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2010 Annie Award Nominations Announced

ASIFA-Hollywood, the Los Angeles branch of the International Animated Film Society, announced its nominations this morning for the 38th Annual Annie Awards. The award recognizes the best in the field of animation, with categories including best animated feature, television production, commercials, short subjects, video games and outstanding individual achievements. The nominations for Best Animated Feature are Despicable Me (Illumination Entertainment); How to Train Your Dragon (DreamWorks Animation); Tangled (Disney); The Illusionist (Django Films); and Toy Story 3 (Disney/Pixar).

Complete nominee list after the jump:

Nominations for this year’s Best Short Subject are Coyote Falls (Warner Bros. Animation), Day & Night (Pixar), Enrique Wrecks the World (House of Chai), The Cow Who Wanted To Be A Hamburger (Plymptoons Studio) and The Renter (Jason Carpenter). Best Animated Television Production nominees are Futurama (The Curiosity Company in association with 20th Century Fox), Kung Fu Panda Holiday (DreamWorks Animation), Scared Shrekless (DreamWorks Animation), Star Wars: The Clone Wars (Lucasfilm Animation, Ltd.) and The Simpsons (Gracie Films).

Brad Bird, Eric Goldberg and Matt Groening will receive the Winsor McCay Award for career contributions to the art of animation. A Special Achievement Annie Award will be presented to Waking Sleeping Beauty, Don Hahn’s documentary about the revitalization of Disney Feature Animation (1984-1994). Winners will be announced at the 38th Annual Annie Awards ceremony on Saturday, February 5, 2011, at UCLA’s Royce Hall, in Los Angeles, CA.


Best Animated Feature

Despicable Me — Illumination Entertainment
How to Train Your Dragon — DreamWorks Animation
Tangled — Disney
The Illusionist — Django Films
Toy Story 3 — Disney/Pixar

Best Animated Short Subject

Coyote Falls – Warner Bros. Animation
Day & Night — Pixar
Enrique Wrecks the World – House of Chai
The Cow Who Wanted To Be A Hamburger – Plymptoons Studio
The Renter – Jason Carpenter

Best Animated Television Commercial

Children’s Medical Center – DUCK Studios
Frito Lay Dips “And Then There Was Salsa” – LAIKA/house
‘How To Train Your Dragon’ Winter Olympic Interstitial “Speed Skating” – DreamWorks Animation
McDonald’s “Spaceman Stu” – DUCK Studios
Pop Secret “When Harry Met Sally” – Nathan Love

Best Animated Television Production

Futurama – The Curiosity Company in association with 20th Century Fox Television
Kung Fu Panda Holiday – DreamWorks Animation
Scared Shrekless – DreamWorks Animation
Star Wars: The Clone Wars “Arc Troopers” – Lucasfilm Animation, Ltd.
The Simpsons – Gracie Films

Best Animated Television Production for Children

Adventure Time – Cartoon Network Studios
Cloudbread — GIMC
Fanboy & Chum Chum – Nickelodeon, Frederator
Regular Show – Cartoon Network Studios
SpongeBob SquarePants — Nickelodeon

Best Animated Video Game

Heavy Rain – Quantic Dream
Kirby’s Epic Yarn – Good-Feel & HAL Laboratory
Limbo — Playdead
Shank– Klei Entertainment Inc.

Animated Effects in an Animated Production

Andrew Young Kim “Shrek Forever After” – DreamWorks Animation
Jason Mayer “How To Train Your Dragon” – DreamWorks Animation
Brett Miller “How To Train Your Dragon” – DreamWorks Animation
Sebastian Quessy “Legend Of The Guardians: The Owls of Ga’Hoole” – Warner Bros. Pictures
Kryzstof Rost “Megamind” – DreamWorks Animation

Character Animation in a Television Production

Nicolas A. Chauvelot “Scared Shrekless” – DreamWorks Animation
Savelon Forrest “Robot Chicken: Star Wars Episode III” – ShadowMachine
Elizabeth Havetine “Robot Chicken: Star Wars Episode III” — ShadowMachine
David Pate “Kung Fu Panda Holiday” – DreamWorks Animation
Nideep Varghese “Scared Shrekless” – DreamWorks Animation

Character Animation in a Feature Production

Mark Donald “Megamind” – DreamWorks Animation
Anthony Hodgson “Megamind” – DreamWorks Animation
Gabe Hordos “How To Train Your Dragon” – DreamWorks Animation
Jakob Hjort Jensen “How To Train Your Dragon” – DreamWorks Animation
David Torres “How To Train Your Dragon” – DreamWorks Animation

Character Animation in a Live Action Production

Quentin Miles – Clash of the Titans
Ryan Page – Alice in Wonderland

Character Design in a Television Production

Andy Bialk “The Ricky Gervais Show” – W!LDBRAIN Entertainment
Stephan DeStefano “Sym-Bionic Titan” – Cartoon Network
Ernie Gilbert “T.U.F.F. Puppy” — Nickelodeon
Gordon Hammond “T.U.F.F. Puppy” — Nickelodeon
Steve Lam “Fanboy & Chum Chum” – Nickelodeon, Frederator

