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OUR APRIL EVENT WILL FEATURE SOME OF THE HOTTEST TALENT ON THE INTERNET Wild Brain will be represented by Dave Fremont, the creator and designer of the series glue. Joining him will be digital artist Dill Hunt. The series runs on www.wildbrain.com
Mondo Media does The God and Devil Show for Time Warner's Entertaindom.com and several Mini Shows (including thugs on film and like, news) for Snap.com and 12 other affiliates. They will be represented by Goose, the manager of their art department, and a staff animator. Both graduated from S.F. State in animation
Mark Badger is a partner in Lemon Custard Comics. He will talk about their solutions for doing Internet productions using Flash. Their work appears in book published by Dark Horse Comics of Portland. Badger does the series "Haunted Man." His work has also been published by DC and Marvel Comics.
Spunky Productions runs SpunkyTown.com, a site aimed at kids 12 and under, and Scary.com for kids 13 and up. The 2 sites offer over 30 animated cartoons, greeting cards and sing-a-longs. One of the company's top executives will talk about their products.
OUR ASIFA-SF.ORG SITE IS OFFICIALLY OPEN MEMBERS CAN GET A FREE LINK TO THEIR OWN SITE Most of the bugs have been removed so almost everything runs smoothly. Members! Get more visibility for you web site. Get a free link by following the instructions posted on our site (it may take a few weeks to add you). We want our site to be a valuable benefit of being a member.
The site was developed by Becky Wells, John Grimes and Mark Fiore. Fiore, an editorial cartoonist whose work often appears in the Sunday Examiner, provided a lot of technical help. Wells, who is an art director for The Nature Conservancy, did the site's design and layout. Grimes, a widely published cartoonist, did a remarkable job gathering all the information provided by the site.
SPIKE AND MIKE'S NEW SHOW INCLUDES SEVERAL EXCEPTIONAL WORKS Their latest animation celebration premiers at the Castro Theatre April 7-19. It plays the Palace of Fine Arts April 21-30, the UC Theatre in Berkeley May 5-14, the Rafael Film Center in San Rafael May 12-June 1 and the Towne Theatre in San Jose May 19-June 15.
The program includes three Oscar nominees and several films that have distinguished themselves at international festivals. The selection runs the gamut from black and white cel animation to a variety of unusual 2D and 3D techniques.
The three Oscar nominees illustrate how varied the program is. When the Day Breaks by Wendy Tilby and Amanda Forbis from Canada captures a fleeting moment in time in a world where different kinds of animals act and dress like people. Hum Drum by Peter Peake of Aardman in England is a humorous conversation between two shadows. Three Misses by Paul Driessen from Holland is a delightful cel animated film with a non-traditional story structure and a few visual surprises. Each film is unique. They offer three wonderful experiences for an audience wanting something more sophisticated than the animation normally seen on TV.
Being a fan of early 30s Fleischer animation, I fell in love with the Ghost of Stephen Foster by Raymond Persi and Matthew Nastuk. The artists capture the spirit of Max's early sound cartoons and take us on a wild surreal ride. The music is by a contemporary band, the Squirrel Nut Zippers. The cartoon is so well done that some people might mistake it for a recently rediscovered 30s classic.
The Village of Idiots by Eugene Fedorenko and Rose Newlove of Canada is a charming tale from 18th or 19th century Europe. This funny bit of old world Jewish humor was made using a multiplane animation system, 3D models, 2D cutouts, real objects and other materials and techniques. Anyone interested in the technical side of animation will be amazed at the flawless way the artist has handled his materials. Fedorenko won an Oscar nomination for Everychild in 1979 (it is a totally different kind of animated film).
While the program includes other works that fascinate and entertain there are some films among of the 14 that are dull and boring. Unlike past shows there are no excruciatingly bad works. OK, so I wish they had left out most of the short segments about an angry brat getting mad (one temper tantrum was more that I wished to experience).
If you love well made animation intended for an adult audience, Spike and Mike's new program offers a rare chance to see some of the finest works being created today. It is a quality program with lots of humor. I was impressed by the artistic merits of most of the works and fascinated by the use of innovative techniques in several films. Several are so good that you may want to see them more than once.
