face and washing your hands properly.
Software developer Celsys is partnering with Wacom to bundle a free license (up to six months) for its digital drawing, illustration, comics/manga and animation software, Clip Studio Paint EX, with the newest Wacom Cintiq series. The offer is available as of Monday, March 16.
The Cintiq range consists of 15.6-inch (DTK1660, US$649.99) and 21.5-inch (DTK2260, US$1,199.95) pen displays, with Wacom’s latest Pro Pen 2. The kit’s full HD display (1920 x 1080) features anti-glare treated film, virtually no parallax, and excellent pen-tracking properties.
Clip Studio Paint, released in 2012, now boasts more than 6 million global active users, netting the spot of No. 1 digital painting tools, according to BCN Award criteria. Available in English, Japanese, French, Spanish, German, Chinese and Korean, Clip Studio Paint offers a patented, natural drawing feel and a plethora of useful features ideal for both hobbyist and professional comics/manga artists, illustrators and animators, and has become an indispensable tool to creators of all disciplines worldwide.
Learn more at www.clipstudio.net/en and www.wacom.com/en-us.
Plans are falling into place for the 2020 Hiroshima International Animation Festival in Japan. The 18th edition of the Oscar-qualifying festival will take place Thursday, August 20 through Monday, August 24 at JMS Aster Plaza. Established by Mr. Renzo Kinoshita and Ms. Sayoko Kinoshita, the celebrated event gathers the international community together every two years under the perennial slogan of “Love and Peace.”
“The Hiroshima International Animation Festival has become one of the symbols of the city and has continuously been faithful to creative ideas which unite people, to creators’ freedom and responsibility and to the wishes for peace behind the establishment of the festival,” wrote 2020 International Honorary President, Alexander Petrov (My Love, The Old Man and the Sea) in the festival’s first official bulletin. “Hiroshima has become a hub which attracts young creators of animation as well as great masters, and their dialogues are important and essential for us.”
Hiroshima 2020 will present a special screening of Petrov’s short films, accompanied by a director’s talk. There will also be spotlights on anime legend Osamu Texuka, U.K animation, recent Cuban animation (2009-2018) and contemporary Japanese works, as well as programs dedicated to student films, kids’ fare and animation on the theme of peace.
The competition lineup will be determined by an international selection committee: Svetlana Filippova (director; Russia), Zbigniew Czapla (director, writer, artist; Poland), Lynn Tomlinson (director, Asst. Prof. of Electronic Media & Film at Towson University; U.S.), Stefan Stratil (filmmaker, lecturer at Webster Vienna Private University & Webster University St. Louis; Austria) and Hiroshi Onishi (multimedia artist, Prof. of Information Design at Kyoto University of the Arts; Japan).
Outside the screenings, attendees can participate in the business and professional space “Nexus Point,” while young creators can show their work, solicit professional critiques and attend special seminars in “Fame In.” Hiroshima’s unique Educational Film Market provides a bridge between schools, students and producers where local animation schools can find new students, students can promote themselves for hire, and production companies can discover a new generation of talents.
This year’s official festival poster was designed by independent filmmaker Naoyuki Tsuji (Mountain, Children of Shadows). Known for his distinct charcoal drawing animations, Tsuji has screened his films at festivals around the world, including Hiroshima, Image Forum, Rotterdam, Ann Arbor, Locarno and in the Cannes Directors’ Fortnight.
With the global and domestic box office far from humming a happy tune amid the COVID-19 crisis, Universal Pictures has announced plans to make its major movie releases available on home entertainment the same day as their global theatrical debuts. The plan begins with DreamWorks Animation’s hypercolored musical sequel Trolls World Tour, due to drop the bass on U.S. big screens April 10.
The studio also plans to make its current theatrical offerings — including horror flicks The Invisible Man and The Hunt as well as Jane Austen adaptation Emma (released through Focus) — available on demand as early as Friday, March 20. The pics will be available as 48-hour digital rentals for $19.99 SRP in the States and at a similar price point internationally.
NBCUniversal CEO Jeff Shell said in a statement: “Universal Pictures has a broad and diverse range of movies with 2020 being no exception. Rather than delaying these films or releasing them into a challenged distribution landscape, we wanted to provide an option for people to view these titles in the home that is both accessible and affordable. We hope and believe that people will still go to the movies in theaters where available, but we understand that for people in different areas of the world that is increasingly becoming less possible.”
The day-and-date release plan finds a middle ground between the flurry of feature film release delays and moves by content streamers such as Oznoz to open up access to housebound viewers or bring in hot releases ahead of schedule, as Disney+ has done with Frozen II.
Here’s a new music video featuring the cast of Trolls World Tour, which dropped today.
