When The Day Breaks
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What was censored from the South Park feature? | Festivals
OUR NEXT SIX ASIFA PROGRAMS offer a great variety of topics. This month we meet with recruiters from four companies that do state-of-the-art animation to discuss how to get a job, hiring trends, what to study in school and other basics. Representatives from Wild Brain, ILM, PDI and Mondo Media will be joined by Terrence Masson, an author of a new book that covers employment in the electronic animation industry. It takes place at The Exploratorium on Tuesday, November 9 at 7:30.
In November we will also have a program with Canadian animators Wendy Tilby and Amanda Forbis in-person. They will present their new award-winning film When The Day Breaks (Grand Prix, Annecy, 1999; Palme D'Or, Cannes for best short; Gold Hugo, Chicago).
They will show three other new animated films. They are Paul Driessen's 3 Misses, Eugene Federenko and Rose Newlove's Village of Idiots (based on a Jewish folk tale, music and sound effects by Normand and Jean Baptiste Roger) and Torril Cove's My Grandmother Ironed the King's Shirts (produced by Marcy Page). The films will be shown in 35 mm.
Paul Driessen's new work was described by Tsvika Oren in ASIFA News (our International publication) as, "two stories and an urban `last moment's rescue' intertwine, seasoned by lots of familiar myths." The film just won the "Best European Short" award in Rome at the Animated Castles Festival.
Set your alarm clocks and get to the Red Vic on Sunday,
November 21 at 11 A.M. for this special event. (1727 Haight St. in SF) The visit
was sponsored by the NFB, working with Ron Diamond (head of Acme Filmworks and
www.awn.com) in Los Angeles.
In December Carmen Elena Sousa, a performer and acting teacher, will present acting for animators. In January we present our annual open screening for students and independent animators. In February we present our annual open screening for animation and special effects companies. In March Marty McNamara will host a program at DeAnza College with National Film Board of Canada animator Ishu Patel.
We know that in May or June we will screen winners
of the annual ASIFA-East competition. We are also planning another workshop,
screenings of new work by local animators and other events.
OUR COLOSSAL TRIBUTE WAS A WONDERFUL EVENT HONORING THE MANY TALENTED PEOPLE WHO WORKED THERE Stuart Cudlitz opened the program by showing his ancient home videos. There were lots of behind-the-scenes shots of the staff taken in the 1980's.
George Evelyn introduced a long video reel that featured animated highlights from the company's past. The standing room only crowd applauded many of the remarkable selections on the reel. Among the people in the audience were Gary Gutierez and Drew Takahashi, the founders of the company.
The program was followed by a reception. Since people came to the event from a great number of towns and cities, and many had not seen their former colleagues in many years, the reception lasted until closing time. Many people continued the party at a local drinking establishment.
This colossal event was made possible with funds from ASIFA and Wild Brain. We would like to thank some of the people who helped organize the reception. Ron Seawright put in long hours coordinating the event. He was assisted by Deborah Amadore, Sami Afra, Jeff Nevins, Shirley Smith, Eddie Luu, Billy Luu, Jo Carol Davidson, Andrea Passman, and Zoe. We would also like to thank the staff of the Exploratorium, especially Robin Higdon-Davis, Liz Keim and Zephyr.
RAFAEL CUEVAS, A YOUNG LOCAL ANIMATOR, HAS HIS WORK ON HBO Rafael Cuevas of the Rooftop Animation Club and three members of his production crew (Sam Sanchez, Ian Freeman and Barbara Klutinis) did a taped interview about their work Ken at the Beach. The film and interview will be broadcast on HBO. HBO saw the work at the National Children's Festival in Indianapolis.
Spencer Pekar's The Three Phases of Life was shown at the 1999 Mill Valley Film Festival. It was in their Youth Video Contest. Pekar is another member of the Rooftop Animation Club. Rooftop Elementary School is on the slopes of Twin Peaks in San Francisco.
MONDO MEDIA SIGNS A MAJOR PRODUCTION DEAL WITH SHOCKWAVE.COM to provide serialized animated Mondo Mini Shows for Shockwave's new Toon-A-Vision section of its Web site. Mondo recently announced a similar deal to provide Netscape's NetCenter site with two shows a week for a year. Mondo is building the Mondo Network by syndicating shows with corporate sponsorship. Apparently ads are built into the syndicated packages.
Mondo was founded in S. F. in 1988 and has a staff of over 50 artists, animators, writers, producers, etc.
