Amin Bhatia recounts a day in his life as an "electronic composer" for animated TV shows, explaining his tools and techniques.
Daniel Goldmark shows how Carl Stalling, who may have been the most skilled and clever composer of cartoon music Hollywood ever had, used music to create gags and help tell a story at the same time.
The father of Thai animation, Payut Ngaokrachang, tells John A. Lent how he got his start through a set of fortuitous circumstances.
New York producer Michael Sporn's commitment to making films about human issues has lately led him to animated documentaries for which the children's market has been most receptive. Janet Benn reports.
Wendy Jackson details the career of Yvonne Andersen, founder of the Yellow Ball Workshop, and pioneer of teaching animation to children.
Ann C. Phillipon talks with "quintessential independent American animator, George Griffin" about his life and art.
John Serpentelli relates his experiences teaching the folk art of animation to children in Philadelphia.
John A. Lent interviews one of the pioneers of Korean animation, who had a profound effect on the course of the nation's indigenous production
Animator Alfred Eugster, whose career started in the silent era and ended doing animation for TV, passed away the night of January 1, 1997 at the age of 87. The following memoir and biofilmography was prepared by his friend and sometime colleague, Mark Mayerson.Left to right: Otto Englander, Shamus Culhane, and Al Eugster at Disney in 1935. From Shamus Culhane's Talking Animals and Other People (St. Martin's Press, 1986). Collection of Bernie Wolf.I first met Al in 1975 when I was researching an article on cartoons released by MGM when he let me interview him about the Iwerks studio.
Front half of cover illustration by Jacques Drouin from the Tribute to Louise Beaudet issue of the ASIFA-Canada magazine (September 1996).On January 3, Louise Beaudet, perhaps the most famous and respected animation archivist in the world died of lung cancer. In her role as curator of Montrl's Cinathue Quecoise, she more than helped fulfill that organization's special interest in animation. Herein are a few thoughts by some of the people who knew and/or worked with her. But first, to provide some general background, we start off with the two part press...
Will Ryan asks Mike Kazaleh slightly fewer than ten questions regarding getting started in Detroit, comic books and the benefits of working for hire...
Jerry Hibbert, drawing from his own experience, provides some thoughts on the need for production companies to embrace change.
Dutch filmmaker Piet Kroon contributes the first in an occasional series devoted to a day in the life of an animation artist. Herein, Kroon explores the whys and wherefors of how he balances working as an independent filmmaker while holding down a full-time job at Warner Bros.
Many time festival programmer and juror Otto Adler provides his viewpoint on the ins and outs of selecting and programming films.
Janet Benn provides a case study of the role played by Animation Director Yvette Kaplan on Beavis and Butt-head Do America, while saying more than a little about who Yvette is.