A Monster in Paris. All film images © 2011 EuropaCorp, Bibo Films, France 3 Cinema, Walking the Dog.

It’s baa-ack! The days are getting longer and warmer, but the real sign of spring’s incipient arrival is of the return of the New York International Children’s Film Festival. A Monster in Paris was the opening night feature, which festival director Eric Beckman first saw at  last year’s Toronto International Film Festival. Seems there’s a monster loose in Belle Époque Paris (duh) – but is he really a monster? The 3D CGI film is a charming piece of work with stylish character design and a sharp eye for getting its period details just right. (And be careful with those 3D glasses; bust them and the festival’s out $25.) It’s well-worth seeing for the mid-film fantasy dance number alone.

Pictured: Fátima Ptacek voices Dora in DORA THE EXPLORER on NICKELODEON. Photo: Nickelodeon ©2012 Viacom, International, Inc. All Rights Reserved.

Why do I always start salivating when I’m invited to an event in the Viacom building? Oh yeah, it’s because they always put out the nicest spreads - and whatever they’re promoting is usually pretty interesting too.

Everyone Else Has Had More Sex Than Me (2005)

Well, I finally got to speak to Bernard Derriman.

Speak as in actually talk to him, as opposed to our Email ‘conversation’ back in 2005 when I wrote about animated music videos (http://tinyurl.com/75a9fuk) - and his now justly famous Everyone Else Has Had More Sex Than Me.

Our paths crossed again when I wrote about Fox’s new Sunday night cartoon Allen Gregory (http://tinyurl.com/6roxld5).

Derriman directed two out of the show’s seven initial episodes; if the series gets renewed (which all depends on how much America takes an arrogant pipsqueak to their hearts) he’ll be doing more of them. At the moment he’s busy with Fox’s other Sunday night backup toon Bob’s Burgers.

When I saw Derriman’s director’s credit on the Allen Gregory screener it was a chance for me to return to the subject of that video and its impact on his career. Our conversation was an actual spoken one this time around, via the magic of coast-to-coast telephony. (It’s an actual word, look it up.)

“Spin-off!"  Is there any word more thrilling to the human soul?”

Or so The Simpsons’ Troy McClure would have you believe. Evidently DreamWorks does too, with DreamWorks’ Puss in Boots about to hit theaters tomorrow. (Or last week, or last month when you might come across this review.)

Heathcliff, Garfield, and now Puss; orange tabbies seem to be at the front of the line when it comes to getting their own movie. it’s about time too, after years of Si and Am (Lady and the Tramp), Mr. Tinkles (Cats and Dogs) and Kitty Galore (Cats and Dogs redux) depicting cats as villains.

Can a former supporting player (Shreks II, II and IV) carry his own film? The answer is yes, especially if it sets up his backstory, introduces a female rival/love interest, provides plenty of entertaining set-pieces and a despicable villain or two.

Bugs Bunny and Daffy - The Looney Tunes Show

Now that CN has aired the first season of their new Looney Tunes series (or to be precise, The Looney Tunes Show), it’s time to enjoy them on DVD. What to do with these characters has been Warner Bros.’ challenge for years now. The classic theatrical shorts have matured from classic to just plain old. (Masterpieces all, but old just the same.) Attempts to bring them up to date have given us excretions like Loonatics, so-whats like Baby Looney Tunes and faux old-time toons like Carrotblanca.

Under exec-producer Sam Register, they’ve finally gotten it right: contemporized their merrie menagerie while keeping their core personalities intact. It took a bit of a trip into sitcom-land to accomplish, but IMHO (as they say online) it works.

Enrico Casarosa

The year-plus early teaser trailer is a given for spectacular genre movies nowadays… but how about the full release of an entire movie – an animated Pixar film at that – some ten months before its official premiere?

In this case however, the Pixar film in question runs all of seven minutes and is set to accompany the summer 2012 release of Brave, Pixar’s next full-length feature. It’s called La Luna, and it’s the story of a boy, his dad, granddad… and their peculiar relationship with the celestial body of the title.

Saturday morning at the movies, watching a cartoon – what could be more reminiscent of the joys of childhood?

Well, the cartoon this particular Saturday morning (September 10, 2011) was not exactly the kind of matinee I used attend back in Brooklyn when the theaters had ‘matrons’ who kept the kiddie section in line. Today I’m wearing polarized lenses and watching Disney’s upcoming 3D re-release of The Lion King.

Been a while since I’ve seen Simba and company in action onscreen. In fact, I think I’ve seen the Broadway show more recently than the movie. (No.2 box office champ for 1994, and the film that triggered the short-lived 1990’s feature animation craze that gave us classics like Anastasia and Quest for Camelot.)

Jim Cummings Ph: Eric Charbonneau ©Disney

Enterprises, Inc. All Rights Reserved.

By Jim Cummings, with an intro by Joe Strike

 Disney's simply-titled Winnie the Pooh movie opens this Friday, July 15. It's back to basics for the bear with very little brain; the new Pooh takes several previously never animated A.A. Milne stories and weaves them into a tale that harkens back to the warmth and charm of Disney's 1960s Pooh featurettes.

Pooh and Disney have had a long association since the first featurette, 1966's Winnie the Pooh and the Honey Tree. He's appeared in any number of TV series (in both puppet and animated form), direct-to-video releases and now the first theatrical Pooh release since 2005's Pooh's Heffalump Movie.

Sadly, Sterling Holloway (the original Pooh) and Paul Winchell (likewise Tigger) are no longer with us, but veteran voice actor Jim Cummings has vocalized these two inhabitants of the Hundred Acre Wood for over thirty years. His enthusiasm for voicing the bear and the tiger is of Tiggerish proportions, as you're about to read...

The New York Museum of Comic and Cartoon Art’s Education program rolls on, ably overseen by the museum’s Senior VP of Education, Danny Fingeroth. Fingeroth’s impressive credits include a lengthy stint as group editor of Marvel’s Spider-Man books, college-level comics instructor and author, co-author and editor of various books and magazines on the subject of writing for comics. As part of his job Fingeroth rounds up pros at the level of Peter Kuper, Larry Hama, Paul Levitz and J.M. DeMatteis to share their knowledge and experience with aspiring comics creators.

As befitting the second ‘C' in MoCCA, cartoon courses are part of the curriculum too, like last year’s storyboarding class taught by Stephen DeStefano, or this past March’s “Animation Writing: How to Write Scripts that will Make You a Key Member of the Creative Team,” led by David Steven Cohen.

My Little Pony: Friendship is Magic group shot. Courtesy of The Hub.

The Transformers may be raking in the box office gold and G.I. Joe battled COBRA in the multiplexes, but while those once-upon-the-eighties Hasbro cartoon shows made the leap from TV cartoon to big screen live action, the diminutive equines collectively known as My Little Pony have returned in a new animated series that has surprised a lot of people.

To put it simply, The Hub Channel’s My Little Pony: Friendship is Magic is one hip show.

MLP:FiM is the creation of Lauren Faust, an animation veteran whose career began as an animator on 1990’s features like Cats Don’t Dance and Quest for Camelot. After directing a stack of Powerpuff Girls episodes, Faust hit her stride as Foster’s Home for Imaginary Friends’ head writer and supervising producer. (And in all likelihood, the visual inspiration for Frankie, the show’s red-haired teenage problem-solver.)