Character Design in a Feature Production

Sylvain Chomet “The Illusionist” – Django Films
Carter Goodrich “Despicable Me” – Illumination Entertainment
Timothy Lamb “Megamind” – DreamWorks Animation\
Nico Marlet “How To Train Your Dragon” – DreamWorks Animation

Directing in a Television Production

Bob Anderson “The Simpsons” – Gracie Films
Peter Chung “Firebreather” – Cartoon Network Studios
Duke Johnson “Frankenhole: Humanitas” — ShadowMachine
Tim Johnson “Kung Fu Panda Holiday” – DreamWorks Animation
Gary Trousdale “Scared Shrekless” – DreamWorks Animation

Directing in a Feature Production

Sylvain Chomet “The Illusionist” – Django Films
Pierre Coffin “Despicable Me” — Illumination Entertainment
Mamoru Hosoda “Summer Wars” — Madhouse/Funimation
Chris Sanders, Dean DeBlois “How To Train Your Dragon” – DreamWorks Animation
Lee Unkrich “Toy Story 3” — Disney/Pixar

Music in a Television Production

J. Walter Hawkes “The Wonder Pets!” – Nickelodeon Production & Little Airplane Productions
Henry Jackman, Hans Zimmer and John Powell “Kung Fu Panda Holiday” – DreamWorks Animation
Tim Long, Alf Clausen, Bret McKenzie, Jemaine Clement “The Simpsons: Elementary School Musical” – Gracie Films
Shawn Patterson “Robot Chicken’s DP Christmas Special” — ShadowMachine
Jeremy Wakefield, Sage Guyton, Nick Carr, Tuck Tucker “SpongeBob SquarePants” — Nickelodeon

Music in a Feature Production

Sylvain Chomet “The Illusionist” – Django Films
David Hirschfelder “Legend Of The Guardians: The Owls of Ga’Hoole” – Warner Bros. Pictures
John Powell “How To Train Your Dragon” – DreamWorks Animation
Harry Gregson Williams “Shrek Forever After” – DreamWorks Animation
Pharrell Williams, Heitor Pereira “Despicable Me” – Illumination Entertainment

Production Design in a Television Production

Alan Bodner “Neighbors From Hell” – 20th Century Fox Television
Barry Jackson “Firebreather” – Cartoon Network Studios
Pete Oswald “Doubtsourcing” – Badmash Animation Studios
Richie Sacilioc “Kung Fu Panda Holiday” – DreamWorks Animation
Scott Wills “Sym-Bionic Titan” – Cartoon Network Studios

Production Design in a Feature Production

Yarrow Cheney “Despicable Me” – Illumination Entertainment
Eric Guillon “Despicable Me” – Illumination Entertainment
Dan Hee Ryu “Legend Of The Guardians: The Owls of Ga’Hoole” – Warner Bros. Pictures
Pierre Olivier Vincent “How To Train Your Dragon” – DreamWorks Animation
Peter Zaslav “Shrek Forever After” – DreamWorks Animation

Storyboarding in a Television Production

Sean Bishop “Scared Shrekless” – DreamWorks Animation
Fred Gonzales “T.U.F.F. Puppy” — Nickelodeon
Tom Owens “Kung Fu Panda Holiday” – DreamWorks Animation
Dave Thomas “Fairly OddParents” — Nickelodeon

Storyboarding in a Feature Production

Alessandro Carloni “How To Train Your Dragon” – DreamWorks Animation
Paul Fisher “Shrek Forever After” – DreamWorks Animation
Tom Owens “How To Train Your Dragon” – DreamWorks Animation
Catherine Yuh Rader “Megamind” – DreamWorks Animation

Voice Acting in a Television Production

Jeff Bennett as The Necronomicon “Fanboy & Chum Chum” – Nickelodeon & Frederator
Corey Burton as Baron Papanoida “Star Wars: The Clone Wars” – Cartoon Network
Nika Futterman as Asajj Ventress “Star Wars: The Clone Wars” – Cartoon Network
Mike Henry as Cleveland Brown “The Cleveland Show” – Fox Television Animation
James Hong as Mr. Ping “Kung Fu Panda Holiday” – DreamWorks Animation

Voice Acting in a Feature Production

Jay Baruchel as Hiccup “How To Train Your Dragon” – DreamWorks Animation
Gerard Butler as Stoick “How To Train Your Dragon” – DreamWorks Animation
Steve Carrell as Gru “Despicable Me” – Illumination Entertainment
Cameron Diaz as Fiona “Shrek Forever After” – DreamWorks Animation
Geoffrey Rush as Ezylryb “Legend Of The Guardians: The Owls of Ga’Hoole” – Warner Bros. Pictures