[Source: Variety]
It was a bleak weekend at the box office both at home and overseas, as cinemas continue to shutter and social distancing leads to 50% capacity caps or plain keeps audiences home during the ongoing COVID-19 outbreak.
Domestically, receipts hit a 22-year low with just $55.3 million (per Comscore) as the number of closed theaters in major cities climbed over 100. The B.O. was down 45% weekend-to-weekend, and down 60% from the same weekend last year. Disney’s Onward held on to its No. 1 place despite suffering the biggest second weekend decline of any Pixar title, posting $10.5M (down 73%) for a domestic 10-day total of $60.3M.
Domestic weekend totals:
At the international box office, affected by shutdowns in key markets including France, Spain, Italy and China, the top five films scraped together $31M — down 85% from 2019. Sony’s new Valiant Comics adaptation Bloodshot, starring Vin Diesel, led the pack with $13M from 50 markets — added to $15.1M from a soft early rollout for $25.6M global. Onward picked up an additional $6.8M from 47 markets (cume: $41.4M int’l, $101.7M worldwide), with no new territory premieres and openings in Korea, Japan and Italy bumped to April. DreamWorks Animation’s Trolls World Tour began its overseas release through Universal in Singapore and Malaysia, starting out with $200K.
International weekend totals:
[Source: Deadline]
Netflix has revealed the official premiere date for its psychedelic new adult animated series The Midnight Gospel, along with a trippy teaser and first-look images. The 8 x 30′, 2D series debuts exclusively on the streamer on April 20.
The Midnight Gospel is the story of Clancy, a spacecaster with a malfunctioning multiverse simulator who leaves the comfort of his extra-dimensional home on the Chromatic Ribbon to interview beings living in other worlds. Created by Pendleton Ward (Adventure Time) and Duncan Trussell (Duncan Trussell Family Hour podcast), and animated by Titmouse.
www.netflix.com/themidnightgospel
CelAction, the 2D animation software developer, announced Monday that any of their clients who require licences of CelAction2D software to work from home — rather than at educational institutions or in a studio — can get them free of charge until the end of their current project. All they need to do is contact their CelAction representative and it will be arranged as soon as possible.
Further, the company is calling on other animation software outfits to follow suit in solidarity, and ease the WFH transition for artists and students as the COVID-19 outbreak continues to unfold.
CEO Andy Blazdell made the following statement:
“Here at CelAction we’ve been helping our clients prepare to work from home for the past few weeks, quietly and without fanfare. Everyone who asked us for help has been helped, and this situation has been our highest priority. We didn’t even think about publicising it, because our clients know they can talk to us about their needs and we always respond.
So it was with surprise and some disappointment that we saw other major software companies in our sector offer help in the form of at-home licences that were limited from 90 days to as low as 30 days. While we hope that the COVID-19 disruption doesn’t last for months, nobody knows how long it will last. But what is certain is that the effects of shifting work to home will take time, cause stress, and have an ongoing impact on schedules.
So we’re calling on animation software vendors to allow their clients to work from home not for a set period of time, causing extra pressure as the clock ticks down, but to give people that freedom until the end of their projects that have been affected. For students, this means until the end of the school year. This is what we have offered our clients, so that there’s one less thing for them to worry about in these challenging times.
In our judgement, it was the obvious and right thing to do. We sincerely hope others will follow our lead.”
London-based CelAction has been providing animation software solutions to the 2D industry for over 20 years, helping to create massively successful shows such as Peppa Pig, Sarah & Duck and Mr. Bean. Their flagship product, CelAction2D, allows small teams of animators to work on very complicated shows using advanced skeletal-based rigs, creating high-quality animation in short time-frames, in a variety of visual styles.
www.celaction.com
Despite moving online for its final weekend, the New York International Children’s Film Festival still celebrated an inspiring lineup of shorts and features for 2020. The winning films were revealed Saturday, marking a big night for French animation My Life in Versailles (La Vie de Chateau), which won the short film Grand Prize, as well as the Audience Award (Ages 8-12) and Grown-Ups Award. The 2D piece by Clémence Madeleine Perdrillat & Nathaniel H’limi centers on a littler girl named Violette, who moves into the famous palace with her uncle, the caretaker.
