One of the most important people at Pixar, 25-year veteran producer Darla K. Anderson, has left the company just days after she won the Oscar for “Coco.”
Wes Anderson’s new film is already breaking barriers, becoming the first animated feature to open the Berlinale festival. What else can it do for animation art?
A tv animation veteran shares some thoughts on the current demand for series in the animation industry.
Creators can learn a lot from how Butch Hartman announced that he’s leaving Nickelodeon.
When your first award presenter of the evening is a man charged with rape, it’s a fair indication of where the rest of the evening is headed.
Here’s a look back at the pieces that captivated the animation community in 2017.
99% of all major U.S. animation releases in the 2010s have had at least one male director. The grim situation will continue in 2018.
“[It’s] misguided to even consider nominating an actor for a performance unless you’re also gonna nominate the part of the vfx team behind it and the vfx supervisor because that is a joint effort.”
When creating Apu, voice actor Hank Azaria said he was instructed by “The Simpsons” writing staff: “Can you do an Indian accent and how offensive can you make it?” Now there’s a documentary about how offensive Apu is.
Andy Serkis’ newest lie: animators aren’t part of the production process for the characters he performs.
The success of Cuphead is the harbinger of a new era for independent animation creators.
Women in animation speak openly with Cartoon Brew about what it means to work in the business while being a mom, and what the industry should be doing to support their careers.
Aardman needs to do more than make a Youtube channel if it wants to support independent creators and producers.
Youtube’s poorly-regulated and selectively-enforced policies continue to hurt filmmakers.
Disney put “Coco” director Lee Unkrich in a tough spot, and he’s expressing his frustration on Twitter.
The well-reviewed “Ballerina” is being released as the poorly-reviewed “Leap!”
Why is Hollywood obsessed with making animated films based on intellectual property that doesn’t have any stories, characters, or mythologies?
“Bambi” offered a warning to humanity, but no one listened.
Old man yells at computer graphics, vfx supervisor corrects him.
Jeffrey Katzenberg’s plan to re-invent short-form web video — “New TV,” he calls it — sounds an awful lot like his approach to Dreamworks Animation.