Writing in a Television Production

Daniel Arkin “Star Wars: The Clone Wars: Heroes on Both Sides” – Lucasfilm Animation Ltd.
Jon Colton Barry & Piero Piluso “Phineas & Ferb: Nerds of a Feather” – Disney Channel
Geoff Johns, Matthew Beans, Zeb Wells, Hugh Sterbakov, Matthew Senreich, Breckin Meyer, Seth Green, Mike Fasolo, Douglas Goldstein, Tom Root, Dan Milano, Kevin Shinick & Hugh Davidson “Robot Chicken: Star Wars Episode III” — ShadowMachine
Billy Kimball & Ian Maxtone-Graham “The Simpsons: Stealing First Base” – Gracie Films
Michael Rowe “Futurama” – The Curiosity Company in association with 20th Century Fox Television

Writing in a Feature Production

Michael Arndt “Toy Story 3” — Disney/Pixar
Sylvain Chomet “The Illusionist” — Django Films
William Davies, Dean DeBlois, Chris Sanders “How to Train Your Dragon” — DreamWorks Animation
Dan Fogelman “Tangled” – Disney
Alan J. Schoolcraft, Brent Simons “Megamind” — DreamWorks Animation


Winsor McCay Award — Brad Bird, Eric Goldberg, Matt Groening

June Foray — Ross Iwamoto.

Ub Iwerks Award — Autodesk

Special Achievement — “Waking Sleeping Beauty”

  • I’m glad to see that there’s a video games category, but I’m quite surprised to see Heavy Rain in it. I got the impression that Heavy Rain was mostly motion capture and physics simulation and that there wasn’t much actual animation involved, and even if there is actual animation in it, there are surely far more-deserving titles than that one that came out in 2010. If you search on “Heavy Rain Animation,” the top several hits are along the lines of “Re:Heavy Rain = Buggy, Boring, Bad Voice Acting, Poor Animation, Bad Dialog.”

    The only aspect which I think justifies a nomination is that there are a handful of student animated shorts buried deep inside, but none of those were actually animated specifically for the game.

    • Some Guy


  • Hmmm, a lot of DreamWorks representation in the Individual Acievement categories for features. Surely this would have absolutely nothing to do with the recent Disney quote/unquote “boycott” of proceedings…

  • Steve

    Tangled and Toy Story 3. Arguably two of Disney/Pixars best in a decade or more. Unrepresented for individual achievement.

    I get why, but I hate knowing that people worked for years on a film, and now cant even compete for recognition because of a disagreement over voting policy.


  • Mark R.

    That Feature Character Animation category alone says a lot about how the Annies are a joke.

    • Scarabim

      Yeah, I mean seriously…Megamind?

      • Mark Walton

        I know of at least one of my friends – an animator at Disney – who got more excited about the animation she saw in “Megamind” than anything else she saw this year.

  • Iain

    My choices:

    Best Feature: The Illusionist
    Best Animated Video Game: Limbo
    Animated Effects: Kryzstof Rost, “Megamind”
    Character Animation in a Feature: Gabe Hordos, “How To Train Your Dragon”
    Character Animation in a Live Action Production: Ryan Page, “Alice in Underland”
    Character Design in a Feature Production: Nico Marlet, “How To Train Your Dragon”
    Directing in a Feature Production: Sylvain Chomet, “The Illusionist”
    Music in a Feature Production: Sylvain Chomet, “The Illusionist”
    Production Design: Pierre Olivier Vincent, “How To Train Your Dragon”
    Voice Acting in a TV Production: James Hong as Mr. Ping, “Kung Fu Panda Holiday”
    Voice Acting in a Feature Jay Baruchel as Hiccup, “How To Train Your Dragon”
    Writing: Michael Arndt, “Toy Story 3”

  • Kevan

    Congrats to all of the nominees! Securing a nomination is a big achievement.


  • Nipplenuts McGurk

    How on earth does Tangled NOT get a nomination for character animation!?!?!?!?!?!?

    • Dave

      Disney/Pixar couldn’t control the votes like they do the Academy (where they run the animation branch) so they withdrew from the Annie Awards.

      Thankfully their films still got nominated for the Best Animated Feature Annie.

      • amid

        Dave – Can you please explain to the rest of us how Disney runs the animation branch of the Academy?

      • m8r

        [Comment removed by editors. Per our commenting guidelines, “It is OK to post with a nickname or alias, but your email address (which we will NEVER share publicly), must be a real, permanent email address. Comments with fake or non-permanent emails will be deleted.”]

      • Dave

        I’d rather not comment on it, sorry. You are the animation historian, you should know all about it.

      • amid

        Dave – In other words, you’re speaking out of your you-know-what and just wanted to waste everybody’s time. If you’re going to make nonsense accusations on the Brew, be prepared to back them up.