The Jury Award for Animated Short, an Oscar-qualifying accolade, was bestowed on Grab My Hand: A Letter to My Dad (U.S.). Created by Camrus Johnson and Pedro Piccinini, the film’s bold vector art style animated a love letter from son to father to friend, reminding viewers that there’s no good reason to let affection go unexpressed. Grab My Hand screen in the NYICFF’s “Boys Beyond Boundaries” program, which for the third year showcased films that expand the way boys and men are portrayed on screen. (Trailer)
The Snail and the Whale — the latest loveable BBC Christmas special from multi-Oscar-nominated studio Magic Light Pictures — won over the youngest festivalgoers, earning the Audience Award (Agest 3-6). Featuring the voices of Sally Hawkins, Rob Brydon and Dame Diana Rigg, the adaptation of Julia Donaldson’s picture book (illustrated by Axel Scheffler) is a joyful, empowering story about a tiny snail who pursues her dream to see the world by hitching a ride on a humpback whale. (Trailer)
And scoring the Audience Award (Ages 6-8) this year is quirky non-dialog comedy Athleticus — the first series created by award-winning French director Nicolas Deveaux (1 meter/hour). The animation auteur once again plays with the beauty of nature by placing photoreal animals into unlikely athletic events, from hippos doing judo, to gymnast giraffes, to track & field tortoises. (Trailer)
Additional award winners were:
Jury Award for Best Live-Action Short: 3Feet, Giselle Geney (Colombia)
Audience Award, ages 13-17: 3Feet, Giselle Geney (Colombia)
Kids Feature Film Award: Rocca Changes the World, Katja Benrath (Germany)
Grown-Ups Feature Film Award: Fahim, the Little Chess Prince, Pierre-François Martin-Laval (France)
Grand Prize Feature Film Award, all ages: The Club of Ugly Children, Jonathan Elbers (Netherlands)
NYICFF runs screenings, field trips, film camps and more for kids and teens all year long. Visit https://nyicff.org/ to learn more and donate to keep these programs going.
As more folks of all ages stay home to help curb COVID-19, The Walt Disney Company has added Frozen II to the Disney+ lineup three months ahead of schedule. The blockbuster sequel launched on streaming in the U.S. on Sunday, March 15, surprising families with some fun and joy during this challenging period.
“Frozen II has captivated audiences around the world through its powerful themes of perseverance and the importance of family, messages that are incredibly relevant during this time, and we are pleased to be able to share this heartwarming story early with our Disney+ subscribers to enjoy at home on any device,” said Bob Chapek, Chief Executive Officer, The Walt Disney Company.
Internationally, the musical adventure will be available on Disney+ in Canada, the Netherlands, Australia and New Zealand on Tuesday, March 17. In the U.S., the film will initially be available in high definition, with Ultra HD video playback available to all subscribers on Tuesday, March 17.
The No. 1 animated movie of all time, Frozen II follows Elsa, together with Anna, Kristoff, Olaf and Sven, on a remarkable and inspiring journey into the unknown to discover the source of her magical powers and save the kingdom of Arendelle. From Walt Disney Animation Studios and the Academy Award-winning team of directors Jennifer Lee and Chris Buck, producer Peter Del Vecho, and songwriters Kristen Anderson-Lopez and Robert Lopez, Frozen II features the voices of Idina Menzel, Kristen Bell, Jonathan Groff and Josh Gad.
Disney+ offers a lineup of blockbuster movies, original content and classic library titles from Disney, Pixar, Marvel, Star Wars, National Geographic and more. Visit DisneyPlus.com to subscribe or learn more.
Italy’s National Association of Animation Producers, Cartoon Italia, issued a message to the European animation community on the effects of coronavirus on the industry — receiving immediate outpourings of support from around the continent.
“The Italian animation industry and community are firm in facing this difficult moment,” says Anne Sophie Vanhollebeke, president of Cartoon Italia, in a message to European colleagues. The email was sent Thursday afternoon to reassure foreign partners and raise awareness of the measures to be taken in the rest of Europe to defeat the COVID-19 pandemic.
Most of Italian animation productions are co-produced with foreign partners. In this moment of global emergency, the Cartoon Italia board has thus decided to do its part, while informing partners that, at the moment, production proceeds without major problems.
“We are all smart-working from our houses or, for those who have to be in the studios, taking the utmost precautions with regard to a proper distance from colleagues, carefully avoiding any contact. We come to know that these measures are being taken in some of your countries, but we would like to advise you that
everything is related to individual responsibility. Please consider the risks of this virus very seriously,” Vanhollebeke urged, with the hope of reuniting with the international community soon at Cartoon Digital in Cagliari, Italy. The forum is currently still scheduled for the end of May despite the cancelation and postponement of so many events.
The email resulted in an immediate flood of support from the international animation community:
“Our hearts are with you,” was the first message from Finland.
“Congratulations to our friends of animation in Italy. We will do what is required to get out of this virus,” wrote Christian Davin, president of the CARTOON association in Brussels, which organizes major business events including Cartoon Digital and the recent Cartoon Movie in Bordeaux, just before the so-called #iorestoacasa (I stay home) decree.
“We think of you, and we hope that you will get rid of this damned virus soon,” president of the French animation producers association (SPFA) Philippe Alessandri replied. “From here on, courage and prudence!”
