At the Valentine’s Day dinner, I Met the Walrus illustrator James Braithwaite starts a conversation on Guy Madden’s short film Sissy Boy Slap Party.

At the Pixar Q&A, director Maciek Szczerbowski answers the most asked question about his film Madame Tutli-Putli - how did you do the eyes?

At the Pixar Q&A, directors Maciek Szczerbowski and Chris Lavis talk about the journey of the title character in their film Madame Tutli-Putli.

At the ILM dinner, animation supervisor Hal Hickel, who was nominated for Pirates of the Caribbean: At World’s End, talks with Madame Tutli-Putli director Chris Lavis about motion-capture and the importance of eyes in animation.

At the ILM Q&A, Madame Tutli-Putli director Maciek Szczerbowski and Peter and the Wolf director Suzie Templeton talk about the scale of their film’s puppets.

With a late 5 o’clock screening at ICM, many of the nominees couldn’t make it to the Q&A. Peter and the Wolf producer Hugh Welchman, Madame Tutli-Putli producer Marcy Page and her exec producer David Verrall were able to meet the agents. I Met the Walrus director Josh Raskin and his producer Jerry Levitan arrived right after the agents left because they went to the old ICM address by mistake.

For half of the Oscar Showcase tour crew, Friday morning was a chance for some free time to roam around Los Angeles. For the Canadian contingent, it was a time for celebration with their fellow Canadians at the Canadian consulate. The annual event celebrates the accomplishments of Oscar nominated Canadians and Canadian productions. Madame Tutli-Putli directors Chris Lavis and Maciek Szczerbowski, I Met the Walrus director Josh Raskin, producer Jerry Levitan and illustrator James Braithwaite were all treated like royalty with many Canadian media outlets clamoring to get interviews with the filmmakers. The event also gave the nominees a chance to mingle with some stars. Julie Christie, Oscar nominee for the Canadian production Away from Her, was gracious enough to pose for pictures with whoever asked. Chris introduced himself to Oscar-winning director Norman Jewison, who warmly congratulated him on his nomination. Other celebs on hand included Juno director Jason Reitman, producer Ivan Reitman and director Arthur Hiller.

Here are some more pics from the first stop on the L.A. leg of the Oscar Showcase tour - Sony Pictures Animation.

After a late screening in the Aidikoff Screening Room for the William Morris agents, the filmmakers had a chance to meet with a few of the agents. Like many people have said along the tour, the agents felt that this year is one of the strongest years for animated shorts in quite some time. Peter and the Wolf asked how an animation director or producer finds representation. Ken Freimann said that it depends on what the filmmaker wants. Based on their nominated work, he said it would be tough because it’s hard for them to sell less than mainstream projects to the studios. He added that their films prove what they can do, so coming to agents with projects worked out would be a great help in determining what an agent can do for an animator. Agent Danny Gabai, who represents many independent writer/directors, said that if you want to move into the mainstream then they could help, or they could help connect their projects with artists who could help getting the project made. Ken’s example was that if Tim Burton gets involved with a project, the studios would be more interested. For producers, Ken said that they would represent them on a project-to-project basis.

With the Oscar Showcase beginning to slow down, Thursday marked our chance to see DreamWorks L.A. While the screening was taking place, John Tarnoff, the head of the DreamWorks’ “incubator” department, showed us around the facility. After seeing production art from Bee Movie, Kung-Fu Panda and Madagascar 2, we got to see some production art and CG characters from DreamWorks’ 2009 releases Monsters vs. Aliens and How to Train Your Dragon. Being that Monsters vs. Aliens is the studio’s first stereoscopic production and the release date was moved up to March, the production is in furious mode. In regards to the challenges of working in 3-D, John said that DreamWorks looks at stereoscopic as they do stereo sound – a subtle enrichment of the movie going experience. Though the release will not be in 3-D, a test was done using the opening action sequence from Kung-Fu Panda to discover the limits to which they could push the technology. David Verrall, the exec producer of Madame Tutli-Putli, who has a hand in every English language film produced at the NFB, said they have artists working on eight foot screens for stereoscopic productions so they can get a better idea of how the mind processes the images as they are working on them.