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.

Suzie Templeton, director of Peter and the Wolf, has taken some time to answer The Six Questions. Like many of the other nominees, she is passionate about filmmaking, not about receiving awards. However, she hopes the Oscar experience gives her a chance to expand the scope of her work.

Sign in foyer outside the screening room announcing the Oscar-nominated animated shorts program. All images courtesy of Dan Sarto.

By Dan Sarto

With a full afternoon planned at Disney Feature Animation, the group wasted no time getting started.  Our host, Stephanie Morse, toured us through the maze of halls, with stops every now and again to check out walls adorned with artwork from Frozen, their upcoming feature set for release this coming November 27^th.  Soon, however, it was back to the screening room for audience Q&A. 

Once again, our filmmakers displayed great patience as they answered mostly the same set of questions they’ve been answering at numerous screenings, interviews and meetings ever since they were nominated.  I enjoy these Q&A sessions because though the questions may be the same, each time a filmmaker speaks, they add something new, share greater details or a new story you haven’t heard before.  You never know what tasty tidbits they may share in a moment of fatigue.

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.

SF’s Dolby Laboratories in Potrero Hill hosts tonights screening of the Oscar-nominated shorts for SF’s ASIFA chapter.  As if I’d had any doubts that I was among serious animation fans,  chapter president Karl Cohen’s next announcement, that the Balboa Theater will be screening some Gumby shorts in honor of the recently-deceased Art Clokey earns an audible gasp from the audience.  This group loves animation, and lives animation.

Directors Chris Lavis and Maciek Szczerbowski talks about the inspiration for the train in their film Madame Tutli-Putli at the PDI/DreamWorks Q&A.

At 20th Century Fox, I Met the Walrus producer Jerry Levitan talks about interviewing John Lennon when he was 14 years old.

Hugh Welchman

Hugh Welchman, who is nominated for producing Peter and the Wolf, has answered the Six Questions. From concept to today, he has been involved with this film for seven years! It’s a major part of his life and he’s happy that the Oscar nod will allow more people to see the labor of love. Here’s what he had to say:

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.

After the ILM Q&A, the studio hosted a dinner for the nominees, where we sat with animation supervisor Hal Hickel, who is nominated for Pirates of the Caribbean: At World’s End. Chris was impressed with the seamless work that Hal was involved with on Iron Man combining practical effects with CG. As for CG, Maciek feels he couldn’t work in CG, because he needs more hands on, tactile interaction with his art. He likes work environments were artists are talking and working out issues, not hidden behind iPods for five hours of straight work. In turn, Sam feels freed by the ability to create elaborate worlds with more control inside the computer. It just goes to show how the artistic experience differs from one person to the next.