Forbes.com just posted a rather flimsy column about animated features, discussing how much money they make and claiming there are “45 or 50 fully 3D feature-length, computer-animated films in production today, ready for release over the next couple of years”. Really? That many?

They also posted a slideshow of 10 Animated Movies Worth a Billion. Seems to me they left a few off the list… but why quibble over a couple of billion more or less?

In case you haven’t been following news developments in the “real world”: Gawker is reporting that the “suspected Israeli operative” whose phone was being tapped by the NSA in conversations with representative Jane Harman (D-Calif.) — was none other than our ol’ friend Haim Saban (the animation schlockmeister who became a zillionaire after dubbing Mighty Morphin Power Rangers). That’s him, pictured above, on the far left (in more ways than one). The Gawker piece has a nice profile of Saban’s illustrious career.

When one thinks of David Stainton, the former president of Walt Disney Feature Animation, what are the first two descriptive terms that come to mind? According to his website DavidStainton.com, it should be “creative leadership” and “strategy.”

To his credit, Stainton IS very creative when it comes to rewriting history and making his reign during one of Disney’s lowest creative moments seem like an accomplishment. The bio on his website includes these fancy bit of revisionism:

At Feature Animation, David transformed the division financially, creatively, and technologically. During his tenure, he cut overhead, production costs, and operating losses in half. At the same time, he revived the culture of creative excellence at the studio with a new line-up of films. Finally, his leadership drove the historic transition from hand-drawn to computer-generated animation at Feature Animation and his other divisions, bringing animation at Disney fully into the digital era.

So how much of Disney’s creative inadequacy was directly Stainton’s fault and how much of it could be attributed to the dysfunctional corporate infrastructure that had been in place since the early-1990s? That’s a question that will have to be answered by those who are much more knowledgeable about the inner workings of the studio. It was a new one on me though to read in Stainton’s filmography that Hunchback of Notre Dame was based on his pitch and adaptation. That fact alone should have been an adequate warning that he didn’t have the first clue about what types of material are best suited to animation.

We heard last week that the MyToons site had shut down for good. MyToons, for those who don’t know, was a “social networking” site for animators. A quick search reveals that the company had already laid off most of its staff last January and was floundering.

The TechCrunch article linked above includes some damning allegations against the company’s founders—Dan Kraus, Paul Ford, and Stacey Ford—and alleges that they blew over $6 million of venture capital in just a couple years without ever coming up with anything that remotely resembled a business plan. Citing anonymous staffers, TechCrunch claimed:

Among the allegations put forward by former employees who wish to remain anonymous: grave mismanagement, a complete disinterest from the company’s co-founders to turn MyToons into a revenue-generating business along with more serious accusations that the executives have been misrepresenting the company’s financial and operational status to their investors and moreover wasting VC money on personal purchases like trips to Hawaii, fancy dinners with relatives, home electronics for personal use and so on.

Artist Christopher Panzner is promoting a new animation technique that he has dubbed Re:Naissance, which is essentially rotoscoped key frame drawings with traditional in-betweens. He plans to use this technique to create “homages” to older live-action films. This interview with the website Eye For Film offers more details about his process. Panzner says:

“Re:Naissance can be succinctly defined as ‘the re-creation of live-action films in animation’. It’s a new spin on adaptation and the remake. For the first time ever in the 100-year history of animation, Re:Naissance is going to invert the adaptation process by taking existing live-action films and faithfully reproducing them in animation, in a totally original graphic style unique to each film. We use a process known as ‘rotomation,’ which is a combination of rotoscopy and traditional animation. Our goal is not merely to rotoscope the original film – we are creating an entirely new film while remaining faithful to the original; an homage to the source film. The end result is an original animated feature film, meaning the stars in the live-action film will be caricaturized in some form but the movements and expressions (and original dialogue) will remain true to the original actors, although the animated characters will be completely new original graphic representation.”

The first live-action feature that Panzner is adapting via his Re:Naissance method is George Romero’s cult classic Night of the Living Dead. Below is a line-test based on the French film La Traversée de Paris that gives some sense of what the finished product will look like. The animation was created by Hong Ying studio in Shanghai. Panzner has a blog LicenseToIllustrate.blogspot.com that offers progress updates on the production of his first feature.

Now that Michael Eisner has purchased the ailing Topps baseball card company, he’s finally in charge of a company that has to use all of his ill-conceived ideas. According to the NY Times, his latest stroke of genius is to combine motion capture and 3D technology with baseball cards. The article gives plenty of details about what Eisner is doing with Topps, a company that he views “as a cultural, iconic institution not that different from Disney; it conjures up an emotional response that has a feel good, Proustian kind of uplift.” Eisner is also developing a movie based on the company’s Bazooka Joe bubble gum and has created a seventeen-episode online comedy series Back on Topps that “spoofs his acquisition of the company.”

(Thanks, Mike Hayde)

The latest issue of Fortune has a short article in which Jeffrey Katzenberg offers a few tips on how he keeps his artists happy. There’s also a sidebar that lists perks that DreamWorks employees receive and a quote from animator James Baxter about why he works at the studio. The article isn’t online but if you click on the image above, you can read the entire piece.

The NY Times published a lengthy piece last week about how DreamWorks Animation is performing financially. None too shabby is the Times’ verdict. “This company is a flower that is just beginning to blossom,” Katzenberg tells the paper. The studio’s features are obviously popular—their last four have outgrossed Pixar’s efforts—and they’re aggressively expanding with two TV series on Nick, theme parks in Dubai and Singapore, and the Shrek Broadway musical (which has flopped, according to the article). My opinion of the company’s output hasn’t changed, but their success can’t be denied. Katzenberg has clearly found a way to generate short-term profits by tapping into the audience’s desire for celebrities, crude humor, and pop culture-fueled entertainment. At what cost though? In my opinion, Katzenberg has sacrificed long-term cultural relevance (and profits) by ignoring the need for honest storytelling, meaningful artistry, and offering a unique point of view in his films.

(Thanks, Celia Bullwinkel, for the link)