And here it is…the teaser trailer for Disney’s Frozen:
And here it is…the teaser trailer for Disney’s Frozen:
USA Today published an article this afternoon with these five stills from Frozen, the Disney studio’s adaptatation of The Snow Queen that will open on November 27, 2013.
Aurora is a short film by young Dutch filmmaker Aimee de Jongh. It’s based on a Dutch fairytale about spooky white apparitions that haunt the forests of the Netherlands, but de Jongh plays with story conventions and upends audience expectations during the film’s brief two-minute length.
There’s been a lot of buzz online this past week about a newly discovered Mickey Mouse short, but it’s not anything made by the Disney studio. It’s the resurfacing of the rare 1968 short Mickey Mouse in Vietnam produced by painter W. Lee Savage and graphic designer Milton Glaser.
The one-minute short isn’t technically accomplished, but manages to make a powerful and subversive statement through the manipulation of the famed graphic icon. Within seconds of arriving in Vietnam, Mickey Mouse—that all-American symbol of goodness and hope—is destroyed, and along with it, the myth of American moral superiority.
I’m partial to video games that look and feel like animated short films, which is why this E3 trailer for Hohokum is so enticing. The game is being developed by Honeyslug and artist Richard Hogg, and animated by Kwok Fung Lam, for Playstation 4, Playstation 3 and Playstation Vita systems. There’s an interview with the creators at GameInformer.com.
The game has been in development for a while. The gameplay video below is from three years ago, and shows how you maneuver your sperm-ish creature, euphemistically called the Long Mover, through a neo-Yellow Submarine universe:
(Thanks, David Calvo)
SIGGRAPH attendees, mark your calendars for Monday, July 22. 11:30am. The SIGGRAPH 2013 Keynote Session is titled “Giants’ First Steps” and the ‘giants’ are all animation directors. The panel, which is co-presented with the Academy of Motion Picture Arts & Sciences, will feature eight animation directors—all male, by the way—who will “share their experiences along complex paths to filmmaking success.”
A ninety-minute session hardly seems long enough to contain the stories and thoughts of the distinguished group of filmmakers who will participate: Pete Docter (Monsters, Inc., Up), Eric Goldberg (Pocahontas, Fantasia/2000), Kevin Lima (Tarzan), Mike Mitchell (Shrek Forever After, Alvin and the Chipmunks: Chipwrecked), Chris Sanders (Lilo & Stitch, How to Train Your Dragon), Henry Selick (Nightmare Before Christmas, Coraline), David Silverman (The Simpsons Movie), and Kirk Wise (Beauty and the Beast, Atlantis: The Lost Empire).
Disney announced this afternoon that they will release Planes: Fire & Rescue as a 3D theatrical feature on July 18, 2014. The film is a sequel to Planes, itself a spin-off of Pixar’s Cars, that will open in theaters on August 9. Both of the Planes films are produced by Disneytoon, the John Lasseter-run division that handles all the projects that Pixar and Disney Feature won’t touch with a ten-foot-pole. It should also be noted that Planes 2 wasn’t among the 15-feature release slate that Disney announced last month so we can only guess how many more Disneytoon features will flood theaters over the coming years in addition to the Disney and Pixar features.
It’s always fascinating to see how the animation process is explained to the general public. Here’s the latest example: actor Steve Carell, who was last seen dressed as a cartoon character, talks about the making of Despicable Me 2.
The Hollywood Reporter published a lengthy piece that suggests an impending feature animation war:
The unprecedented glut of product points to a seismic shift in the animation business as new players such as Universal and Sony finally gain a stronghold and established companies like DreamWorks Animation, Fox, Disney Animation Studios and Pixar up their games. Family franchises can be incredibly lucrative if done right — between global theatrical sales (particularly international), home entertainment and merchandising. Pixar’s Cars franchise, for example, moved north of $10 billion in merchandise alone. If they don’t work, studios can lose tens upon tens of millions, with hundreds of jobs at risk.
Late last month, Pixar and Disney Animation chief creative officer John Lasseter essentially declared war on Katzenberg by dating a slew of untitled Pixar and Disney Animation Studios films through 2018, going so far as to claim June 17, 2016, even though DWA already had put How to Train Your Dragon 3 there. Never before have a Pixar and DWA movie gone up against one another. Katzenberg and Fox, where Vanessa Morrison heads up Fox Animation Studios, retaliated by flooding the calendar through 2018 with their own untitled films, even planting one on June 16, 2017, a Pixar date.
The Reporter doesn’t have all their facts straight. They wrote that, “For the past handful of years, there have been no more than four or five studio animated films a year, plus a handful of indie titles. There are eight releases this year and 10 next year.” However, there have easily been eight to ten major studio animation releases per year in recent times. Just take a look at the 2011 and 2012 release slates.
Of course, the other argument is that there aren’t too many tentpole animated features, only too many features that are cut from the same cloth. Pixar, Disney, DreamWorks and Blue Sky each use their own finely tuned formulas, and audiences are guaranteed to tire of those sooner than they do of animation itself.
When DreamWorks story artist Dave Derrick was a student at CalArts in the early-2000s, one of the shorts that influenced him was Tim Watts and David Stoten’s BAFTA-winning, Oscar-nominated The Big Story. Derrick recently met Watts and took the opportunity to interview him about the film, his work on the Spitting Image TV show, and find out why Watts and Stoten animated the film twice—once hand-drawn and again in stop motion. Read the Tim Watts interview on Derrick’s website.
Even though origami is the flavor of the moment—so hot that even McDonald’s is doing it—the sheer amount of labor involved in producing this Special K stop motion spot makes it rather impressive. It was directed by Peter Sluszka at New York-based Hornet Inc.
There’s a making of video in which you can listen to ad agency and marketing peeps waxing eloquent about work that they didn’t do. But leave it to the director Sluszka to offer the best comment in the video: “What it really requires is hours of people folding paper.”
Production Companies: Hornet Inc/Blinkink
Director: Peter Sluszka
Executive Producer: Jan Stebbins
Producer: Zack Kortright
Line Producer: Joel Kretschman
Editor: Anita Chao
Art Director: Mandy Smith
Director of Photography: Ivan Abel
Lead Compositors: Peter Fink, John Harrison
Compositors: Adam Yost, Yussef Cole
Roto Artists: Ted Wiggins, Rafael Mayrhofer
Storyboard Artist: Carlos Ancalmo
Motion Control Operator: Richard Coppola
Gaffer: Michael Yetter
Best Boy Electric: Casey Wooden
3rd Electric: Jarod Kloiber
Key Grip: Matt Walker
Best Boy Grip: Matt Cryan, Brian Yost
3rd Grip: Bob Blankmeir
Animators: Hayley Morris, Matt Somma, Kevin Coyle
Fabricators: Connie Chan, Ben Kress, Ben Friesen, Peter Erickson, Junko Shimzu, Michaela Olsen
Art Deptartment Assistant: Kevin Coyle
Food Stylist: Elizabeth Bell
Food Stylist Assistant: Mireya Acierto, Brett Regot
Production Assistant: Tim Kuhl, Eric Duke, Rafael Mayrhofer
1st AC: Nate Spengler
Phantom Tech: Mark Sashara
Advertising Agency: Leo Burnett
Creative Director: Karen Reed and Natasha Ali
Executive Creative Director: Mylene Pollock
Copywriter: Liam Bushby and Alison Stevens
Art Director: Liam Bushby and Alison Stevens
Account Team: Carly Pritchard, Dominique Gomes, Sofia Sarkar
Project Manager: Gaynor Goldring
Planner (Creative Agency): Olivia Heywood and Charlie Kirkbride
Agency Producer: Serena Schellenberg
Blue Sky’s Epic continued its mild box office run last weekend with a respectable decline of 28.5% and $11.8 million in U.S. box office earnings. The film has now racked up $83.9 million over its three week U.S. run. The film has one more weekend of clear-sailing ahead of it before it succumbs to another kiddie flick, Monsters University.
Overseas, Epic placed sixth, with approx. $12.7M from over sixty international territories, pushing its overseas total to $105.4M. Blue Sky’s features tend to overperform in international markets—the studio’s last three features have earned a robust average of $582 million overseas—but Epic will be lucky to break $200 million internationally.
