This Variety article explains how 20th Century Fox TV and Fox Broadcasting Co. are launching Fox Inkubator, a new inititative designed to find and develop animated projects. The program will give animators the opportunity to make two-to-three minute shorts, and the successful ones will later be developed into pilots and series. Inkubator, headed by Jennifer Howell, a former supervising producer on South Park, could eventually turn out up to 25 shorts a year. Most notable, unlike development programs at other networks, the Inkubator shorts will be distributed online and available to the public.

In addition to Inkubator, 20th Century Fox has established an in-house animation department for the first time in its history. It is also headed by Howell. The Variety article makes it sound as if Fox is dedicating its future to animation in a big way. Various Fox execs are quoted in the piece saying that animated series “have done so much for us financially and building the brand of this studio. We felt we needed to shine a bigger and brighter light on the future of animation production at this studio,” and “Animation is the perfect product for the world we live in, where DVD sales are so critical, appealing to young men is so critical, and there’s growing digital distribution of shortform content.”

Read between the lines though and things look less rosy. For example, take this quote from one of the suits about the production costs of the Inkubator shorts: “It will be cost effective given the way technology has developed…This isn’t about paying big premiums or big fees to writers. It’s intended to be done on a less-expensive scale.” In other words, they’re likely planning to hire a bunch of young artists and have them produce a crapload of cheapo Flash cartoons with the hope that audiences latch onto one of them. That’s too bad. I’ve long felt that development programs today are shortsighted by focusing on the creation of one-hit wonders and trendy properties, instead of pouring their resources into the long-term development and nurturing of talented artists, who in turn could develop many successful properties. Perhaps if any good comes out of the Inkubator, Fox will finally realize that there are plenty of talented animation creators out there whose names don’t begin with “Seth” and end with “MacFarlane.” I’m not holding my breath though.

Does the fact that cartoon channels like Cartoon Network and Teletoon are no longer interested in airing animation have any relation to the fact that Ice Age director Chris Wedge and Ratatouille director Brad Bird are now directing live-action features. Animation director Mark Mayerson seems to thinks so and his commentary is a thought-provoking read. Here’s what Mayerson has to say about directors like Wedge and Bird who are trying out live-action:

“As much as we want to believe that animation is a medium and not a genre, maybe everybody outgrows it after a while. Which isn’t to say that animation isn’t capable of more than it’s currently doing, but looking at what’s out there now, it’s not hard to sympathize with directors who want to try something new.”

Pictoplasma is moving its conference on contemporary character design from Berlin to NYC this year. The two-day event will take place September 5-6 at the Skirball Center for the Performing Arts at NYU, with confirmed speakers including Friends With You, Akinori Oishi, Aaron Stewart, David O’Reilly, Tim Biskup, Motomichi Nakamura, Fons Schiedon and Gangpol & Mit. Pictoplasma is also accepting entries for the animation screenings that will take place during the festival.

Earlier Pictoplasma character design conferences have received positive reviews, but I’ve always found it difficult to warm up to the idea of Pictoplasma. My biggest reservation about the enterprise is that they try to sell the idea of “character” as new and fresh, and as something that is proliferating as never before. This would be true only if their conception of “character” was created in a bubble and ignored the rich history of character design that came before them, which is sadly what Pictoplasma does as a movement.

Pictoplasma says, “Our visual culture is being revolutionized by a new breed of characters, abstract and reduced to minimal distinguishing graphic features.” I say, look at the work of Fifties character designers like Tom Oreb, T. Hee, John Hubley, Ernie Pintoff, Bobe Cannon and Ed Benedict who also created “a new breed of characters, abstract and reduced to minimal distinguishing graphic features.” They say, “In the process of a truly explosive movement, [characters] invade digital media, animation, advertising, art, fashion and street art.” I say, look at Walt Disney’s iconic use of Mickey Mouse beginning in the late-1920s, in which Mickey was a character who transcended individual media and boasted an all-encompassing presence in film, comics, books, toys, advertising and fashion.

Those with even the slightest grasp on history will have trouble looking at what Pictoplasma purports to be revolutionary and groundbreaking–like the characters in the lineup heading this post–and finding anything novel about the creations. This type of character design was already done decades ago, and I might add, with far more skill and invention. An awareness and respect for the artists who pioneered the “character design movement” would encourage today’s artists to build upon their predecessors’ character design work and push forward into uncharted territory instead of merely churning out pale imitations of earlier works.

Digital animators and visual effects artists at Sony Pictures Imageworks created this unofficial short that shows two artists concerned about how Sony’s new outpost in Chennai, Imageworks India, may affect their lives in Culver City. It’s meant to be a funny gag film, but the underlying message represents a very real fear that surely many animation and vfx artists in the US have right now.

