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.

Like last year, a pattern of the same questions being asked at the various screenings continues. Of course the first question was to Chris and Maciek about the human eyes on the puppets in Tutli-Putli. Marcy said one of the difficulties of working with the eyes was timing out shots. Chris and Maciek found that the performance via the eyes sold some scenes quicker than when it was cut using the eyeless puppets. Josh was asked about the audio footage of John Lennon used in his film, which he said had never really been heard before they made I Met the Walrus. A first for the tour, but most likely not a first for the Madame Tutli-Putli team was about their enigmatic ending. Maciek explained that the intention of the film was less about plot and more like a poem where one scene doesn’t dictate the next, but informs the preceding scene. Chris added that the work of Carl Jung was also influential in setting the mood for the film. A little tidbit about the title is that in Hindi it means puppet, as well as delicate woman, which is a fact that the directors did not know before they were informed of it by a Hindi speaking member of one of their audiences.

It was a windy day in San Francisco with the filmmakers bundled up to guard themselves against the cold. Having received a much need rest, Suzie was far more energetic about the day’s events versus yesterday. In the car ride over to our first and only screening of the day at Pixar, Chris revealed that Pan’s Labyrinth director Guillermo del Toro saw Madame Tutli-Putli and said that it was a film made by masters. During the ride, Chris and Marcy discussed the treatment he and Maciek are working on for an adaptation of a Maurice Sendak story.

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.

With everyone attending the San Fran leg of the tour together, ILM’s Danielle O’Hare greeted us in the lobby and treated the filmmakers to a tour. Having taken the tour last year with our gracious host Kate Shaw, this year we learned some of the same history with a sprinkling of some new facts. For instance, on the wall is ILM’s last matte painting from Die Hard 2. At the time of its creation Jim Henson had just passed away, so as a tribute, the artists painted Kermit faces on the side of the trucks featured in the wide shot of the snowy tarmac at the close of the film. Hugh inquired what has happened to the traditional matte painters and Danielle said that many have transitioned over to CG, while James joked that the others having transitioned over into driving cabs.

The tour has begun. And what a way to begin – a screening at ILM. As Ron Diamond, host of the tour and publisher of AWN, and I pulled up to Sofitel hotel, I Met the Walrus director Josh Raskin, Walrus illustrator James Braithwaite and Madame Tutli-Putli director Maciek Szczerbowski were standing outside. Having toured with the Animation Show of Shows, all three enthusiastically greeted Ron, like a reunion of old friends. As we made our way into the hotel to check-in, we were greeted by Oscar tour veteran Marcy Page, who traveled around with us last year for the Oscar-winning film The Danish Poet. This time I was able to engage in an “old friend” reunion myself. Last year’s event was such a wonderful bonding experience that I feel so excited to share with the others about the things we have in store.

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.

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.

Even Pigeons Go To Heaven was a project that director Sam Tourneux started then abandoned. Well, I’m sure he’s glad that he picked it back up again. Here is what the filmmaker had to say about his film and the Oscar experience thus far.

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: