I begin to suspect that this is like trying to write the perfect pre-nuptial, and wonder that perhaps it can’t be done!  I chew on this for a bit before I start to realize that the problem that is stymieing me, needs to be included in the definition.   After all, if art can’t be clearly defined wouldn’t that need to be part of its definition?  I also thought of what Elbert Hubard said, “Art is not a thing, it is a way.”

On the specific topic of film, there is the Francois Truffaut auteur theory, which suggests that in order for a film to be recognized as art, there must be one guiding hand on the entire project.  This is to say that the auteur must be all things to the film – He or she must write the screenplay, cast the actors, direct and edit the film in order for it to be considered a work of art.  Truffaut allows that others may set the lights, operate the cameras and fill other duties but all creative decisions must be solely and strictly that of the filmmaker. 

The question is how does this definitioin fit in animation where the vast majority of films are made with a team of artists and technicians working together, often independently?  

 

I have just read with interest and pleasure, an article on AWN written by Karl Cohen titled, “What is Great Animation?”  In the article Cohen discusses not only his views but has asked a number of luminaries to provide their personal thoughts on the topic.  Cohen is a teacher and historian with an impressive background.   I found all the various opinions and observations irreproachable and yet, illusive like all attempts to define something without first knowing exactly what it is your trying to define.

Yes I know - How phony is it to brag that you’ve never seen The Kardasians or Wife Swap or The Biggest Loser or the Bachelorette?  No one believes you of course.  I mean really, who can resist these little escapes into non-reality reality?  We all seem to be entranced by them, as there is a show for everyone; bikers, fashion designers, bounty hunters, regular hunters, treasure hunters, car lovers, dog lovers, beauty contest contenders, hoarders, miners, oil drillers, brides and just ordinary people like the rest of us.  

Last week I attended the Korea Media and Content Market sponsored by the Korean Trade-Investment Agency (Kotra).   The event was held at the Hollywood & Highland Center and was designed to introduce a number of Korean animation and media companies and their projects to interested investors and potential partners.

The conference opened with the attending companies holding brief meetings with interested attendees and then Mr. Won-Sok Yun, director General of Kotra LA welcomed everyone.  This was followed by an additional welcome from the Council General of the Republic of Korea, Mr. Yeon-Sung Shin.

Once the formalities and niceties were concluded, Jim Chabin, President of the International 3-D Society spoke about the exponential growth of that industry and how it effected the film and gaming media as well as television and mobile devices.

I thought his presentation offered a clear forecast of what we all needed to be aware of in the coming year or two.   Some of the more salient points he offered are as follows:

After looking at how Europe, Asia and the rest of the world offer subsidies to support their animation industries we turn our gaze on the good old USofA.  How do we stack up against our neighbors to the north or our cousins across the pond? Actually not very good.  Neartly all of our programs are though various states and their offerings are geared for live action - not animation.  Oh well, you could move to Australia or France, or....?

Can China, India, Singapore and other countries offering cheaper animation services lure U.S. producers away by offering subsidies, grants and equity investment in theatrical films and television series?  It seems that outsourcing, while resented by most Americans, has become more and more a way of doing business for large American corportations.  Where will this practice ultimately end?  I can't say for sure but I do know it will get worse before it can get better.  But there is hope.  If you want to read my opinion you'll have to wait until I wrap this up next week.

Everyone making a film now seems to be looking for ways to subsidize their production through government tax credits, grants or pure subsidies. Now, even if you are not a producer or investor, you might have wondered how all of these seemingly complex deals get put together where a company in Ireland does the post, a Canadian company does the pre-production and the animation goes to China. 

Some of you may have worked on a show where you only did the sheets or the storyboard and everything else was split up and done elsewhere.   What drives these deals and can cause a very awkward division of creative input and production services?  Why of course it’s money, and most often the access to soft money.

So what exactly is soft money?  Does it bend easier than hard money and by the way, what is hard money?  Does soft money fit better in your wallet or what?

Part 1 - How does this all work and who gets to participate?

You say Toe-maw-toe and I say Toe-may-toe.  Should you cast kids for kids roles or go with adult voice over actors that can be easier and faster to work with but may not be able to give you that pure kid essence in voice quality?

Talking with an old friend who has a passion for hand drawn animation made me wonder what the future holds for this old mainstay that brought us such wonderful moments over the years.  Is anyone learning to become a 2-D animator anymore?  It seems that every working in 2-D only wants to learn the basis that they can apply when they move under the big CGI tent..... Doesn't anyone still love this lovely artform for what ii is, not where it can take them?