(From left to right) Marcy Page, Bonnie Thompson, Marc Bertrand, Patrick Doyon, Brandon Oldenburg and Lampton Enochs.

Dolby Digital in San Francisco and Karl Cohen hosted the last Bay Area Oscar Tour screening for ASIFA San Francisco members.  The filmmakers greeted ASIFA members in the lobby and talk about their films before the screening began. Marcy Page, producer of Wild Life, joined us for the evening. It was a wonderful event and a great end to the trip.

Ron and I snapped quite a few pictures during the San Fran leg of the tour. Here’s a gallery of some of the pics that Ron took. Keep checking back for more exclusive photos from the Oscar Tour.

With the screenings so tightly packed, once My Love ended at Skywalker Ranch and the final film Peter and the Wolf began, a sedan raced off with our bags and the prints for the first four films to deliver them in time for the PDI/DreamWorks screening later in the day.

With the screenings so tightly packed, once My Love ended at Skywalker Ranch and the final film Peter and the Wolf began, a sedan raced off with our bags and the prints for the first four films to deliver them in time for the PDI/DreamWorks screening later in the day. After wrapping up the Q&A at Skywalker, the tour crew hopped into the van and headed to EA, where a screening in digital projection had already began. I Met the Walrus‘ Josh had planned to head to New York the next day for the Academy screening there, but the pace of the tour made him reconsider the extra flight, especially upon learning that he was the only one going, considering instead to stay behind and take a relaxing ride down the coast to L.A.

(From left to right) Carol Frank, Ron Diamond, William Joyce, Brandon Oldenburg, Patrick Doyon, Bonnie Thompson and Marc Bertrand in front of San Francisco's Mark Hopkins hotel.

By Lauren Brown

The Bay Area Oscar nominated short film tour began this morning in the south bay. For those of you who have not been able to attend a screening event, it is a special opportunity to see the nominated films on a large screen. It is also an opportunity to spend time with the creative talent behind the films. The filmmakers visit a group of Bay Area animation studios and they are able to connect with people that share their love for animation.  This year's Northern California stops include Pixar, PDI/Dreamworks, Lucas Animation, The Walt Disney Family Museum and an evening with ASIFA San Francisco.

This year we have on tour with us, Patrick Doyon and Marc Bertrand, the director and producer of Sunday/Dimanche; directors William Joyce, Brandon Oldenburg and producer Lampton Enochs of The Fantastic Flying Books of Mr. Morris Lessmore; and Bonnie Thompson, the producer of Wild Life, a film by Wendy Tilby and Amanda Forbis. They have traveled from as far as Shreveport, Louisiana, Montreal and Ontario Canada.

Here is the last photo gallery from the San Francisco leg of the Oscar Showcase tour. We closed out the event at PDI/DreamWorks, where the Q&A audience asked some new questions and the nominees had a chance to chat with the studio’s artists.

With the screenings so tightly packed, once My Love ended at Skywalker Ranch and the final film Peter and the Wolf began, a sedan raced off with our bags and the prints for the first four films to deliver them in time for the PDI/DreamWorks screening later in the day.

With the screenings so tightly packed, once My Love ended at Skywalker Ranch and the final film Peter and the Wolf began, a sedan raced off with our bags and the prints for the first four films to deliver them in time for the PDI/DreamWorks screening later in the day. After wrapping up the Q&A at Skywalker, the tour crew hopped into the van and headed to EA, where a screening in digital projection had already began. I Met the Walrus‘ Josh had planned to head to New York the next day for the Academy screening there, but the pace of the tour made him reconsider the extra flight, especially upon learning that he was the only one going, considering instead to stay behind and take a relaxing ride down the coast to L.A.

Congratulations to Oscar winners Suzie Templeton and Hugh Welchman, as well as Peter and the Wolf producer Alan Dewhurst. I’d also like to congratulate all the nominees and I’d like to thank Ron Diamond for the chance to follow all these wonderful filmmakers around on their journey to the big night.

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?

I Met the Walrus director Josh Raskin and Jerry Levitan have written in to answer The Six Questions. If you don’t already know about their film, it’s based on audiotapes that Jerry made as a teen when he snuck into John Lennon’s hotel room and asked for an interview. Josh then transformed the sound recordings into a whirlwind of images that depict and comment on what is being said. The funny and poignant film says just as much about Jerry as it does about the rock ‘n roll icon Lennon.

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.