      • Dave

        Fine. If you think my comment was nonsense feel free to remove it and these subsequence ones from your site.

      • Steve

        It was never about Disney having “control,” it was about making the voting fair.

        If anyone had control, it was Dreamworks, since they gave ASIFA memberships to every new employee and made sure everyone voted. It was an unfair practice, Ed pointed it out, and ASIFA called his bluff.

        Ed wasnt bluffing, and now you see a Character Animation in a Feature category full of Dreamworks animators. And it sucks for them as much as it sucks for Disney/Pixar. Their win will be hollow.

        ASIFA should re-evaluate the voting process.

      • Nice to know JK’s still stuffing those ballots with cold-hard cash, even after the studio’s been stepping up a bit.

        BTW Disney only controls the history books. The bias in their favor at the Academy ended in ’39, AFAIK.

  • Specs

    Wow, Dreamworks has a perfect sweep in several categories.

    I’m most interested in “Character Animation in a Feature”. How do you find clips of the nominee’s work? Presumably no one outside of DW knows which animators did which characters/scenes, unless I’m missing something.

    • Paul D

      It is too bad that the amazing character animation done by Laurent Kircher, Thierry Torres, Victor Ens, Nic Debray, and Olivier Malric (SFX) for The Illusionist did not warrant a nomination.

      Ah well.

      • Mark

        Yeah. We all know why Pixar and Disney aren’t represented here, but how is it that only DreamWorks animators are in this category? Surely The Illusionist deserved something.

    • optimist

      For individual people’s work to be considered for nomination, they (or their studio) have to submit specific examples they did in that category.
      For instance, a particular animator on Toy Story 3 would submit a reel with the clip or clips of his or her best scenes, the one he wants to have in the nomination race.

      The ASIFA panels(there are different ones with about 5 people each) for that category, i.e. “character animation in a feature” then decide who are the 5 nominees from those submissions.

      If a studio or individual doesn’t submit what they did, then of course no one “outside” has any way of knowing and that person can’t be a potential nominee.

      For the features to be considered they just need to exist, not be submitted. That’s why TS3 is one of the “best feature” nominees.

      As for the voting being unfair…one more time:

      The Annies are as fair as joining and being a voting member can make them. Other studios are capable of giving their employees memberships. And as been pointed out before many people from “competing” studios vote for work outside the companies that employ them. There’s no pressure to vote one way or another since there’s no way to know how anyone votes.

      It’s far from perfect, it’s ultimately as goofy as any awards things is, but there’s just something neat about acknowledging the individual people who NEVER, ever get personal recognition for difficult and brilliant work.

      Who’s the “best” is really not the point. Being “among the best” is. To me that’s what it’s always been about and I only wish the studios as entities made it easier for everyone to at least be at the same party. We have so few opportunities to be together and revel in each other’s efforts as a community.

      That’s what the Annies are all about, Charlie Brown.

      • Jack Sprat

        “The Annies are as fair as joining and being a voting member can make them. ”

        Or maybe animators deserve better than an awards organization that literally sells their ballots?

      • optimist

        Oh, that’s just BS. They sell memberships, not ballots. Fans can join ASIFA-so can pros. So can anyone. That fact makes the voting situation BETTER for “fairness”.

      • Jack Sprat

        Hmm, just so we all understand… You’re saying that the fact that Annie ballots (sorry, “memberships”) can be purchased by “anyone”…makes the voting more… “fair?” :) Really? And nobody will mess with that system, huh? You truly are an optimist, aren’t you.

      • optimist

        No, a realist.

        Please don’t be so contemptuous of ASIFA. It’s a real organization that actually exists outside of these awards, all year long.

        What would be a “fair” system of “best animated so & so” to you? The union members only? The general public? What? This is what it is and by the way, these awards go back long before most of the current studios existed. “Members” voted on the awards back then, just like now. Anyone could be a member then, too.

        All awards are imperfect. As I said, though, it is nice to see people get them. It’s cool. Even if it’s someone I didn’t vote for.

      • Jack Sprat

        ASIFA has maneuvered the Annies into awards season position to obviously try to be taken seriously as an “Oscar prognosticator,” like one of the other big specialty Guild awards (DGA, PGA, SAG, editor’s guild, cinematographer’s guild, etc, etc), not to mention the Golden Globes, BAFTA, and all the others I can’t even think of right now.

        Not a single one of these other industry organizations sells ballots/memberships to the general public for voting. None. ASIFA puts themselves at risk of ballot stuffing, cheating, tomfoolery, and ultimately not being taken seriously and boycotted because they apparently want to use their idea of animation’s top industry award as a fundraising time to sell more memberships.

        Yes, ASIFA is a great organization. But with all these weird controversies and even boycotts over the years, the Annies remain a laughing stock.

        If you’re going to position something as “The” prestiguous industry award for animation (“animation’s highest honor?”), this entire broken voting system needs to be thrown out the window to be taken seriously. Animators deserve better.