UPDATE: According to this blog, this film was the prize winner in an “under $100 film” contest held at Sony Pictures Imageworks.

(A sidenote: The video is even funnier if you’re familiar with this Bollywood movie scene. And for you English-speakers, here’s the translated version.)

(via Thinking Animation blog)

Our rules for how to submit news items for Cartoon Brew consideration are quite clear, but that doesn’t stop PR folks, who have clearly never read the website, from constantly sending us wildly inappropriate items to post on the Brew. We get dozens of these emails every week. For the most part, I junk them without even opening them, but this one from CBS was so bad that I couldn’t resist sharing with readers. I’ll spare readers the pain of linking to their awful Flash animation, though it’s online if you wish to torture yourself.

Wed, 26 Mar 2008 17:38:03 -0700 [05:38:03 PM PDT]
From: “Walworth, Cori” cori.walworth@tvc.cbs.com
Subject: “Danny Bonaduce Life Coach”

Just wanted to run a fun idea by you, the Danny Bonaduce Life Coach show has a new mobile episode running tomorrow, it’s starring Pam Anderson.

On this episode, called “Pam Anderson: Mammiforous Matrimony”, Danny and his sidekick Catchphrase are summoned to save Pam from a failing career and failing marriages by becoming match makers. Will Danny’s skills save her from another divorce?

If interested I can send you the episode for you to review and post on your site. Be one of the firsts…

Thank you and hope to hear from you soon.
Cori Walworth
CBS Media Relations
323-575-2119

Sad news from our favorite touring cartoon festival, The Animation Show. Don Hertzfeldt, who co-founded the Show with Mike Judge, announced in his online journal on March 16 that he will no longer be involved with the Show. The reasons for his departure are vague; the text of his online post reads:

last week i decided it was time for me to part ways with the animation show. it’s been five years and three tours and some good memories. they have a new tour rolling through theaters this summer and i don’t know what will be in it but i encourage you to go check it out

The Animation Show is still being run by a competent group of folks and I have no reason to believe that they won’t continue to grow and prosper. Still, Hertzfeldt was a huge part of the Show’s personality and it’s sad to see him leave.

Animation writer and critic Emru Townsend was diagnosed last December with leukemia and a condition called monosomy 7. He is in need of finding a bone marrow donor match soon. While donors can’t specify who they want to donate too, Emru’s family has started a website HealEmru.com that offers information on bone marrow donation and teaches adults how to sign up for their country’s bone marrow registry.

For those who aren’t familiar with Emru’s work, he founded Frames Per Second Magazine in 1991 and has continued its publication in one form or another up through today at FPSmagazine.com. As a fellow publisher, I can say that nobody publishes an animation-related magazine to get rich; we do it because we love the art form, and Emru has for decades been one of animation’s best friends and most intelligent critics. Both Jerry and I wish him a speedy recovery.

Yesterday’s LA Times had an unnecessarily sensationalistic article about the difficulties of breaking into the directing ranks at Pixar. The piece is misleading simply because the idea of building a hand-picked stable of animation directors is not unique to Pixar but a cornerstone of most major animation studios, past and present.

The article uses Jimmy Hayward as an example of an artist who had to leave Pixar to get his shot at directing Blue Sky’s Horton Hears a Who! but what the article neglects to mention is that Blue Sky’s first three features were directed by the same two people: Chris Wedge and Carlos Saldanha. The simple math of hundreds of artists at an animation studio and one or two directors on each film makes it obvious that not everybody’s going to direct. Also, with the stakes so high on each computer-animated film, it makes sense that studios would develop a core of trusted directors instead of trying out new helmers on each pic. Why the LA Times feels that Pixar should be any different is beyond me.

In fact, the article fails to discuss one of the great things that Pixar does which most other feature studios don’t, and that’s how they use their short film division as a place to try out new directorial talent. In just the past few years, numerous Pixar folks have directed shorts for the first time including Andrew Jimenez and Mark Andrews (One Man Band), Gary Rydstrom (Lifted), Jim Capobianco (Your Friend the Rat) and Dan Scanlon (co-director, Mater and the Ghostlight). The short that’ll debut in front of Wall-E is again helmed by a freshman director, this time the talented Pixar animation veteran Doug Sweetland. Considering the relatively few directing slots available in animation in general, I think Pixar does as fine a job as any contemporary studio possibly can in terms of spreading directing opportunities amongst its artists.

[Disclosure: I am currently working on a book for Pixar.]

Superjail is an animated series set in the cooler, but Brew reader Dominic Bisignano points out that there’s a non-profit organization called Giant Elephants Roam that teaches actual prisoners how to animate. The website features short animation tests created by inmates at the Antelope State Valley Prison in Lancaster, California, which is where the pilot program is currently underway. The program was conceived by CalArts student Vita Rabinovich. Below is an example of animation created by inmate “Doc.”

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