PROTOZOA ANIMATES A JIMMY THUDPUCKER ROCK VIDEO that recently premiered on the Internet. The rock star is by Gary Trudeau (www.doonesbury.com), the project was produced with Dot Comix (www.dotcomix.com) and it premiered at a live UN sponsored event on the Internet that promoted their Global Crusade Against Poverty.
WEBSTER COLCORD PRODUCED A COMPLEX NICKELONDION LOGO for Nick Jr. Productions. The 5 second piece will be attached to the end of Nickelodeon shows aimed at their preschool-age audience. The logo was animated using clay-on-glass with additional computer animation by Hypnos, a local company. Varitel did the film/tape transfer and compositing. Lighting was by Ed Navarro.
Colcord has left PDI and will join Henry Selick's stop-motion production team working on Monkey Bone. The feature will be released November 3, 2000. Disney showed Selick's Nightmare Before Christmas in Los Angeles at their El Capitan Theater, October 29-31.
JERRY VAN DE BEEK DIRECTED A LUGZ COMMERCIAL FOR CURIOUS PICTURES Lugz makes athletic shoes. The ad shows a computer generated hipster navigating the pearls of NY streets with fancy footwork. Betsy de Fries was the producer. She also designed the ad with van de Beek.
FILM ARTS FOUNDATION WILL PRESENT A STOP-MOTION ANIMATION WORKSHOP with Gary Schwartz, instructor. Students will work with a Video Lunchbox system. No previous experience necessary. Monday through Friday, Nov. 15-19 from 7-10 P. M. and on Saturday and Sunday from 9 to 5. For details and to enroll call (415) 552-8760.
LUCILLE BLISS WILL PRESENT A VOICE ACTING SEMINAR SATURDAY, NOV. 20 It will be presented in downtown San Francisco by The Learning Annex (415) 788-5500.
Bliss was one of the famous voice actors invited to attend Hanna-Barbera Day in San Bernadino recently. She said about 4000 people showed up to watch the mayor give Joe Barbera the key to the city. She was the voice of Smurfette and other Hanna-Barbera characters.
CARTOON ART MUSEUM HAS A NEW JAPANESE ANIMATION ART EXHIBIT, PLUS HOLDS OVER HIGHLIGHTS OF THE DISNEY VILLAINS SHOW AND PART OF THIS SUMMERS WILD BRAIN EXHIBIT The Japanese show includes more than 60 works, from Astro Boy to Pokemon. It is on display until January 23.
The Disney show includes several new works not shown last summer. The villains date from the late 20s to recent nasty guys and gals. Cruella De Vil, the Wicked Queen from Snow White and the Chernobog from Fantasia are among the highlights of the show. It closes Nov. 23.
Wild Brain is represented with art from a few of their outstanding commercials, plus images from Ferngully 2, Spawn, A Dog Cartoon and other projects. Closes Nov. 23.
The Cartoon Art Museum, 814 Mission, 2nd floor, SF. Across from the block long, low cost parking garage between 4th and 5th on Mission.
THE ASIFA-SF WEB SITE is under construction. The visuals and content are being developed. AWN has offered to host the site. We will have our own domain name & address.
FREE SPACE FOR ARTISTS AND ANIMATORS TO SHOW THEIR WORK ON THE WEB John Wong runs www.artabout.com His site is or is about to be linked to Barnes and Noble.com. Animators can provide files as big as 10mbs in the mpeg or avi formats. For details go to his site, e-mail him at jwong@ artabout.com or call (415) 595-7499.
NOVEMBER FILM/TAPE WORLD WILL HAVE A LONG ARTICLE ON THE MAKING OF TOY STORY 2. This fine local publication is doing a great job covering animation, special effects and the local live action film industry. Many of their articles are far more informative than articles on the same subjects in national publications. For information about subscriptions call (415) 543-6100 or pick-up a free copy at companies like Gasser's, Monaco Labs, etc.
One of the surprises about Toy Story 2 is that co-director Ash Brannon is only 29 according to Time Magazine. (He told me in late October that he will be 30 in a few days.) That means he was 26 when he started on the film! (What were you doing when you were 26?) Time called the film a "gold mine" even though it hasn't opened yet.
Another surprise is that co-director Lee Unkrich didn't go to CAL Arts. He went to USC* and his background is in directing and editing live action film. He joined Pixar as an editor of Toy Story. He also worked on A Bug's Life. On Toy Story 2 he did a lot of layout work. (*Brannon, Lasseter and several other animators at Pixar went to CAL Arts.)