      • optimist

        Newsflash: the Annies have NEVER “been taken seriously”, (whatever that means!)-not by nominees, winners or anyone who knows better. They are what they are: awards voted on by members of a club of animation lovers, all kinds of folks. NOT only professionals. Membership isn’t so expensive it’s out of reach of anyone who gives two hoots about the subject of ASIFA, animation.

        It was around for DECADES, giving out awards to mostly well-known, much-accomplished veterans every year-because those were the only people around to give awards to in the 70s and 80s-and why not? What’s the “harm”-that they might appear a “laughingstock”? To whom? Why does it matter?

        NO ONE outside of a very few care a fig who’s nominated, who won and who lost. The media make a little(not a big) deal about it for the sole reason to feed the entertainment news cycle for a few seconds. Ditto blogs and websites. The good side? Animation gets some attention it doesn’t get-because actual artists get to take something home and be part of it.

        The obvious problem some people have with these goofy awards is that they just don’t always sync up with the way those same people think they should have gone. That’s all. Those same people only complain when their picks “lose”.

        It’s all nonsense-fine. But if it’s always been that way, why would some people who are PO’ed about it now ever have bothered to show up, accept awards, take out ads or help fund the ceremony? Why is it an issue only recently?

        It’s all a lot of pettiness when it could be a party with some silly, sometimes understandable/sometimes not, awards given out. That’s a shame.
        Animators deserve better, alright.

      • Jack Sprat

        I agree. But people are upset about this because the Annies have proclaimed themselves “animation’s highest honor” and situated their ceremony right in the lead-up to the Oscars.

        If they just wanted to have a fun no-stress party, why not give out awards in the summer, outside of this awards season? I wish they would. But it’s clear they want clout and influence and to be taken seriously. They want to be like the big Guild Awards, but are unnecessarily alienating a ton of artists in the process.

      • If you want the Annie Awards to be one big party where everyone is having a good time because they are celebrating the “best in animation”, then the Annie’s need to be fair. It does not feel like much of a party when the biggest animation organization, undeservedly gets the majority of the awards. What baffled the animation industry in 2009 was not only did Kung Fu Panda get Best Picture but best writing and best music as well. Wall-E had been nominated for those two subjects in SEVERAL award events that year, how did Kung Fu get it?

        If the Annie’s have shown that something is definitely wrong with the voting system and people who do not deserve the top honors are getting the top honors, then the system is not fair. Why should anyone be able to vote for something like Best Character Animation? I have not been taught what great character animation is. I do not know how to appreciate all the small details that makes one performance greater then the other. If I were able to vote for Best Character Animation it would be a great injustice. Giving everyone the ability to vote is making it so the most well known artist wins, not the best artist.

        Why is it that we care so much about teaching our kids to be fair but when it comes to something like the Annie Awards we are okay with just getting close? I think Jack is right, we can’t call the Annie’s “Animations Highest Honor”, if we are not going to take the voting more seriously.

      • Durain

        You seem to be unaware of the fact they changed who can vote.

  • Alissa

    Wow, sure is alot of Dreamworks in that list. Like, nearly every category has them represented.

  • No Megamind for Best Animated feature?
    No My Little Pony: Friendship is Magic for Best Kid Show?

    Wow. This sucks.

  • Jack Sprat

    Can somebody please abolish these ridiculous and useless awards already?

  • How did My Dog Tulip not get a single nomination. that is alot of crap. That film was far superior to Tangled. Regardless of that how did Christopher Plummer not a get a voice acting nomination. like Cameron Diaz really?

    Also I’m assuming this narrows down what will be nominated for best animated feature

  • A dude

    Wow. The boycott sucks at the level of the individual artist. No character animation moms for Tangled? That’s an injustice.

  • Without Disney/Pixar these award nominations don’t make too much sense to me.

    • Justin

      I think that is Disney’s goal in abstaining from the Annies.

  • Congratulations to all the nominees.

  • James

    Yeah, what is up with the individual noms? The Annie’s need to be totally rethought and not bought. There also needs to be some recognition of other aspects of animation like shading/lighting and rigging/modeling. Those play a HUGE role and are equally as important as FX.

  • Brad Constantine

    I must admit I’m a little disappointed that video games that use Motion Capture for the most part are nominated over “hand keyed” games like Epic Mickey, etc.
    I thought we went through this with mocap feature qualification…A lot of game studios are now shying away from mocap because of the rotoscope feel, and are concentrating on real, old fashioned,hand keyframed goodness. They should be recognized for that.

  • Julius

    Of the video games nominated, Kirby’s art style and animation really outshines the competition, the yarn aesthetic is stunning to look at. Limbo is nice too, although mostly cutout silhouette, it’s still quite good looking. But Heavy Rain? Yeah, that’s a very odd choice.