“We are well aware that what you have now is about to come to most of us within a very short time… Good times to stick together and hold on to what unites us,” said a message from Berlin.
“Although it may seem exaggerated, we try to do what we are asked to do. We hope this does not jeopardized too much all of your productions,” read some wishes from Belgium.
“We know you have already got an extreme situation in Italy and this is very difficult and sad, too. We send you strength. This is about all of us helping as a community helping and cooperating to slow this thing down,” Irish producer Moe Honan wrote, adding that even Ireland has enacted a “semi-block” situation, with schools and universities closed, meetings of people limited to certain numbers and many events canceled. “We are creative people, we will work on and can focus in a different way over the coming weeks. Maybe we will be more productive!”
“It’s sad and scary what is going on. Hopefully Italy will go through this without great harm and all end up soon. Most probably we all will have to face the same difficult situation in our countries. Luckily, our animation business is not so sensitive to such situations, thanks to the internet. But so many others will bleed. Global economy as well,” wrote Robert Jaszczurowski from Poland. “In Poland, we have schools, cinemas, theaters, clubs shut down. All borders are under control. I can only say what my grandfather told me about vodka: it’s a cure for all plagues, my boy! This time, use it externally! We will survive!”
“Italy is receiving the worst part of this pandemic but we are all united in the Fight,” assured Iván Agenjo from Spain. “Here, all schools and universities are closed from today onwards, minimum 15 days, and all of us who can work remotely from home, we do. This is the best way to minimize the impact of the virus. So to all you friends, stay home, stay safe, slow down your rhythm a little bit, spend these days closer to your family. We will have the chance to go back to our stressful lives afterwards.”
And Kate O’Connor from Animation U.K. sent “messages of solidarity and support to all our EU friends and animation family.”
With large gatherings discouraged, schools and offices opting for virtual attendance and individuals staying isolated in an effort to stem the spread of COVID-19, the animation community is rallying to share content, wisdom and a break from bleak news. Thanks to the internet and some quick-thinking content providers, festivals and educators, we can at least keep cabin fever under control.
Are you or your company/organization doing something that belongs on this list? Drop us a line at edit@www.animationmagazine.net!
Big Bad Boo — the studio behind brilliant, diverse animated family programs like The Bravest Knight — is opening up its family streaming platform Oznoz to homebound viewers everywhere. As of Friday, subscribers can watch all content for free for the next two months, so kids can watch Thomas and Friends, Franklin, 1001 Nights, Bob the Builder and more, in 10+ languages. The studio is also working with TVO Kids on a trio of PSAs that educate kids about coronavirus with characters from its hit series 16 Hudson. The videos will roll out in about a week via Oznoz, YouTube and the TVO Kids site.
“As COVID-19 forces families to stay indoors, we wanted to help parents entertain their kids responsibly,” said Oznoz co-founder, Shabnam Rezaei. “With our extensive catalogue of multilingual content for kids, we hope that families will be able to make the best of what can be a stressful and confusing time for most.”
Joe Wos of MazeToons fame is pitching in to fill the gap in arts education left by virtual schooling, offering free online cartooning classes for housebound students of all ages. Starting Wednesday, March 18, Wos will present live 20-30 minute lessons on the HowToToon YouTube channel (www.HowToToon.com). Classes will take place three times a week (Tues.-Thurs) at 1 p.m. A pro cartoonist since age 14, Wos has taught cartooning for over three decades. He currently leads a class at Central Catholic High School in Pittsburgh and has been visiting resident cartoonist of the Charles M. Schulz Museum in Santa Rosa, CA for 18 years.
“Teaching the cartooning has been my life-long mission,” said Wos from his home-based studio in Oakmont, PA. “I realized with so many kids stuck at home they would be missing out on much needed art classes and this was a great opportunity to share my love of the cartoon arts.”
Why not enter a contest to stretch your artistic muscles? Fox Render Farm is running its latest Fox’s Got Talent 3D Challenge through March 30. Craft your own super-creative 3D render on the theme of “Easter Egg” for a chance to win sweet FRF and Texture Box prizes. You can get some inspiration by reading their interviews with previous winners, like Dante Resendez Delgado, who created a charming antlered street musician for the “Reindeer” challenge.
Video game enthusiasts may have to cancel their travel plans to some of the year’s biggest confabs, but GDC 2020 has announced the schedule for next week’s Virtual Presentations (March 16-20).and streaming award ceremonies for the Independent Games Festival and Game Developers Choice Awards (March 18). Tune in live on the official GDC Twitch channel to soak up expert knowledge on how to build playable, accessible, in-demand game and learn the secrets behind your favorite titles — from the importance of music to LGBT+ representation, AI lighting to Influencer appeal. All streamed talks will later be available for free in the GDC Vault, and many will be posted to GDC’s YouTube channel in the next few months.