Unkrich says "I had never worked in animation before I came to Pixar. What I brought to the team is a live action sensibility. We have always found that what we do is a hybrid between animation and live action. It's obviously animation because artists are hand animating each and every frame of the film, but at the same time the way we stage scenes and block out our camera movement, that comes from a live action perspective. I think those two elements have combined to give our films the unique look that they have." KC
DON'T ALWAYS TRUST NEWS IN PRINT OR FACTS ON THE INTERNET Believe it or not there is incorrect information about Toy Story 2 in Film and Video Magazine, on several Internet sites (including AWN's Animation Flash and Internet Movie Database) and in other publications. They presently list the film's directors as John Lasseter, Ash Brannon, and Colin Brady. While I was told Brady did work on the film and will receive proper credit for his work, the third co-director is Lee Unkrich, not Brady. A public relations person at Pixar could not explain how the error occurred and did not know who Brady was until she looked up his name.
MULTI-MEDIA COMPUTER WANTED BY THE SCHOOL OF THE ARTS, Film and Video Dept., San Francisco. This city run high school is in "desperate need" of a multi-media computer that does video editing. If you are upgrading your system and would like a tax write-off, you can donate it through their PTSA (PTA), which has a non-profit tax ID number for donations. They could use a Mac or PC, but it must have video in/video out capacity (Mac 8500 and above). Please contact Barbara Klutinis, parent liaison and PTSA board member at (415) 824-1282.
ILLUSTRATIONS FROM THE SUBCONSCIOUS, features works by 9 animators with live music by the Sprocket Ensemble. Program includes Cancer by Nina Paley, Eli's Moon by Michael Rosas-Walsh, Meat Clown by Brooke Keesling (CAL Arts work), Totem by Stacy Steers, Corpus Delicti (The Body of Crime) by Melanie Curry, Betsy Weiss, and Alfonso Alvarez, Totally Soulful by Martha Colburn, 185 (Heaven) by William Z. Richard, and Publegg Enemy by Carrie Kessler and David Clausen. Ron Seawright, Julian Lastowski and Cindy Rae will do a live reading of the voice track to Publegg Enemy at the event.
Illustrations from the Subconscious will be a 2 hour program. It is part of the Film Arts Festival. Friday, Nov. 5, at the Victoria Theater on 16th St., 10 pm.
FILM ARTS FILM FESTIVAL'S opening night event (on Nov. 3 at the Castro Theatre) will be a new Craig Baldwin feature with Rock Ross' new short STUPOR MUNDI. Ross used pixillation and other animation techniques in his film. The score will be performed live by David Hagerty on the Castro's organ and Nik Phelps.
THE IRON GIANT, Sunday, Nov. 7 at 3:40 and 7:30. With October Sky, 1:30, 5:30 and 9:10. Landmark's U. C. Theater, 2036 University, Berkeley.
Friday, Nov. 5 at 7 and 9 pm, Castro Theatre, THE ADVENTURES OF PRINCE ACHMED by Lotte Reiniger, 1926, with a new score by Shawn Garmom for violin, piano and cello. The film was made using her beautiful silhouette technique. Bertolt Brecht worked on publicity for the world premiere in Berlin.
Saturday, Nov. 13, SCREENING AND TALK WITH MARC DAVIS, ONE OF DISNEY'S NINE OLD MEN, 8-11 a.m. (doors open at 7:30), Grand Lake Theater, Oakland, free (sponsored by The Learning Co.). You must RSVP via email to mgray@learningco.com or call Mike Gray at work (510) 505-6432 Davis designed and animated Tinkerbell, Maleficent and Cruella De Vil. He later designed a few rides including Pirates of the Caribbean, the Haunted Mansion and Country Bear Jamboree. He will lecture, show work on 35mm film and answer questions. The flyer suggest you bring at least $3 in quarters for parking.
Saturday, November 13, at 8:30, new and old COLLAGE ANIMATION BY MARTHA COLBURN at ATA. Craig Baldwin, who runs the ATA film series says, "Martha Colburn is the most exciting animator working in the U.S." Ms. Colburn comes to the Bay Area from Maryland. She is the new animation teacher at the S. F. Art Institute. Work by David Cox and other animators will also be shown. ATA, 992 Valencia in SF.
SPIKE & MIKE'S 1999 SICK AND TWISTED FESTIVAL at Landmark's UC Theater in Berkeley (Oct 29-Nov. 6), the Palace of Fine Arts in San Francisco (Nov. 5-6), the Lumiere (Nov. 12-20), the San Rafael Film Center (Nov. 12) and the Towne Theatre in San Jose (Nov. 24-Dec. 16).
