Pasta for War is a “1930s war propaganda film made to seduce naive rigatoni to join the fight against being eaten”. Dirtected by Zach Schläppi.

(Thanks, Dan Fiebiger)

This one’s worth a few guffaws…

(Thanks, Roque)

“My Favorite Way” is a colorful and visually inventive video for Black Drawing Chalks directed by Marck Al at the Brazilian studio Nitrocorpz. Virgilio Vasconcelos, who was responsible for the CG animation, has posted some interesting ‘making of’ footage and production details on his blog. In his email, Virgilio also told me that two of the band members animated on the project.

CREDITS
Production: Nitrocorpz / Bicleta sem Freio
Direction: Marck Al
Dir.Photography: Jovan de Melo
Illustrations: Douglas Castro, Victor Rocha, Jovan de Melo
2D Animation: Douglas Castro, Victor Rocha, Jovan de Melo
3D modelling: Virgilio Vasconcelos
3D animation: Virgilio Vasconcelos
Aditional animations: Suryara Bernardi, Daryn Wakasa
Composition: Victor Rocha, Marck Al

Following the contentious Ottawa poster debate that spanned across eight or so blogs, I think we all need something soothing and magical in our lives. We could use a little Whale Magic.

The Olde English Blog does a nice job of explaining why this is the BEST THING EVER.

James Cameron unveiled the trailer to his eagerly awaited science fiction spectacular Avatar this week and, to me, it certainly looks intriguing.

However, several sites have begun comparing the visuals from Cameron’s opus to last year’s box office bomb, Delgo. Check out Movieline’s 7 Eeriest Parallels between Avatar and Delgo, and these screen caps at Denihilation.com, and tell me they don’t have a point.

Let’s hope they don’t share a similar fate.

Remember this?

Last year we posted a link for a new animated film called Freaky Flickers. Recently, Brew reader Joshua Bell decided to check the site again for any updates. What he saw wasn’t pretty.

The writer/director/animator of this mess, Cary Howe, posted the story of how his producing partners ripped him off. (The site died a week ago and Josh had to use Google to catch the links). Here’s the opening:

“This is the sad tale of how a landmark film was born and died. Late 2005 I began early tests for a possible TV series based on the Freaky Flickers toyline. By February 2009 the project had expanded to a 90 minute theatrical feature. We had a 2,800+ theater release with MGM and it seemed like nothing could stop us.

“On 6/9/09 I finished my night’s work at 12 noon. Exhausted I wished my “friend” David Kann good night/afternoon and went to bed leaving him editing in my living room. I put in ear plugs to drown out the noise of the render boxes in the next room and fell asleep. I awoke just before 8pm to a silent dark empty house. Mr. Kann and the equipment were gone as were the external hard drives with the project back ups. While I slept my business associate Peter Gantner had forced his way into my home and took everything. What made the Freaky Flickers film so unique is that it was written, directed, modeled, animated and rendered by one person with a final budget of around 250K. A first for a major theatrical release. As I write this the film is in the hands of the lawyers but the odds of it ever seeing the light of day are near zero. I entered the business in 1979 and after my experience with Freaky Flickers I can’t see myself ever making another film. On 6/9/09 not only did a film die but a career and a hundred plus unmade films passed.”

The whole sordid story is posted here. If you think the trailer above is horrid, check the footage posted on their official website.

MGM was going to release this crap? Good riddance to bad rubbish.

One of the most interesting animated-related pieces I’ve read in a while: David OReilly discusses his technical and aesthetic approach to the short Please Say Something. His ideas are a polar opposite of mainstream computer animation:

My central idea in constructing the world of the film was to prove that something totally artificial and unreal could still communicate emotion and hold cinematic truth. The film makes no effort to cover up the fact that it is a computer animation, it holds an array of artifacts which distance it from reality, which tie it closer to the software it came from. This idea is in direct opposition to all current trends in animation, which take the route of desperately trying to look real, usually by realistic lighting and rendering, or by forcing a hand-made or naive appearance. At the time of writing, this trend shows no apparent signs of ceasing.

David OReilly is a name that requires little introduction on the Brew. His new video for U2’s “I’ll Go Crazy If I Don’t Go Crazy Tonight” is a visual stunner. It was created in collaboration with designer Jon Klassen.