Supervising Producers: Chris Prynoski, Shannon Prynoski
Art Director: Antonio Canobbio
Animation Director: Allison Craig
Animators: Mike Carlo, Adriel Garcia, Alex Lund, Brian Kaufman, Jacob Ospa, Mirella Toncheva, Rachel Gitlevich, Sachio Cook
Backgrounds: Justin Volz
Every few years, a TV network launches an internal shorts program in an attempt to identify new talent and show ideas. These initiatives rarely produce the results the networks desire because artists aren’t court jesters who can perform on demand and create show-ready ideas the moment a network asks for one. Talent development is a years-long investment that requires patience, commitment, and yes, failure. To put it simply, the people who run show development today lack the foresight or knowledge of how animation works to adequately develop the immense pool of talent that is already employed at their studios.
Of course, that won’t stop them from launching ridiculous shorts programs that result in ridiculous shorts, and artists who may or may not be cut out for show creation. Last year, Nickelodeon launched yet another in a long line of these in-house network shorts programs. Remember, this is the network that passed on Adventure Time so identifying talent is not their strong suit. They commissioned twelve micro-shorts for the program, and made them available via a Nick phone app. They haven’t promoted them online, but they are posted on the Internet and we’ve gathered links to all of them below.
From these pitches, Nickelodeon recently said in a press release that “six are currently in series development and two will get pilot orders.” One of the ideas that was pitched to the shorts program, but which didn’t get made as a micro-short was Breadwinners created by Gary DiRaffale (aka Gary Doodles) and Steve Borst. That show was recently picked up for a 20-episode order.
Here are the twelve shorts made last year:
Pam and Sid’s Port A Party created by Annie Sertich and Mindy Sterling
Watch the film
Baby Stache created by Gary Anthony Williams
Watch the film
Lucas created by Kyle Dunnigan
Watch the film
Austin Oliver created by Greg Worswick
Watch the film
Wing Dings created by TJ Fuller
Watch the film
Level 15 created by Wolf-Rudiger Bloss
Watch the film
Zombie Brothers created by Eric Robles
Watch the film
Carrot and Stick created by Derek Iversen and Miles Hindman
Watch the film
Marty’s Exotic Animals created by Andrew Friedman
Watch the film
Cabrito and Chewy created by Allan Jacobsen and Chuckles Austen
Watch the film
Odyssey Squad! created by Ben Adams
Watch the film
Tallie Peer Counselor created by Laura Sreebny
Watch the film
Yesterday was the last day of employment for Disney animation veteran Nik Ranieri (Lumiere in Beauty and the Beast, Meeko in Pocahontas, Kuzco in The Emperor’s New Groove) after he was unceremoniously dumped by Disney Feature Animation last April along with other studio cornerstones. He wrote a long post on his Facebook fan page tonight about leaving the company while expressing the view that hand-drawn feature animation is still a viable art form. He also showed a hand-drawn test that he produced for Disney’s CG pic Wreck-It Ralph. The full text and video are below:
It has been several weeks since my last Animator page posting. As you’re probably all well aware by now, I no longer work for The Walt Disney Company. June 10th was my last day. In October of this year, it would have been 25 years. Disney was my home for the last quarter century and I’ll always be grateful for the people I worked with and the experience I gained there. The last couple of years have been the most difficult of my career. At times I was filled with hope that my skills would be utilized in a new hand-drawn film. At other times, I doubted that a hand-drawn feature—hybrid or otherwise—would be produced at all. We were pretty much kept in the dark for over 2 years and once the word did come out that no more hand-drawn features would be produced, it was only a matter of days before we were “given our notices”. I’m not so much sad that I was let go as I am sad that they gave up on a medium that, if given the right treatment, could be a viable product once again. You may wonder, what will I be doing now. I can’t tell you that because I don’t know. It is said that when God closes one door, He opens another. I pray that He will guide me to the right door and that I’ll open it with confidence. Not in myself but in Him who guides my path.
As a parting reminder of my last years at Disney, here is my last hand-drawn test for a Disney production. I was asked to animate the character of Ralph from “Wreck-it Ralph”, as a guide for the animation of the character in the film. It took me 2 months to animate this scene because,
1. I had to adjust the look of the character as it changed, which meant redoing some of it and
2. I basically did all the drawings myself. Most animators don’t do every drawing in a scene, but I wanted it fully animated and since I didn’t have any inbetweeners, I had to draw everything.