DISNEY'S "FANTASIA 2000" IS COMING TO SF IN IMAX It opens Jan. 1 at our new IMAX theater (to April 28). I saw a preview that included the Pines of Rome sequence. It was an amazing experience seeing so much detail on such a large scale. The sequence of the new film features whales that swim and then fly through space. The computer generated whales are life size. The format is so big that there was too much to see. You simply can not see it all in one viewing. If the rest of the film is as exciting as this sequence, animation is about to make a giant leap forward into the new century.
Unfortunately, the film or projector broke at the end of the sequence so I was sent home unsatisfied. I sat through a long live and video promotion for the film that was designed for teachers. Disney is trying to have them assign projects based on the film so everybody in the class will have to buy a ticket (group ticket discounts are available). It was a typical Hollywood light weight, fast paced, slick sales pitch.
I look forward to seeing the complete work in January. I also look forward to seeing it again in May after it leaves Imax theaters. AWN says a longer version will be shown at 35mm theaters (opens April 28). KC
ANN ARBOR FILM FESTIVAL TOUR AT S. F. STATE, PRESENTED BY THE S.F. CINEMATHEQUE AND STATE'S CINEMA DEPT. This is a major festival celebrating independent filmmaking. Each year several fine animated works are included in the tour. The tour will be screened at 7 p.m. on November 19 and 20 at the August Coppola Theatre at San Francisco State (room 101, Creative Arts Bldg.) A different program will be screened each night. (No work will be repeated.)
ASIFA-HOLLYWOOD GETS SET FOR THE ANNIE AWARDS The black tie awards ceremony will be on Nov. 6 at the Alex Theater in Glendale.
In October the chapter had a careers in animation night with Sari Gennis. Her credits include animation and special effects for many features including Space Jam, Fantasia 2000, and All Dogs Go to Heaven.
On November 9 Piet Kroon who created T.R.A.N.S.E.T. will discuss independent animation.
ASIFA-NORTHWEST HAS A WEB SITE it is www.teleport.com/~asifanw/ Their November event will be a program with the world famous Marv Newland. Yes, he will show Bambi Meets Godzilla.
ASIFA-EAST PREMIERED MO WILLEMS' LIFE, an animated jam featuring "bizarre beasties eating more-bizarre beasties!!" The film was "preceded by a selection of animated oddities and obscurities from various Life participating animators including John Canemaker, Tissa David, George Griffin, Michael Sporn, and others." Life is a collaboration of over 30 animators. Www.asifaeast.com
The group also was invited to a screening of 1001 Nights by Yoshitaka Amano, a popular Japanese artist. The Angel Orensanz Foundation held a gallery exhibit of Amano's recent work including designs for animated TV characters. The show ended Oct. 31.
NEWS FROM "ANIMATION FLASH" (INTERNET) Warner Bros. On Line has a new Superman series.
J.J. Sedelmajer's final TV Funhouse episode aired on the first Saturday Night Live show of the new season. Sedelmajer is working on several new projects.
Cinar, an animation company in Montreal is under investigation for tax fraud.
Film Roman "ousts" David Pritchard, their CEO.
Star Wars: Phantom Menace has grossed $428 million overseas and $426.8 million at home.
A Roadrunner and Coyote stamp will be released next year.
Harvey hires Spumco, headed by John Kricfalusi, to produce a new series of 2 to 7 minute cartoons featuring Harvey stars (Little Audry, Herman and Catnip, etc.). The shorts will appear on the Internet at www.realcartoon.com run by Spumco, and www.harvey.com
ANYTHING DISNEY MAKES NEWS Recent articles about the company include a new theme park outside Paris. It will focus on the film industry and show business. The first park got off to a slow start, but it is now quite profitable. The new park will cost $670 million to build.
A new Disney family museum web site is said to include a wonderful family album of photos. It is part of www,disney.go.com
Disney wants to complete a Dali short started in 1946. Walt hired Dali to do inspirational studies for Destino. John Canemaker reports that Walt once said of the project, "Jesus Christ, $70,000 down the drain." Now Disney feels there is a market for an animated fine art film.
In Florida both Muslims and Jews protested a Disney exhibit that depicts Jerusalem. The Jews object to it failing to mention that the city is the capital of Israel. The Muslims object to it depicting Jerusalem as a unified city. They want Disney to mount a Palestinian exhibit.
