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.
“The Good Dinosaur” is as depressing as the movie about “the guy who got raped by a bear,” says Trey Parker.
A peek into the future of animation.