OUR SHOW WITH ALEXANDER PETROV, NOMINATED FOR AN OSCAR FOR "OLD MAN AND THE SEA," WAS AN EXCEPTIONAL EVENING Because Petrov's new film was for the giant screens of IMAX theaters it had to be precisely made or the images would jiggle and the details wouldn't look right. Instead of painting on 12 field panels of glass as he did in his earlier works, the new film was painted on 400 lb. glass sheets and the images ranged in size from 24 to 36 field. The results are sharp, detailed, smooth flowing images. Combine his exceptional images with the brilliant colors of the Caribbean, Hemingway's dramatic story and Normand Roger's music and you have one of the greatest animated films of all times.
The film took about two years to make. Equipment had to be built as there is no such thing as an IMAX camera stand. (And Petrov needed to shoot paintings on up to four layers of glass.) He had one assistant who helped him paint and shoot the film.
Petrov is a master at painting with light and shadow. His characters' faces are full of life and energy. His forms move effortlessly despite his working in a difficult medium (wet oil paint on glass). He is also a master of painting water - something Disney's artists spent years working at. His water is just as believable and fluid.
When asked about his favorite artists, the ones that influence his style and techniques, he began his list with his Yuri Norstein. He studied with Norstein when he began to put aside a successful career as a commercial artist. He mentioned two or three other Russians and then acknowledged Frederic Back. It turns out that when Petrov works in Montreal he sees Back occasionally (Back is working on another animated film!). I suspect Back may have influence his decision to tackle a monumental story. Petrov also mentioned Rembrandt influencing him, especially in his use of light.
After the screening the audience of about 100 people gave Petrov a long standing ovation. Marty McNamara commented that in his more than 20 years with ASIFA, this was probably the first spontaneous standing ovation.
Hopefully we will get to see the film in 70mm (it plays with documentary about Hemingway) after Fantasia 2000 leaves local IMAX theaters at the end of April.
PAUL NAAS WRITES ABOUT MONKEY BUSINESS He says, "You're absolutely right; the piece was all hand keyframed, with no motion capture. I do have a slight correction for you. Monkey Business was a CDS West production. I was the animation director and Kim Tempest was the producer, but it was not a personal project of mine. Again, thanks for the great review. We're pretty proud of this piece, especially since all the character animation was done in about a week a half by two animators.
COMPUTER ARTS INSTITUTE HAS JUST PUBLISHED A WELL ILLUSTRATED CATALOG OF CLASSES The computer school is located near the new ballpark at 310 Townsend Suite 230, San Francisco 94107. For a copy call (415) 546-5242.
JENNIFER HANSEN TO EXHIBIT BACKGOUND PAINTINGS AND INSPIRATIONAL ART FOR AN ANIMATED FILM TITLED "IN THE CLOUDS" The show features oils and pastels by Hansen, a graduate student at the Academy of Art. The show is April 10-21 in the school gallery, 688 Sutter St.. The reception is on Thurs. April 13 from 5:30-7:30 pm.
Other news from the school includes Kelly Day has been appointed head of their character animation program. Noted animation teacher Dave Masters will visit the school April 10.
BROADBAND MEDIA CONFERENCE, MAY 16-17 IN SF at the Argent Hotel. Register before 4/14 for $895. (800) 482-8144.
OUR UPCOMING ASIFA-SF EVENTS INCLUDE THE TOOLS AND TECHNIQUES OF STOP-MOTION ANIMATION AND WINNERS OF THE 2000 ASIFA-EAST ANNUAL ANIMATION FESTIVAL The Tuesday, May 16 stop-motion event will be with Pete Kozachik (the Oscar nominated Director of Photography on Nightmare Before Christmas) and stop-motion animator Anthony Scott. Both are presently working with Henry Selick on Monkey Bone. They will share their knowledge of the craft. At the Exploratorium.
Our June event will be the annual program of festival winners.
LUCILLE BLISS, SAN FRANCISCO'S WORLD FAMOUS VOICE ACTRESS, WAS GIVEN THE ROYAL TREATMENT AT DISNEYLAND She did the voice of one of the evil sisters in Cinderella, so they rolled out the red carpet for her at a recent Disney collectors' celebration. They sent a limo to bring her to a formal ball, trade show and other events. She signed lots of autographs.
