Drab colors and creative camerawork create a sense of unease shared by the film’s well-designed characters and the audience.
The creator and EP also explains the changes his team made to adapt the Oscar-winning short as an animated series in ‘Young Love.’
“By showing fragments of violence I had experienced in my life, I was putting together a portrait of society in a patriarchal world,” says Yakovleva,
Scalise told us when practical effects were preferrable, and when the digital artists at Framestore were required to deliver a scene.
And why he couldn’t resist adding some hand-drawn 2d sequences to the mix.
Dermange’s autobiographical documentary tells a larger story of generational trauma suffered by many Armenian families.
We caught up with directors Julien Chheng and Jean-Christophe Roger, who shared a bunch of character design art with us.
Junyi Xiao talks us through the years-long evolution of his film’s deeply personal narrative.
Cotugno says the collaborative nature of animation production helped improve their mental health after months of working alone on the comic.
Director Silvia Prietov spoke with us about the honor she and her team felt in being asked to produce the short.
We caught up with Gair ahead of the film’s North American premiere at at the Portland Festival of Cinema, Animation & Technology.
Carrie Hobson, Michael Yates and David Lally take us behind-the-scenes of Pixar’s ambitious upcoming series.
“A lot of people have a lot of ideas how [Ruby] should be living her life and this journey she goes on is figuring out how she wants to,” says director Kirk DeMicco.
Directors Nick Bruno and Troy Quane and creator ND Stevenson spoke to INBTWN Animation about their film, streaming on June 30.
“Some early versions of that were almost superhero movies essentially with fire powers and water powers to stop a villain,” said Sohn, “but you didn’t feel anything. So we were just searching for that connection with the elements.”
Several titles spanning back to the 1930s have been digitized and were screened at this year’s Annecy Festival.
In an Annecy masterclass, del Toro said recent box office hits like ‘Spider-Man’ and ‘Mario’ could convince studios to give more leeway to animation filmmakers.
He’s directed some of Disney’s most beloved films of the modern era, but making I’m Hip required John Musker to do something he hadn’t done regularly in the last 40 years: animate.
In a recent interview, the prolific kids’ tv creator also revealed she’s no longer at Netflix after her overall deal ended in January.
There isn’t a proven roadmap to building an animation studio in Uganda, but that isn’t stopping Raymond Malinga whose studio’s mantra is “the audacity to dream.”
