Check out these Limited Edition 80th Anniversary Mickey Mouse Pez.

This commemorates the 80th anniversary of both Mickey Mouse and Pez candy. These three Pez dispensers (above) — “Steamboat Willie”, “Pie-eyed Mickey” and “Millenium Mickey” — are available separately or as a “Mickey Through the Years” limited edition set (at left). They are just now hitting stores (and ebay). The set is a nice package, with three different Mickeys in a beautiful black metal collectors tin. There were only 400,000 of these made, and they come packaged with a repro Mickey movie poster. There are also a pair of black & white Mickey and Minnie head dispensers that are pretty cool too.

(Thanks, Jon Cooke)

There are five nominees for Best Short Subject in this year’s Annie Awards, which will be presented by ASIFA-Hollywood tomorrow evening:

• Everything Will Be OK – Bitter Films
• How to Hook Up Your Home Theater – Walt Disney Feature Animation
• Shorty McShorts’ Shorts “Mascot Prep� – Walt Disney TV Animation
• The Chestnut Tree – Picnic Pictures
• Your Friend the Rat – Pixar Animation Studios

One of these films—Don Hertzfeldt’s Everything Will Be OK— is a true underdog because of unfortunate circumstances surrounding this year’s voting in the shorts category. The issue was first brought to my attention by an ASIFA-Hollywood member who contacted Cartoon Brew about the situation. I was struck by the unfairness of the matter and decided to look into what happened. I’m bringing this matter to light in the hope that all future Annie nominees will be given a fair shot at winning the award.

The Annie Award rules for short subjects specify that voting members must view all of the films before voting for a winner. Members can view the films through a password-protected online website that shows the films in their entirety. However, Hertzfeldt’s film was never shown to online voters in its entirety until the last day of voting. Here is a timeline of what happened, which has been confirmed by both ASIFA-Hollywood president Antran Manoogian and Hertzfeldt’s manager, Jeremy Platt of Spectacle Entertainment Group:

January 15, 2008: Online balloting begins. All of the films in the short subject category are posted in their entirety, except for Hertzfeldt’s Everything Will Be OK, for which there is only a six-second clip from the 17-minute film. (See UPDATE below which says that other films may not have been shown properly either.)

One week later: Balloting in this category is suspended. According to ASIFA-Hollywood president Antran Manoogian, “…[A]ll ballots that had been cast in the category up to that point were deleted, and those
individuals who had voted were instructed to go back and view the new video, and vote again.”

At this point, Hertzfeldt’s manager messengered over a dvd copy of the film so they could get the entire version posted on the online ballot. But instead of posting the entire film, ASIFA-Hollywood posted an incomplete 13-minute version of the 17-minute film. The film abruptly ends in the middle but voters have no idea that they’re watching the incomplete version.

January 31, 2008: Don’s manager, Jeremy Platt, discovers that the film is incomplete yet again and calls ASIFA-Hollywood. According to Antran Manoogian:

“Upon further investigation, it was determined that the reason for this error was because the DVD of “Everything Will Be OK” that had been provided for the ballot was defective, which resulted in the last few minutes of the film not appearing on the video, with the other shorts.

“Luckily our video editor was able to figure out a way to transfer the corrupt file of the missing footage, and the complete version of the film was uploaded onto the ballot, immediately.”

Platt contends that the dvd was fine, pointing out that they were able to eventually post the complete film from the same dvd. Also, with the running time printed on the dvd package, it should have been doubly clear that a 13-minute version was not the full film.

February 1, 2008: The complete version of the film is online for its first full day, but online voting also ended on this day. The entire version of Everything Will Be OK was posted on the site for just over 24 hours of the two week voting period.

That only a 6-second version was shown initially is unfortunate but could be chalked up to human error. A stupid human error, since it should’ve been obvious that it wasn’t a six-second film, but an error nonetheless. However, to be so careless as to not properly post the film the second time around is grossly negligent on ASIFA-Hollywood’s part. After screwing up once, it’s unfathomable that they didn’t double- and triple-check the second posting of the film.

Hertzfeldt’s manager Platt thanks ASIFA-Hollywood president Antran Manoogian for being attentive to the situation and taking steps to remedy it. Yet, Platt also says that he has not seen this level of “sloppiness” in any other major film award. The sloppiness has likely cost Hertzfeldt any shot at an Annie this year, and Platt tells the Brew,”We’re disappointed in the process and with how this award was carried out, but we’ll just move on.” Platt says that Don Hertzfeldt, who is busy finishing up his next short, is taking the whole situation in stride and doesn’t worry too much since winning awards is not the reason he makes films in the first place.

For ASIFA-Hollywood’s part, president Antran Manoogian tells the Brew that his organization, “believes that all the nominees were reasonably considered for the award.” He also accepts full responsibility for Hertzfeldt’s situation:

“Although it would have been ideal to have been able to start the voting all over again, with balloting set to close the next day, and the Annie Award taking place a week later, it was not possible to extend the voting period without jeopardizing the timely delivery of the voting results…While one could argue that many parties could be blamed for this situation, ultimately ASIFA Hollywood takes full responsibility for what happened, and intends to take whatever action is necessary to insure that this type of an incident does not occur again in the future.”

The decision to offer an award in the category this year hasn’t pleased everybody, including the ASIFA voter who initially made Cartoon Brew aware of the problem. Though he has asked to remain anonymous to avoid possible repurcussions, he tells me:

“In my honest opinion, if they don’t do the right thing this time - throw out the votes again  for another re-vote period - then they ought to just admit they made a gross error and declare there to be no winner in this year’s category, since the voting was so clearly flawed.  To admit all their mistakes but “go on with the show” anyway (and break their own printed rules about watching all the films) is not something I would call ‘animation’s highest honor.’