"WALT DISNEY AND EUROPE: EUROPEAN INFLUENCES ON THE ANIMATED FEATURES OF WALT DISNEY" by Robin Allan is now available in the US from Indiana University Press, 601 N. Morton Street, Bloomington, IN 47404-3797 (800) 842-6796. The book sells for $59.95 in cloth and $35 in paper. Allan is a British scholar and has presented exceptional talks on the subject to ASIFA-SF and other groups in the US.
NOT EVERYBODY WANTS JAVA AND OTHER ANIMATED EFFECTS ON WEB SITES In the November issue of Reason, Adam Clayton Powell III writes, "using simpler and more accessible sites is thoughtful and almost always good business. On the Freedom Forum site, for example, we have banished Java and other animated effects because they make the site slower and more difficult to use for those with slow dial-up connections."
VARIETY RUNS LONG ARTICLE "F/X BOOM CONJURES CASH, CRUNCH TIME, NEW PIX BRING JOBS BUT NARROW SCHEDULES" The Sept. article tells of production schedules shortened (one by half-a-year for a feature), tight budgets, last minute changes and other problems. It also explains why there is so much interest in F/X work now.
NEW PRODUCTS FOR CHRISTMAS includes several unusual items. Definitely Not Hollywood: The Dark Comedy (Extreme Edition) is a video from Atom Films that includes some animation and some live action shorts. (A second tape in the series contains no animation.)
Go Simpsonic with the Simpsons is music from the hit TV show. It is out on audio tape and CD from Rhino Records. The company has also released a 4 CD box set of Stan Freberg material.
The Learning Company in Fremont has released 3 CD-ROM titles featuring Arthur from the popular PBS series with the same name. The products are designed to teach reading to kindergarten, first and second graders.
CHARIOT RACES WERE HELD ON HOLLYWOOD BLVD. to raise money for charity and to promote the home video release of Prince of Egypt. A 900' course was used and horses ran at up to 35mph. The publicity stunt took place Sept, 14.
SPEED RACER'S CAR HAS FINALLY BEEN BUILT! The Mach 5 was a fantasy car/star of the Speed Racer show that premiered in 1967. Now Focus on Cars of Long Beach has spent between $175,000 and $200,000 to build a real one (within reason, it does not fly, etc.). It makes it's debut in Vegas, November 2-5 at the SEMA convention (auto parts) before it goes on a national tour to promote auto safety for kids.
IS THE ANIMATION BOOM IN TROUBLE? If you are wondering about the future of animation as a business, you might want to know about several recent articles.
The ASIFA chapter in Los Angeles recently ran the following: "According to an article in the Los Angeles Times, disappointing box office receipts from such films as Quest for Camelot has studios rethinking their decisions to hire animators for long contracts at sky high wages. When DreamWorks was tooling up, top animators could expect to receive signing bonuses of as much as $150,000 and salaries of more than $1 million in some cases. But when Anastasia, and other films, including such Disney features as Hercules and Hunchback of Notre Dame, failed to match the Lion King's $1 billion take, executives were forced to rethink their whole animation game plan. Now animators are making close to union scale, when work isn't being sent overseas, or are assigned freelance work instead of contracts."
A news item from AWN's Animation Flash reported Disney has halted production of a sequel to Peter Pan. It resulted in layoffs at their studio in Vancouver.
Closer to home a studio with a contract with Universal made news when they halted production on a major feature. Universal was rethinking the script and making needed changes so some people had to collect unempoyment checks.
Stories like these can be alarming, especially to someone contemplating a career in animation. Fortunately, most production companies are doing well..
I suspect the recruiters at our November event will be optimistic about the future of their companies. Wild Brain has grown this year and recently began work on a TV series they developed. Mondo Media now has over 50 people on there staff and has just announced 2 major syndication contracts for their Mondo Mini Shows. Variety recently listed 9 features ILM is or will be working on. PDI has 2 animated features in production for DreamWorks. They also produce state-of-the-art commercials and recently expanded their commercial division to include live action production.
The annual report from Pixar suggests that studio will add about 50 new job in the coming fiscal year. Pixar just announced a great quarterly report - much better than predicted.
In San Francisco new animation jobs are expected with companies working with the Internet. There is also a lot of work being done locally with Internet research and development.
Television provides another avenue for employment. The number of animated shows on the tube is at an all time high. While the animation is generally done overseas, the writing, design work, layouts, etc. is done in this country. Will Vinton Studios in Portland recently expanded from one large building into 3 other warehouses. TV does provide a lot of jobs to people in the animation industry.