ATTIK DID 3 ADS FOR SYBASE, A PROMOTIONAL CAMPAIGN FOR THE FX CHANNEL AND ANNOUNCES NEW STAFF MEMBERS For the Emeryville, CA Sybase firm the local Attik office produced 3 TV ads that combine live action with 3D animation. Voice recognition technology was used to synch visuals with the soundtrack.
For the FX Channel their San Francisco office had animator Jon Thompson and senior designer Garry Jacques devise ways to turn the network's 2D logo into 3D glass and metalic letters. Working with directors Simon Dixon and Monica Perez they added live action elements. Other people working on the project included animator Kent Oberhue and designers See Hor and Stan Zienka.
Lisa Cleff has joined the local office of this international firm. She is their new director of business development. She had previously run her own firm LClefFilm in San Francisco. One of her past clients was Red Sky Film.
HYDROTHUNDER FROM BLUE SHIFT HAS JUST BEEN RELEASED The Palo Alto company, formed a few years ago by a group that includes animator Will Noble, just converted this popular arcade game so it can be played at home on Sony Playstations.
FAITH HUBLEY WILL BE AN HONORED GUEST OF THE SF INTERNATIONAL FILM FESTIVAL The festival (April 20-May 4) will honor Faith Hubley with a series of screenings of her work and present her with a lifetime achievement award.
Saturday, April 22, 11:30 a.m. Kabuki, a program titled "Bangs, Dance and An * " It features The Big Bang and Other Creations Myths, Tall Time Tales, The Hole (Oscar 1962), Cockaboody, People, People, People, Who Am I, Urbanissimo and An Adventure of *
Sunday, April 23, 5 p.m. at the Pacific Film Archive in Berkeley, a program of her greatest hits. Seers and Clowns, The Hat, Witch Madness, Windy Day (Oscar nomination 1968), Step by Step, Moonbird (Oscar 1959), Africa, Tender Game, and a film about her, A Grandmother's Gift by her daughter Emile.
Thursday, April 27, 7 p.m., Kabuki, repeat of the April 23 program.
Tuesday, April 25, 7 p.m., Kabuki, they will present her their Persistence of Vision award and screen My Universe Inside Out (an autobiography) and The Cosmic Eye.
There will be a reception for Hubley after the April 25 program. ASIFA members are invited to attend and talk informally with her.
Hubley's Harlem Wednesday with music by Benny Carter, will be shown before the documentary Jazzman from the Gulag, Sunday, April 23 at 3:45 (Kabuki) and on Monday, April 24, 4 p. m. (Kabuki)
VICTORIA LIVINGSTON'S 'WINDOWS' AMONG THE ANIMATED SHORTS TO BE SHOWN AT THE SF FILM FESTIVAL Windows will be shown Saturday, April 22 at 2:30 p.m. before the feature After The Fall. The 2 films will be shown again on Sunday, April 30 at 12:15. Both shows at the Kabuki.
The program "Shorts in a Feature Length World" will include When The Day Breaks by Wendy Tilby and Mr. Smile by Fran Krause. Sat. April 22, 4:30 Kabuki and Sun. April 30, 9:30 p.m. Kabuki.
My Grandmother Ironed the King's Shirts by Torell Kove and produced by Marcy Page will be shown before a kids' feature, The New Nanny, Sat. April 29 at 11:30 a.m.
The Flox, The Box and The Lox by Oscar Moore is before another kids' feature Sat. April 22, 1:30 p.m. (Kabuki).
Friday, April 7, 7:30 and 9 pm, MY GRAND-MOTHER, Russia, 1929, with a new score by Beth Custer. It will be performed live. This feature length silent comedy includes "wildly angled compositions, snippets of puppetry and animation, and eccentric comic performances..." At the new Pacific Film Archive Theater, 2575 Bancroft Way at Bowditch on the southern edge of the UC Berkeley campus.
