Following her recent death, Andrew Lederer discusses the legendary Mae Questel, the voice of Betty Boop.
Wild Brain's Dave Marshall, co-director of FernGully 2, discusses how he tailored the pre-production process of FernGully 2 to guarantee the best final film for the budget.
Karl Cohen interviews the Disney legend, Maurice Noble, and discusses his career, working with Chuck Jones and the animation industry today.
Heather Kenyon goes behind the scenes of Medialab Studio LA to meet the people who create real-time, motion-captured characters by using a technique the studio calls "computer puppetry".
Heather Kenyon reports on NATPE 1998's animated shows and the attending companies' goals. It's not just a syndicator's show anymore.
Mark Langer reviews Karl Cohen's new book, Forbidden Animation: Censored Cartoons and Blacklisted Animators in America, a catalogue of censorship.
Gregory Peter Panos, founding co-director of the Performance Animation Society, describes a new frontier of dilemmas, the politics of performance animation.
Barry J.C. Purves shared his sentiments on the coming of the computer. Now Barry's back to share his thoughts on the last two years that have been both exhilarating and disappointing for him.
Karen Raugust takes a look at the marketing machine behind everyone's favorite clay characters, Wallace & Gromit.
How does one build an armature from scratch and end up with a professional foam puppet? Tom Brierton is here to take us through the steps and offer advice.
Jon Roslyn profiles an in-depth, unique summer school program designed for extremely talented and driven artistic youths.
Relocated from New York City, a unique collection of original cartoon art exists in Boca Raton, Florida. From comic books and strips to magazine illustrations, find out why it is worth the trip...
On February 1, Alias|Wavefront is beginning to ship their latest animation software, Maya and Maya Artisan. Max Sims is here to tell us how it compares and what we can expect from this new tool.
Cesar Coelho takes us to the most important film event in Latin cinema, The 19th International Festival of New Latin-American Cinema, held in Havana, Cuba.
We asked six stop-motion maestros to reveal a few tricks of the trade. Henry Selick, Barry Purves, David Fain, Andrew Ruhemann, Voltaire and Mikk Rand responded with an odd assortment of ingredients that may be useful to you in your next stop-motion film.
O Programa do Festival Internacional do Novo Cinema Latino-Americano.O Festival Internacional del Nuevo Cine Latino-americano mais uma raz para se visitar Cuba no inio de Dezembro. Em sua 19 edio, o Festival de Havana o maior evento cinematogrico inteiramente dedicado ao cinema latino, sendo muito prestigiado junto aos produtores, diretores e artistas destes paes. Ree longas, mias e curtas metragens de fico, documentios, um concurso de cartazes e de roteiros e, at last but...
Emru Townsend reviews Dennis Tupicoff's new animated documentary, His Mother's Voice, an exploration of an unexpected death.
In a small, quiet cafe, motion-capture pioneer Chris Walker and outrageous stop-motion animator Corky Quakenbush got together for lunch and discovered that even though their techniques may appear to be night and day, they actually have a lot in common.
Independent German filmmaker Kirsten Winter describes her unique pre-production process of working with composer Elena Kats-Chernin, while developing her visuals.