Other areas that use animation are also expanding. The number of companies doing motion capture work is increasing. The number of companies doing computer generated work and video post production compositing and effects continues to grow.
Considering that animation in Hollywood used to be considered a seasonal business, the industry has come a long way. People have to be realistic and accept the fact that animation does not offer as much security as some lines of work. While there are setbacks, including some that are devastating (like what happened to Colossal), the overall picture looks good. KC
by Karl Cohen
(caution, this article contains an X rated word)
I searched the Web recently for information about what was actually cut from the South Park feature to make it a R rated film instead of one with a NC-17 rating. A large percentage of the film's intended audience would have been excluded from seeing it if it was rated NC-17. (Do theaters really checked ids?)
Trey Parker, one of the creators of the show, gave a lot of interviews when the feature was released. Although most of the interviews included discussion about the film's censorship problems, Parker avoided explaining what was actually cut.
He spoke about how absurd the rules of censorship are (how true) and how the MPAA would cut something and then accept a change that was supposedly 10 times worse. In one interview he suggested the changes he made were not only worse, but also longer. In another he said the changes he made were 100 times worse.
After searching about 140 South Park sites for information about what was cut, I found only a few facts. The original title had to be changed from "South Park: All Hell Breaks Loose" to "South Park: Bigger, Longer & Uncut." The MPAA, the industry's rating board, says you can not use "hell" in a title. Was the change 10 times as naughty?
Parker claimed a scene with the kids surfing the Internet for porn was cut so he made the replacement scene longer and worse. What the new scene is was not said, but the film does have a very funny line left in it about a kid surfing the Web for smut.
Entertainment Weekly said they saw 11 pages of memos from the MPAA regarding changes. They also said the MPAA gave the film a NC-17 rating after viewing it 5 times. It wasn't clear, but it appears Entertainment Weekly was shown the memos from all 5 failed tries to get a R. That means each memo averaged 2 pages in length.
The Weekly only discussed in detail one change in the July 2 article. They said, "God's fucking me up the ass" is NC-17, but "God's the greatest bitch of them all" is R rated. Parker pointed out that saying the word "fisting" is R, but defining it is NC-17. I'm not sure the replacement phrase is implying the meaning Parker gives it and I find it far less offensive. It certainly is not "10 times worse."
Parker told the press that two minutes of the film had to be cut. My search to find out what those cuts were only uncovered the above facts. That suggests to me that the other changes may have been so minor that it was better for Parker to talk about censorship in general than to actually provide the press with details. Of course one can speculate that the media is afraid to tell the public what the forbidden content was, even on the Internet, but I don't believe that is true. I think Parker made a mountain out of a molehill to get people to buy tickets.
A strange irony of the current censorship rules was pointed out by Parker in one interview. He said the rules are different at Comedy Central so some of the cut material from the feature may get used in the TV show.
SEE LAST MONTHS NEWSLETTER FOR INFORMATION ABOUT ZAGREB, BRAINWASH, NASHVILLE, AND SAN FRANCISCO'S GOLDEN GATE AWARDS
TRICKFILM - 10TH INTERNATIONAL FESTIVAL OF ANIMATED FILM STUTTGART will be March 16-21. Entry deadline is Dec. 1. A major competition with cash prizes. Karl Cohen can send you an entry form (415) 386-1004 or write Teckstrasse 56, Kulturpark Berg, D-70190 Stuttgart, Germany. (I also have entry forms for Hiroshima, another major festival in 2000.)
BLACK MARIA FILM & VIDEO FESTIVAL. NOV. 17 DEADLINE $35 entry fee, cash prizes, tour of winners. Linda Simensky (president of ASIFA-East, is on the prescreening committee. Karl Cohen has a couple of entry form (415) 386-1004 for a copy.
SAN FRANCISCO ART INSTITUTE 8 MILLIMETER FILM FESTIVAL $5 entry fee, Dec. 1 deadline. No video or Supper 8 film. (415) 771-7020 extension 4410
ANN ARBOR FILM FESTIVAL deadline is Feb. 1. $32 entry fee. 16mm only. Has $16,000 in cash prizes and a tour. Likes to show animation. PO Box 8232, Ann Arbor, Michigan 48107.
| This issue was written by Karl Cohen. Newsletter production by Shirley Smith and Ron Seawright. Copies free with membership in ASIFA-SF. Membership is $18 a year for local, $40 international and local. |
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