William Morris agents Ken Freimann (l to r), Danny Gabai and Aaron Hart chat with the nominees. © 2008 AWN Inc.

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.

The Oscar Tour group at Skywalker Ranch. (l to r) Ron Diamond, Joe Kennedy, John Canemaker, Sharon Colman, Shane Acker and Anthony and Julia Lucas. © AWN Inc.

Okay, okay, I’ll get off my obsession with Skywalker Ranch. However, I did want to share some pics from the San Fran leg of last year’s Oscar Tour. Ron Diamond provided the images and they represent a great visual chronicle of the fun events the nominees get to experience. See whom they chatted with at lunch or who just happened to be at the Ranch when they arrived.

Bill Kroyer poses for a pic with Little Matchgirl's Don Hahn and Roger Allers at Sony. © AWN Inc.

Ron Diamond has created as new Oscar tradition: his yearly tour of the major West coast animation studios by the nominees for Best Animated Short Film. In a few short years this has become such an established event that all of the nominated films are represented by their respective directors, producers or both. At studios, which include ILM, Pixar, PDI, DreamWorks. and Sony, all five of the nominated films are screened for crowds of enthusiastic employees. The nominees have a chance to meet their professional counterparts and see their facilities.

The group poses for a pic at Skywalker Sound. © 2008 AWN Inc.

At the beginning of our long ride to Skywalker Ranch, Marcy learned that the Oscar nominated shorts were written up in an extensive article in The New York Times. The piece was in conjunction with Magnolia’s theatrical release of the Oscar shorts in theaters. Josh said that Magnolia have been awesome, stating that they were willing to take the legal liability if rights issues were not worked out with the Lennon estate. In the future, Josh and James hope to turn their film into a book that goes into more detail about how Jerry Levitan made the Lennon recordings. Their idea is to make intricate handmade books that feature a DVD of the film. Hugh shared the advertising he had printed for the feature film he produced called Free Jimmy, which has been making the festival circuit and chronicles the adventures of a circus elephant that has heroin sown into its stomach. With Skywalker Ranch on everyone’s mind, the conversation turned to the animated Star Wars: Clone Wars, which it was just announced will be coming to theaters as a feature first before arriving on Cartoon Network in the fall. Chris coined the phrase inter-quel to describe it. Along the way, Hugh had us introduce ourselves for a video diary he is doing for Channel 5 in the U.K., which airs on Friday. So if you’re in England, set your TiVos, we want copies.

 

 

Written by Dan Sarto

Every year for many years now, on the Saturday before the Oscars, DreamWorks Animation hosts a fantastic brunch at the famous Campanile.  A lively mix of executives and creative riff-raff, the crowd feasted on delectable comfort food, boozing it up while speculating who the winners and losers would be the following evening.  Many noteables were in attendance. Check out some of the festivities.

Oscar-winner Hugh Welchman, producer of Peter and the Wolf, chats with DreamWorks exec John Tarnoff after lunch. © 2008 AWN Inc.

On Thursday, Feb. 24th, the Oscar Showcase tour pulled into DreamWorks. View the fun we had there.

The third day of the LA Oscar tour actually began with a morning stop at CAA in Century City before a small gathering of agents and producers in their lavish screening room. However, the most memorable part was discussing animation over coffee with the directors. Bastien Dubois (Madagascar, carnet de voyage) divulged that he rotoscoped himself for the various characters, and how he came upon the idea of shooting stop-motion for the cars section after discovering a group of small kids playing with toy cars. He then hit the toy store and set up a course for them to play in while he shot two cars per kid. Meanwhile, when I asked Jakob Schuh (The Gruffalo) what he's learned from his studio visits, he divulged that the 3-D demo at DreamWorks made him rethink the whole concept of stereoscopic moviemaking. If they could make a photograph dramatically pop out, then there are some definite possibilities worth exploring, he suggested.

AWN would like to congratulate all the animation and visual effects Oscar nominees. This is the place for exclusive coverage of AWN Oscar Tour, where the nominees for Best Animated Short tour studios in Los Angeles and the Bay area. Hear from the filmmakers about their Oscar-nominated work right here. For now find out the facts about all the animated nominees at the AWN Oscar Showcase.

 

By Zoe Chevat

Thursday morning found our traveling band of Oscar short animation nominees and AWN staff trekking eastward for a morning at the Animation Resource Library (ARL). The definitive, company-owned archive for all Disney production materials, ARL is something of an in-house secret, appropriately hidden from prying eyes in a low-slung concrete building surrounded by warehouses.

Inside is a different story. The unassuming exterior plays host to over 60 million pieces of original production artwork, from clean-up drawings to rare painted-glass backgrounds used on the (now-defunct) massive multi-plane setup. The collection covers everything surviving from Disney's early days, up through present shows, with sketches from the "Alice" shorts of the 1920s holding the title of oldest artifact.

Tour host Ron Diamond (l) and Madame Tutli-Putli director Maciek Szczerbowski (r) run into John Lasseter on the Disney lot. © 2008 AWN Inc.

On Feb. 20th, the day belonged to Disney on the Oscar Showcase tour. Here is the photographic evidence.