    Tangled really deserves credit in Character Animation and effects, it wowed me so much more than any of those Dreamworks movies (which were good too, but Tangled, wow). And I’d also say Sym-Bionic Titan should have gotten a nomination for television program… Oh well.

  • Earl

    So, I finally had something to submit and it looks like they got rid of the “Best Home Video” or “Made-for-DVD” or whatever they used to call the category. Thanks a lot!

    • Earl

      And by the way, I lament the demise of this category not just for me, but for hundreds of talented people that worked on direct-to-DVD projects this past year.

  • TV Animator

    Nice to see the video game nominations aren’t all ones based on animated features.

    I hope Epic Yarn wins!

  • All Award shows are basically high school pep rallies. We should all know that by now. Even the vaulted Academy Awards are not without their critics. How many talented actors have been “robbed” at the Oscars?

    We gather together once a year to celebrate our best. That’s what it’s all about. Who “wins” should not matter. Good artists are all winners.

    • JD

      If “that’s what it’s all about”, why studios bother with “bazillion Annies awards nominations” on their posters or any award campaign exists at all?

      Any award counts even the bogus ones and even if it has its fault Academy Awards can’t be lumped with the pathetic Annies.

      I’m not in favor of Disney/Pixar at all but good for them to pull out of something like this. When Panda sweeped I was disappointed but at least it was good. Now even Megamind shoo TS3 and Tangled and many more out. When 99% of the nominations belong to a studio you know it’s skewed and biased whatever you say to defend it.

    • Greg Ehrbar

      If anyone was robbed of an Oscar in one instance, it was Walt Disney for Mary Poppins for Best Picture. My Fair Lady was wonderful, but basically an exquisitely filmed stage musical without a singing Eliza Doolittle and Mary Poppins was the obvious choice.

      However, the Disney Studios was dwarfed by Warner Brothers and their voting employee block is said to have been one of the reasons My Fair Lady won. Plus Walt’s little independent was still kind of an upstart in the shadow of the larger studios of the early ’60s.

      Awards are nice, but they’re not always fair. And just because there are a lot of nominations in someone’s favor does not mean they will win — sometimes it has the opposite effect.

      Star-studded Hollywood trivia: Bette Davis used her Oscars as doorstops.

      Congraulations to the nominees, best wishes and much appreciation to the non-nominees and also to those who were part of a support team that help anyone win a nomination or an award.

  • John

    Holy Seesh! All of the Character Animation in a Feature Production category goes to Dreamworks?!! Something is rotten in the state of Denmark!

  • mawnck

    OK, one more time, folks. Disney/PIXAR ordered ASIFA-Hollywod to change the voter qualifications to exclude non-animator members, or they would pull out of participating in the Annies.

    ASIFA did.

    And Disney/PIXAR pulled out of the Annies anyway.

    Part of Disney’s pulling out of the Annies included their not submitting anything for individual achievement categories. That which is unsubmitted does not get nominated.

    The talents behind Tangled and TS3 were robbed of their Annie Award recognition by Disney, not by the Annie Awards.

  • Who keeps nominating The Simpsons for Best Animated Television Production? Why not do something surprising, and put Ugly Americans or The Venture Bros. in its place? Geez, the Best Animated Television Production for Children has more adventurous nominations than the parent category!

    • Mike

      One of the problems with the Annie awards is that they are an event put on by the Hollywood chapter. I don’t know that anyone from the Bay area or New York or anyone outside the US is a member of the Hollywood chapter. If you’re not a member, you don’t get to vote. Nevertheless, the Annies are becoming internationally recognized, even though it’s a local affair.

      • Anyone anywhere can join the Hollywood chapter. I know lots of people outside of Los Angeles who are members. And nominees can be submitted from anywhere in the world. It’s not a local affair, and never has been.

      • bill

        About one third of all ASIFA-Hollywood members are outside Southern California, and most of those in the Bay area or New York.

  • Marianne

    Congrats to Jason Carpenter for his Best Animated Short nomination for The Renter! Yay CalArts! I’m really looking forward to seeing how his film does on the festival circuit.

  • Jackson

    “Part of Disney’s pulling out of the Annies included their not submitting anything for individual achievement categories. That which is unsubmitted does not get nominated.”

    No. Disney/Pixar did not submit for anything at all–including individual achievement catagories. Any nominations for anything Disney/Pixar related was by members of ASIFA.

  • Jackson

    “OK, one more time, folks. Disney/PIXAR ordered ASIFA-Hollywod to change the voter qualifications…”

    Factually untrue. They did not “order” anyone to do anything. Stop spreading misinformation. Facts are called FACTS because they are, well, facts.

    You are entitled to your own opinion, but not your own facts.

  • Scarabim

    How come Epic Mickey got no nods in the Video Game category? Was it released too late to qualify?

    As a game, it kicks ass. As a concept, it’s brilliant. It restores Mickey Mouse to true character status (as opposed to being merely a corporate symbol) and resurrects a long-lost character that deserved a better fate (Oswald the Lucky Rabbit). Plus, it’s visually rich, imaginative and beautiful. It and the artisans behind it deserve recognition.

