With the entire Internet already yakking about the new “Teenage Mutant Ninja Turtles” trailer, it hardly seemed necessary to bring it up here. But for the sake of posterity, here is the trailer for the Jonathan Liebesman-directed film, which will debut on August 8th:
Disney’s Frozen will soon merit its own chapter in the entertainment industry Big Book. The 2014 Oscar winner for best animated feature has earned over US$1 billion at the box office, currently the second highest-grossing animated feature in history, behind “Toy Story 3.” The movie’s phenomenal financial success has obscured under-the-hood examination of its performance engine. As an acting teacher, I am an artistic purist; grosses and popularity awards don’t mean much to me. My standard of measurement is the emotional impact a movie has on its audience and its elegance as a work of art. “Frozen” is beautiful to see, fun to sing along with and is a modern day marketing marvel, but the script has structural and performance issues that are worth examining because they impact directly on acting.
In a world of dumb animation execs, Stu Snyder made a sincere effort to be the dumbest. He was the genius who led a campaign to remove cartoons from Cartoon Network. Now, he’s leaving Cartoon Network.
A simple tip to artists from a stop motion master.
A recent blog post on the Guardian brings up a common misconception: that sexualizing Disney characters is somehow daring or cutting edge.
Last summer at SIGGRAPH, Pixar presented a paper offering some clues about one of the major new directions that CG feature animation is headed. The paper, “Stylizing Animation By Example,” explored how filmmakers could achieve more expressive rendering styles that disregard the perfect boundaries of computer graphics rendering and mimic traditional painting techniques.
Find out which studios, schools, and countries visited Cartoon Brew most frequently last year.
While we’ve already debunked Meryl Streep’s accusations that Walt Disney was a “gender bigot,” let us use her commetns as an opportunity to dig even deeper and find out what actions Disney actually undertook to encourage the advancement of women at his studio.
Yesterday we looked at “Boonie Bears,” a Chinese attempt to emulate Western-style computer animation. But at the risk of overgeneralizing contemporary Chinese animation on the basis of their most derivative and commercial efforts, I wanted to offer another perspective.