“It’s not fair to the other nominees either, because whoever wins that award is going to get it under these fishy circumstances that turn the trophy into tainted goods. I truly do love the ASIFA organization and what they are trying to do, that’s why it’s so important for me to see things like this done right.”

Whether Hertzfeldt wins tomorrow night or not is besides the point. The integrity of the voting process was seriously compromised in one of the Annie Award categories this year. In the future, ASIFA-Hollywood must put in place new and stricter safeguards to ensure fairness towards all its nominees and maintain the intregrity of its highly respected and coveted industry award.

UPDATE: I received an email from Bert and Jennifer Klein, the producers of another film nominated in the shorts category The Chestnut Tree. They tell me that the problems with Hertzfeldt’s film were not an isolated incident and that their film was also not properly shown to online voting audiences. They sent details on what had happened with their film and have allowed me to reprint this portion of their message:

“Our film was entirely omitted the first time around, we didn’t even get a 7 second clip. We contacted Antran [Manoogian] right away, which was probably around the same time as Don’s manager did. The timeline for the rest is correct—they didn’t have our full version up until the Monday before the voting ended. That was 2 FULL WEEKS of trying to fix the situation! It’s a huge hurdle to try and even complete a film, and only us two independents were left out of the race.”

Hot on the heels of his first solo art show last September, New York director and animator Patrick Smith is having another solo exhibit of his paintings, as well as drawings from his animated shorts. The show opens next Tuesday, February 12, at RIOT New York, a visual fx and post-production studio that Smith has worked with closely on both his independent shorts and commercial projects. Opening reception is from 6:30-10pm at RIOT (545 Fifth Avenue, 2nd floor, NY, NY). More details about the show are available at Pat Smith’s website.

When I posted about my move to NYC last month, I alluded to the exciting trend of independent animated features being produced on the East Coast. ASIFA-East president David Levy has penned a new column in the ASIFA-East monthly newsletter Anymator about the growth of indie East Coast features. An incredible seven artists out here are working on or have recently completed independent features: Bill Plympton, Michael Sporn, Nina Paley, Paul Fierlinger, Emily Hubley, Dan Kanemoto, and Tatia Rosenthal.

In his article, entitled “Better Late Than Never,” Levy learns more about these features by interviewing four of the filmmakers: Michael Sporn, Nina Paley, Paul Fierlinger and Dan Kanemoto. It’s a pleasure to hear the filmmakers describing the subject matter of their films: the relationship between a WWII pilot and his father, a film based on the memoirs of British author J.R.Ackerley, a biography of Edgar Allen Poe, and an animated interpretation of the Indian epic Ramayana. Sounds like American animated features are finally growing up.

(Image above from Paul Fierlinger’s My Dog Tulip)

Gallery Nucleus in Alhambra, California, has an upcoming art show, A Band of Bugs, featuring work from animators and illustrators such as Lou Romano (above), Don Shank, Alex Kirwan and others. The show will be on exhibit from February 9th through March 3rd.

The opening reception is this Saturday, Feb 9th, from 7pm to 11pm. Admission and refreshments are free and live music will be provided by Insect Surfers. A Band of Bugs is “an art show dedicated solely to those creepy, colorful, and wonderfully weird creatures that we encounter on a daily basis”. Anna Chambers, has prepared cute plush pests for the show; Megan Brain will be showcasing her incredible paper sculptures; and “the girls“, Amanda Visell and Michelle Valigura, provide several unique interpretations of various bugs. The artists will be in attendance on opening night to meet fans and discuss their work.

For more information, contact curator Wade Buchanan (gallery-at-gallerynucleus.com) or visit the Gallery Nucleus website.

Last week an exhibition of original oil paintings by the late animation director Chuck Jones opened for public viewing at Chapman University in historic Old Towne in Orange California. The exhibition is jointly sponsored by Chuck Jones Center for Creativity, the nonprofit organization founded by Jones before his death, and Chapman University’s Leatherby Libraries. From the press release:

Chuck‑staposed: A Collection of Chuck Jones Oil Paintings from the Humorous to the Sublime reveals some of the more private aspects of the renowned, Academy Award-winning director, producer, artist, and author. The examples of fine art included in this exhibition have their roots in Jones’ formal training at Chouinard Art Institute (now CalArts) in Los Angeles and subsequent decades of artistic endeavor; truly a lifetime in art, at its most exquisite, intimate, and meaningful level.

Chuck‑staposed will be on public display at Leatherby Libraries, Chapman University, free of charge, February 2 through February 27, 2008. The opening reception is next Wednesday, February 13th, from 4 to 7 PM. Marian Jones, Chuck Jones’ widow, and Craig Kausen, his grandson, are co-curators of the exhibition and Trustees of the non-profit Chuck Jones Center for Creativity.

A very strange comic strip I’m really starting to enjoy. Today’s Lio by Mark Tatulli.

Continuing our coverage of how animation is being used in this year’s Presidential election, below are two pro-Barack Obama spots targeted towards California voters. They were commissioned by the Power Pac organization, and created by Eddie Codel and Ryan Junell. Junell, who handled direction and animation, writes about the spots on his website:

“I made these two ads from concept to completion in less than two weeks with the help of Phillip Niemeyer of Double Triple, Blevin Blectum, Tonya Glanz, and several others. Our target is the younger, fence-sitting voter who needs a positive lift to the voting booth.”

(PS: A friendly reminder to keep discussion in the comments focused on the use of animation in the campaign and the effectiveness of the spots. This is not a forum for expressing political views.)

(via Laughing Squid)