Saturday, April 8, 6:30 - 9 p.m., BROTHER ZENO: BOUNDLESS LOVE, a preview celebration of an animated documentary honoring the life of a Polish Catholic priest who spent his adult life in Japan helping A-bomb victims, disabled children, flood victims, etc. Event includes folk music, Polish folk dancers, & more. At We The People Auditorium, 200 Harrison at 2nd in Oakland. $10. (510) 836-3273
BLIZZARD ENTERTAINMENT WILL SHOW "DIABLO II: THE CALLING," A FILM BASED ON THEIR HIT GAME, APRIL 6 The director and senior animators will be present to discuss the film. At Pier 39's Cinemax Theater. One show, seating is limited, call (800) 869-3504 or visit www.discreet.com/seminars
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"X: THE FEATURE" OPENS APRIL 21 It is a Japanese animated feature based on a popular comic book. A magazine article about the film said it had a big production budget and tried to introduce more artistic elements to the picture and soundtrack. The plot pits two clans against each other. One wants to destroy the human race so plants can flourish. The feature was made in 1996 by the company Madhouse and it is being distributed in the US by Manga. It opens at the Lumier, UC Theatre, Rafael Center and Towne in San Jose April 21.
CARTOON NETWORK IS RUNNING A NEW DOCUMENTARY ON "LOST WARNER BROS. CARTOONS" It includes the Road Runner pilot, a Chuck Jones animated documentary (So Much For So Little, Oscar, 1949) that has been unseen for 50 years, government films and much more. Jerry Beck did the research for this show.
Beck is also doing programs of rare toons for ASIFA-Hollywood. He ran the "Censored 11" (not shown on TV) in March. On April 26 they will show "The Most Violent Cartoons Ever
Made." May 24 is "Jim Tyer, Cult Animator." June 28 is "Really Obscure TV Cartoons." July 26 is "Mondo Cartoons: The Strangest Cartoons Ever Made." At 7 pm, 721 S.Victory, Burbank Visit him at cartoonresearch.com
DURWARD KIRBY DIES, A MAN THAT HAD NOTHING TO DO WITH ANIMATION, BUT HE ONCE THREATENED TO SUE JAY WARD (PRODUCER OF ROCKY AND BULLWINKLE) The show once made a reference to the Kerward Derby and the play on words irritated Durward enough that he threatened to sue the company. Ward supposedly invited Durward to go ahead and sue, saying the publicity would be good for the studio.
DOUGLAS LEIGH DIED LAST DECEMBER He was probably in his 90s (he changed his age many decades ago so people would think he was a hot young talent). He was a pioneer of giant outdoor signs including most of the big moving ones over Times Square (1930s-60s). One showed animated movies on a field of light bulbs. They went on and off to form images. His chief animator for almost 20 years was Otto Messmer, best known as the creator of Felix the Cat. He also had Messmer do several ads/weather reports for Botany Ties in 1941. They were TV's first animated commercials and they were shown on NBC in NY until 1949. (The station went commercial in 1941). Later in his life Leigh designed outdoor lighting including the lighting design for the Empire State Building and light plans for several cities.
AT LEAST NINE TV STATIONS REFUSED TO AIR "GOD, THE DEVIL AND BOB" WHEN IT PREMIERED IN MARCH due to their concerns about the subject matter (NBC has 215 affiliates). The animated TV show went unaired in Shreveport, La, South Bend, Ind. and in parts of Idaho, Utah and Mississippi.
NOW OUT ON DVD 70 Years of Popeye from Fox Lorber.
HOLLYWOOD CARTOONS: AMERICAN ANIMATION IN ITS GOLDEN AGE by Michael Barrier, Oxford University Press, New York, 1999, $39.95, 650 pages. This book should be required reading for anybody that has a real interest in the history of the American animated cartoon. One should first have a solid overview of the subject (i.e: read Maltin's Of Mice and Magic) and it is helpful if you have seen some of the classics cartoons before you dive into this exceptional work.
Barrier doesn't give you a well rounded history. Instead he has written a remarkably well researched, detailed account of the development of the films he considers the stepping stones and milestones of the industry. The book concentrates on the growth, flowering and decline of the Disney Studio. He also provides a rich and detailed account of the achievements of the people who created Warner Bros. and MGM releases. Another important, well researched chapter is an account of the influence of modern art on the animated cartoon in the 1940s and early 50s (at UPA, Warner Bros. etc.). He has less to say about other studios, but he still offers some new information about Iwerks and other companies..