It cost $4 billion, but Disney’s most ineptly drawn animated characters can now be awful alongside Marvel superheroes, which incidentally had to be redesigned to look as incompetent as the rest of the Phineas and Ferb universe. Phineas and Ferb: Mission Marvel, a crossover episode of the animated series Phineas and Ferb, will damage children’s eyes (and souls) sometime this summer on the Disney Channel. Here’s the trailer for you animation masochists:
Here are the call for entries from three quality festivals: KLIK! Animation Festival in Amsterdam, Animateka Int’l Animated Film Festival in Ljubljana, Slovenia, and the New York Int’l Children’s Film Festival.
The KLIK! Amsterdam Animation Festival will take place in November 2013. In addition to awards for professionals, students, 3D stereoscopic and commissioned animation, they also hand out the Amsterdam Audience Award, the Young Amsterdam Audience and Political Animation Award.
Submission is FREE. Films should be 25 minutes and under and produced after January 2012. Deadline is July 1st. For full details, go to KLIK’s submission page.
The 10th edition of Animateka International Animated Film Festival will take place from December 2 to 8 in Ljubljana, Slovenia. For its main competition, the festival accepts films from Central and Eastern European countries, but its children and student competitions are open to other countries. Here’s the breakdown:
There will be an international competition open to films realized for the cinema with any animation technique, frame by frame or computer graphic. Short animated films (the duration of which must not exceed 35 minutes of the total running time) produced or co-produced in the following countries are eligible to apply for the Central and Eastern European Competition Short Animated Film Programme: Slovenia, Italy, Switzerland, Austria, Hungary, Croatia, Bosnia and Herzegovina, Serbia, Montenegro, Kosovo, Macedonia, Albania, Greece, Bulgaria, Romania, Moldova, Slovak Republic, Czech Republic, Poland, Lithuania, Latvia, Estonia, Ukraine.
Children’s films from all countries worldwide are eligible for competition in the children’s programme Elephant. European student films (produced within a public or private educational institution of an EU member country) are eligible for the European Student Competition Programme.
Submission is FREE. Deadline is September 15. For complete rules and application forms, visit Animeteka’s website.
The New York Intl Children’s Film Festival, which bills itself as North America’s largest film festival for children and teens, is now accepting submissions for next year’s edition that will run March 7-30, 2014. The festival is looking for “creative, original, non-formulaic works that will help to define a new, more compelling film for kids,” and they further state that, “we are not shy about showing films with mature themes, subject matter, language or sensibilities, especially for our teen and pre-teen audiences.” The festival is closely affiliated with film distributor GKIDS, which has been the U.S. distributor of features like The Secret of Kells, From Up on Poppy Hill and the forthcoming Ernest and Celestine.
Submission fees range from $25-75. The early deadline for shorts is September 15 and October 15 for regular. The early deadline for feature length films is October 15 and November 15 for regular. To enter, visit the festival’s submission page.
Amazon’s filmmaking arm Amazon Studios announced a new tool today that promises to eliminate storyboard artists from the filmmaking process. Called Amazon Storyteller, the software lets scriptwriters convert their scripts into boards through an automated process.
“We’ve found that many writers want to see their story up on its feet in visual form but find it harder than it should be to create a storyboard,” said Roy Price, director of Amazon Studios and a former Disney TV Animation exec. “Storyteller provides a digital backlot, acting troupe, prop department and assistant editor-everything you need to bring your story to life.”
The free online tool, which is currently in beta, works like this:
Storyteller begins by scanning a movie script that has been uploaded to Amazon Studios. It identifies the scenes, locations and characters from scene descriptions, and “casts” them from a library of thousands of characters, props and backgrounds. Filmmakers can recast or change locations, or they can upload their own images. Storyteller places the cast in front of the right background so that filmmakers can focus their time on the emotion and energy of scenes by using pan and zoom, changing the facial expressions and positions of characters, adding vehicles or props or adding captions with descriptions or additional dialogue. Once completed, the storyboard can be published on Amazon Studios where other users are able to view it and give feedback on the project.
Animation artists may be safe for now. The Amazon Storyteller FAQ explains that, “The Amazon Storyteller library of backgrounds, characters, and props currently works best with contemporary dramas or romantic comedies.” But people around the Internet are already envisioning more artistic uses for the software, like this idea from a commenter on Engadget: “Imagine. An illustrated comic of yourself and any given Sports Illustrated swimsuit model in your own porn story.”