    • Mark Walton

      I don’t think it was released in time to make the cut for this year’s awards.

      • Steve Gattuso

        As a 2010 release, I would expect it to qualify. And I agree with Scarabim, it does deserve consideration. The work done for it was outstanding. But at least it’s not a field of movie spin-offs this year.

      • Mark Walton

        Films/games are nominated if they are sumbitted by November – it doesn’t go by the calendar year of release dates (films that officially come out after November can still qualify if they are submitted to ASIFA by November, I believe). It’s also possible that the Disney embargo of the Annie awards extended to the company’s video games. My friends, who purchased the game with a great deal of anticipation, also noted that, while the game had a cool idea and some great graphics, the actual game play (the ease with which you could control the characters) was really, really awful. Maybe that had something to do with it too.

  • Was my face red..

    The Illusionist has some of the most distinctive, non-mannered and original chracter animation that I have seen for many years. A great shame no one in Hollywood seems to have noticed.

    • Karen

      People noticed. It’s just not very good. No one cares about the animation–no matter how good==when the film is so confused and boring. That said, I’d rather sit through it again that that Tulip dog film.

      • The Gee

        what was nominated for an ANNIE that you do like?
        I’m sure it is a consequence of wrong place at the wrong time but I keep encountering your comments where you express disliking something.

        If you don’t want to answer, so be it. If I’m wrong for asking, sorry.

        I am happy the Annie Awards are getting more recognition from year to year. And, if I remember correctly, wasn’t it videotaped last time around? The next one, will is be streamed live? or put online at sometime?
        The Disney situation and the lopsided nomination of individual achievment nominees is a drag. I have no solutions nor do I have anything bad to say about it.

        Choose to win, choose to lose (apologies to V.U.)
        Let’s be frank, ASIFA’s awards aren’t a bad thing. Even if some production/people aren’t nominated that which and those who are nominated may not get a stab at many other awards. They might get over looked by other awards. So, the Annies, ASIFA-East (whatever, if anything, happens in SF) all are good things for Animation, in general.

  • Mark Walton

    My two or three cents:
    – I am getting really tired of hearing, again and again, that the fact that “Kung Fu Panda” won for Best Animated Feature (and several other catagories) is PROOF that the Annie voting system isn’t fair, that the DreamWorks voting block was “bought”. I liked “Wall – E”, but I thought that “Kung Fu Panda” was an amazing film on just about every level (story, acting, animation, character design, art direction, etc., etc.), and totally deserving of the awards it got, and I didn’t work for DreamWorks. A lot of people in the animation community that I know ALSO really liked KFP. I knew many people at DISNEY who, rightly or wrongly, liked KFP better than “Wall-E”. A LOT of people I know thought KFP was one of the best animated films they’d seen in years. It is not only really, REALLY insulting to the crew of KFP to assume that a majority of the voters couldn’t have possibly, HONESTLY preferred KFP, it’s kind of ridiculous, because:
    – the voting process is completely anonymous. There is no way to be directly rewarded or punished by Jeffrey for voting for a DreamWorks project.
    – Since Dreamworks started participating in the Annies, 6 of the 10 “Best Feature” awards have gone to Disney nominees, including last year’s “UP”, which anyone, regardless of artistic position, can vote on. DreamWorks has, to my knowledge, always paid for their staff to have ASIFA memberships. In that time, only 3 DreamWorks features have have won Best Feature.
    – Disney put pressure on ASIFA to change the voting procedure so that only story people could vote on storyboarding, etc., and they did. You can argue whether or not this was a good idea, but who still thinks this is just hearsay? This is pretty common knowledge, guys.
    It is also worth noting that the nominating commitees are made up of professionals, chosen from all different studios, that are sometimes not even ASIFA members.
    – I agree that “Tangled” should have been better represented in the individual achievment catagories than it was – particularly in animation and character design, where it really stood out. We’ll never know for sure if it would have been nominated, let alone would have won, in any of those catagories, but the fact that the movie WAS nominated in almost every general catagory it could have been, in spite of their snubbing of the Annies, makes me think Disney really shot themselves in the foot here. The only thing for we know for sure was that DreamWorks submitted reels for their employees, and Disney didn’t give them any competition.
    Sometimes I really agree with the ASIFA winners, sometimes I don’t. I particularly don’t like how certain films from several studios tend to sweep all the categories they’re nominated for, including some that they were (IMHO) clearly not the best in, robbing other deserving contenders. (This sort of “robbery” happens ALL THE TIME in the academy awards – frankly, though I usually watch them, I am usually incensed at many of the winners and the deserving people who aren’t even nominated, as well as the almost perenial tendency to award actors or directors one or several years AFTER they actually deserved to win – I think ASIFA’s choices give them at least as much credibility as the Academy, if not more) I don’t know why this happens. I can’t imagine any organization trying harder to be fair than ASIFA does, where you are actually forced to watch part or all of a nominated submission before you’re allowed to vote in a category – which the Academy does NOT require of its voters.
    – Do you actually begrudge ASIFA for trying to get more credibility and attention drawn to the Annie’s? How exactly is this bad for the animation industry, or the people who work in it? You’d actually prefer that the only recoginition paid to all of the people behind the scenes in this business would be to the directors of the 2 to 5 Best Animated Feature and Best Animated Short categories at the Oscars once a year? Or you think even that’s too much – you’d prefer that nobody in this business gets any recognition or hoopla for their talent or trouble? The oscars and annies might be flawed, but I think they’re both a LOT better than nothing.
    The only change I’D really like to see is, when the inevitable live-action celebrity with a thriving career wins “Best Voice Performance” over the poor slobs who have nothing BUT their voice careers, and then doesn’t even bother to show up, because they couldn’t care less about the Annies, and the film’s producer accepts the award for them, trying to convince us how much that actor really appreciates the honor…well, the award should automatically go to the nearest runner-up that bothered to come to the awards (not that I’m biased or anything) ;)