This isn't a cute trivia book full of dubious facts. Barrier leaves out behind the scenes gossip and other material that distracts from his thesis. He concentrates on the basics of animation history. He covers important issues like what the artists were doing to improve the quality of their work and what happened when a war, television and other events influenced the development of animated cartoon.
Barrier wrote, edited and published Funnyworld, a fanzine in the late 60's and 70s. That was years ago when the people in the book had fairly accurate memories of how things happened. He was in a unique position to interview almost all of key players of the industry. It took him decades to edit and refine his thoughts. It is doubtful that another book of this depth on this period will ever be written.
Some reviewers have been disturbed by Barriers strong opinions. Anyone who knows enough about animation history and the films to have formed their own opinions should be smart enough to agree or disagree with Barrier without being upset. I find the "controversial" statements add to the book's richness as they challenge your beliefs and make you think about the material from what may be a different perspective.
The book doesn't contain any color reproductions and there are only 25 or 35 black and white illustrations in it. I have seen most of the films mentioned so I did not feel there was a need for more images when I read the book. I suspect most readers will miss not having illustrations that show the developments and changes mentioned in the text.
Hollywood Cartoons is a book that I thoroughly enjoyed. It is well written and much of the information in it was new to me. I expect to consult the book frequently in the future when I am looking for information (it is well indexed and has hundreds of footnotes). I recommend it to anyone who wants to improve their knowledge of the subject.
IS THE WORLD ANIMATION FESTIVAL OFF TO ANOTHER BAD START? I read that they replace their director in February. Why? The reports didn't say.
I was asked to be a preliminary screening judge in February. I was told that I would be sent about 10 hours of work each week in March to review. As of March 25 nothing has shown up.
ASIFA-SAN FRANCISCO
PO BOX 14516
SAN FRANCISCO, CA 94115
from Faith Hubley's Tall Time Tales
I appreciate being asked to judge as do two friends who were also asked. They too are waiting.
A friend with an Internet animation company said his boss called the festival for information. He apparently was told that some of the 18 entry categories were canceled and that work had to be submitted on disc. Producers of the contest do not have time to visit each web site. The boss wants to find festivals that will admire his web site. He decided not to enter this festival.
Once again I get lots of mail promoting different aspects of the World Animation Celebration. They are good at direct mail marketing, but do they know how to run a great festival with less than no time to spare? If you go, send your newsletter a short review. KC
OTTAWA 00 INTERNATIONAL ANIMATION FESTIVAL Entry deadline is July 1, event is Sept. 19-24. No entry fee, but you must pay all shipping fees. A reasonable number of categories and prizes. Well run. They give directors of work shown festival passes and free hotel rooms. ASIFA-International will hold their general meeting during the event. 120-2 Daly Ave. Ottawa, Ontario, Canada K1N 6E2
CHICAGO INTERNATIONAL CHILDREN'S FILM FESTIVAL deadline is May 31 for forms & preview tapes. Event is Oct. 12-22. $35 entry fee for shorts. Several categories for live and animated work. Facets Multi-Media, 1517 Fullerton Ave., Chicago, Ill. 60614 (773) 281-9075 www.cicff.org
MARIN COUNTY FILM FESTIVAL April 14 deadline, $25 entry fee, animation category offers cash prizes. July 1-4 event. (415) 499-6400 www.marinfair.org
EX-DISNEY INTERNET EXEC FINALLY DOES A PLEA BARGAN DEAL Patrick Naughton faces 12 to 18 months for "crossing a state line with the intent to have sex with a minor."
CANADIAN TV DECIDES NOT TO BAN BUGS BUNNY Reason magazine reports, "A viewer had complained the cartoons were sexist, objecting specifically to a short in which Bugs escapes from a witch by dousing her in magical powder. The witch is transformed into a beautiful female rabbit. As the two walk off, Bugs turns to the viewers and says, 'Sure, I know! But aren't they all witches is inside?'" (I publish dubious filler when we have a slow month for news items. So go make some good news and send us your press releases.)
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This issue was written by Karl Cohen. Newsletter production by Shirley Smith and Ron Seawright. Copies are free to members of ASIFA-SF. Membership is $18 a year for local, or $40 for local and international. |
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