(Thanks, James Gibson)
Walt Disney Animation Studios released the poster today for its new short Get a Horse! that will debut next week at the Annecy International Animated Film Festival. The director of the film Lauren MacMullan, producer Dorothy McKim, as well as animator Eric Goldberg, will attend Annecy to unveil the short, which features a vocal track by Walt Disney himself as the voice of Mickey.
Animation veteran Gabe Swarr has been pumping out webcomics and short animated webisodes of his nostaglia-hued Life in the Analog Age for the past couple years alongside his studio day job. Earlier this week, he relaunched the property as a weekly animated series online, with the goal of new episodes every week. I chatted with Gabe via email about his decision to shift his online focus from comics to animated shorts, teaming up with Frederator’s new Allied Media label, the pros and cons of pitching, and the best advice for others who want to do their own online series.
Cartoon Brew: You have a full-time job as the supervising producer and director of Nickelodeon’s Kung Fu Panda: Legends of Awesomeness. Where do you find the time to also write, animate and do the sound for a weekly series all by yourself?
Gabe Swarr: Everyone asks me that! I wake up very early, every morning at 6AM. I exercise, get my morning chores done, and get to my desk for at least two hours of work before going into Nickelodeon. This is the best way I’ve found to make sure I have a sizable block of focussed uninterrupted time to get stuff done. Also working in the morning insures that I’m not exhausted from my day job.
Cartoon Brew: That still doesn’t explain where you get all your energy from. What does a typical Gabe Swarr ‘power breakfast’ consist of?
Gabe Swarr: Ha! Just some cereal and a banana, nothing exciting I’m afraid. I think it’s more the exercise than the breakfast! I actually starting running in the morning over a year ago. It has made a huge difference, and hopefully I’ll be alive a little longer to make even more stuff!
Cartoon Brew: What do you hope to accomplish by turning Life in the Analog Age from a comic and occasional animated webisodes into a regular animated webseries?
Gabe Swarr: I really want to get more people to see the series. I love sharing these stories and memories. There’s always such an amazing response from the comics, and I want to really focus on translating that to the shorts. I also think that the fact that it’s animated is a more unique way to experience the series. There are a lot of “slice of life” and autobiographical comics, but very few animated series like this one.
Cartoon Brew: In Analog Age, you try to express your honest emotions as they were at the time, whereas so much of today’s entertainment culture looks back at the past with snark and irony. How did you decide on your more affable approach to storytelling?
Gabe Swarr: Analog Age started as a complete departure from the things I do in my day job. I wanted to slow down the pace and express moments or feelings that you just don’t see in too many other places. The more I did it, the more I found the real tone of the series and learned more about the way I think our brains work.
I’m pretty sure our memories aren’t just a series of remembered facts of events. When you think back and remember how things were, yes you do recall what happened, but it’s not always accurate. That’s because, yeah, it was a long time ago, but it’s mainly because you’re using how you felt at the time as a frame of reference. Our memories are wrapped up in them. That’s nostalgia to me, true nostalgia, and that’s a lot harder to capture than just making fun of pop culture, fashion, or how poofy hair styles were.
That being said, when I do go back and look and unlock those emotions and feelings, I have to find a narrative or story in them. I have to remove myself and look at that moment from my current state of mind, and sometimes some of the best humor or scenes come from making fun of myself or the poor choices I made then, like this:
Cartoon Brew: Assuming that most of the stories are rooted in truth, have your siblings or parents had any reactions to the stories you’re telling, or expressed surprise at any events you’ve depicted?
Gabe Swarr: Yes, it’s all true. There are some stories that my Mom isn’t too fond of. She is the only family member who has spoken up about how they are being portrayed. When I’m making them, I’m never thinking about that. Some of the stories that didn’t put me in a good light were the ones that got the biggest reaction or started the most online conversations like “Hero”.
Cartoon Brew: Life in the Analog Age is becoming part of something called Frederator Allied Media which is a division of Fred Seibert’s company. How does that work?
Gabe Swarr: Well, I keep everything on my YouTube channel. I have complete creative control over schedule and content, but now I’m part of their ‘network.’ My cartoons can be seen by their 75,000+ subscribers as opposed to my 1000+ subscribers. We do an ad revenue split which motivates them to find sponsored ads.
Cartoon Brew: I think pitching ideas to networks and doing pilots is stupid in this day and age of the Internet. Am I wrong?