    • Mark Walton

      I mean, sure, if said celebrity has some life-threatening emergency, some clemency should be shown, but when Ahmed Best is at the awards with his wife just hours from delivering their child, and Jen Cody drives cross country just to be there…well, I think you get my point!

    • Specs

      I think it’s the shut-out that upsets people. If KFP had simply won a lot of the awards, or even the majority of them, I don’t think there would have been such an outcry. But Wall-e getting NOTHING? It just doesn’t seem realistic. Add in the fact that Wall-e was collecting other awards by the truckload, and it makes the Annies seem suspicious by comparison.

      You’re right on the money about Disney shooting themselves in the foot. When they made the decision to pull out, everyone was only thinking about Toy Story 3 because most people had no clue if Tangled would even be a contender or not. Now, there are two sets of animators with excellent work who won’t be getting recognized, instead of just one. Sad.

  • Tkelly

    TS3 or Dragons all the way for best Animated Feature. How Chomets lesson in how not to direct a movie can feature in the nominations is a questionable inclusion.

  • Mark Walton

    Are you speaking to the final resulting film, or the way that the film was managed by Chomet? I can’t speak to what happened behind the scenes, but I really enjoyed the film for being totally different than the other contenders, telling a difficult story with almost no dialogue and no celebrity voices, putting all the storytelling onus on the animators, who had to sell the gags/ideas/emotions through solid, subtle acting, without the benefit of fancy, frenetic editing or constant close-ups). I liked that they completely committed to the time period and location they picked, in terms of storytelling, pace, etc. – it’s old-fashioned and “dated” in a way I really respect. (no anachronistic cheats to make the film more marketable). And I thought the film had a really mature gravitas and bittersweet mood that we almost never see attempted in feature animation (outside of Asia), and yet it still managed to be really funny, imaginative, entertaining, with hauntingly beautiful locations – IMHO.

  • Mark Walton

    Parting shot (probably):
    No disrespect intended to the other nominees, but Walt Dohrn (Rumplestiltskin)was TOTALLY robbed. I assumed he’d walk away with Best Vocal Performance, but the fact that he wasn’t even NOMINATED, when he totally stole the show he was in, and was more memorable than any other performance I can think of, is just wrong.

    • Mark


  • John

    John Knoll the visual effects supervisor from ILM has stated on the cgsociety forum that those who are Academy voters should only vote in the category of their expertise, but he says not everybody adheres to it, and there’s nobody to stop them if they do. Everyone gets the same ballot, you are supposed to leave the portion blank that you aren’t supposed to vote on! My friend was given a ballot in the mail and he wasn’t even an Academy Member, he voted and mailed it back, he had a good laugh when he got it in the mail. So why isn’t Pixar/Disney not calling out the Academy for losing to Shrek in 2001? Or when Cars lost to Happy Feet in 2006 for these errors in that system? To me it just sounds like all around the animation community, Kung Fu Panda was better liked than Wall-E. The Annie awards can have a different outcome than the Academy Awards! The reason why Wall-E won at the AA is because it adhered to the Hollywood environmentalist agenda, even though it was a boring movie, oh and noboy wants to be in the in croud liking Pixar!

    The reason why I liked KFP more than Wall-E. The characters in KFP had personalities, there was a good use of posing in CG that really hadn’t been seen since The Incredibles. The layman wouldn’t of noticed that. When KFP came out this site loved it, with Jerry Beck hailing it’s praise. The animation community enjoyed it a lot. From an animators point of view KFP was more enjoyable. Wall-E on the other hand fit in with the Academy where they look for films that have a deep message. Or sometimes they better vote with what’s popular in Hollywood!

  • Kirsten

    There’s also a student category this year at the Annie awards… :)