Gabe Swarr: I can’t say that you’re wrong or right, it depends really on what you want. If you want your show to be seen on worldwide TV, collaborate with working professionals, and not pay for the actual production, then yes, that’s a great way, and it’s been done for decades. There are some drawbacks though, first be prepared to sell full ownership of your idea, and the process is a very collaborative one. Your ideas might change a lot by the time it reaches the audience.
If you want full ownership, full creative control, and having a direct line to your audience, then online is the way to go. Be ready to pay and do the entire production yourself (or with generous friends), and work very hard to build your own audience basically from scratch.
So there are pluses and minuses to both approaches. Personally, I’m doing both traditional TV development, and indie online right now.
Cartoon Brew: The way I see it is this: a creator has the same shot of getting a pilot picked up for a network series as they do having a breakout web series. Except that the web creator ends up with much greater leverage,and therefore it’s more profitable for them. The “Annoying Orange” guy, who started out on the Web, is one of the few show creators who managed to launch a show on Cartoon Network without losing his ownership rights. Or take “Simon’s Cat”—360 million views on YouTube, 8 bestselling books, and now he’s beginning to license to other media platforms while still retaining ownership of his creation.
Gabe Swarr: Yeah, I think it’s great for those people, but like I said, they had to build that audience from the ground up themselves. That’s a job in itself and not an easy one. I spend a lot of my time responding to comments, posting, reposting, revising based on feedback on top of just making everything. Some people can’t or don’t want to deal with all of that. That might be one reason they go through a TV network, but the profitability is the trade off.
Cartoon Brew: Pretend I’m an animation executive. Gimme your elevator-pitch for Analog Age.
Gabe Swarr: Life in the Analog Age is an all-ages animated webseries all about growing up in a time before the digital age. It is a collection of vignettes that follow a “Little Bear Kid” in a time of his life where he is discovering himself and the world around him. All based on true events.
Cartoon Brew: Sold! Now give one piece of advice to someone who wants to start their own online animated webseries.
Gabe Swarr: The big overall thing is when creating anything, make sure it means something to you and that it says something. There are so many things out there that are just meaningless. It’s all like candy, fun to eat, but no nutritional value. You can’t live off of it. You want your creations to have some kind of purpose in the world, something that speaks to the people, and if it doesn’t, why make it in the first place?
Cartoon Brew: If you had to give up all your digital equipment (Cintiq, iPhone, new video game systems, etc.) tomorrow, do you think you could comfortably live again in the Analog Age?
Gabe Swarr: I totally would, but as long as I magically had no foresight into how things work now. I would go crazy missing the way we can use the Internet to learn, communicate, and distribute. I would also miss how much paper I’m saving by working digitally, but I would not miss the new video game systems at all! I still fire up my old N.E.S. to beat my favorite games.
For regular weekly episodes, visit LifeInTheAnalogAge.com.
Polish CG/VFX studio Platige Image, producer of acclaimed shorts such as Paths of Hate, Fallen Art, and The Cathedral, is currently in production on its first feature, Another Day of Life. The film will challenge audience’s perceptions of what types of stories can be told through animation. It is based on the book of the same name by renegade Polish journalist Ryszard Kapuściński, who, according to another one of his books that I own, “befriended Che Guevara, Salvador Allende, and Patrice Lumumba; witnessed twenty-seven coups and revolutions; and was sentenced to death four times.”
The film, an animation/live-action hybrid, will recount Kapuściński’s life-altering experiences during the Angolan Civil War in 1975. The directors attached to the project are Spanish filmmaker Raul de la Fuente (Nömadak Tx) and Platige’s Damian Nenow (Paths of Hate). Nenow and the producers of the film will discuss the project next week at Annecy.
For more details, go to AnotherDayofLifeFilm.com.
Today on the Frenzer Foreman Animation Forum, New York studio owner Richard O’Connor drops by to talk animation. O’Connor started his career at R.O. Blechman’s studio The Ink Tank in the 1990s before launching his own studio Asterisk Pix. Today, he runs the commercial house Ace & Son Moving Picture Co. He discusses the challenges of working on ‘grim’ animated projects, the connection between Chelsea Clinton and animation pioneer J.R. Bray, and what makes a successful animation festival signal film.
Sympathy For The Fish: A Holiday Story