The showrunner of Netflix’s new satirical series talks conspiracies and creative collaborations.
In the new short film “The Windshield Wiper,” Albert Mielgo attempts to uncover what it is about this thing called love that so enraptures humanity.
Dan Ojari and Mikey Please explain how they made their seasonal short at the storied stop-motion studio.
“We need to collectively decide what’s healthy for us as individuals,” says Gavin, “and find a way to make taking responsibility for maintaining our mental health a real priority.”
“We always want to do funny things, but the results are always terrifying. We seem to be bad comedians.”
“We don’t want all these objects to end [up] in the ocean or poor countries as garbage,” says Delphine Maury of France’s Tant Mieux Prod.
The exuberantly experimental indie feature is out in theaters and on video on demand.
Director Greg Franklin tells us how the project started, what was tricky about animating Notaro’s jokes, and why he went experimental on a segment about Eddie Van Halen.
Galloway has carved out a niche creating stop-motion commercials with toys. He tells us how he got here.
In a wide-ranging interview, the director drills into the narrative and design choices behind his Pixar feature.
Welcome to Series Craft, a new series in which we explore a creative facet of a show’s production in depth and discuss the choices that led to the finished result.
Latin America’s leading animation festival will be held virtually on September 7–11.
Independent animator Cas van de Pol tells us how he organically grew his following into a hit Youtube channel.
In a wide-ranging conversation, Appelhans explains why he ended up making the feature in China, rather than through the U.S. studio system, and reflects on what it means to be an American telling a story rooted in Chinese culture.
Welcome to Series Craft, a new series in which we explore a particular creative facet of a show’s production in-depth and discuss the creative choices that lead to the finished result onscreen.
Joanna Quinn’s new film “Affairs of the Art” took years to make, but that was a reward in itself: “It was like an extended college, and I felt I was learning new things about animation, drawing, and direction all the time.”
Olivares, who also served as character designer on Sony’s new film, tells us how it came together visually.
The director speaks to us about the challenges of developing a hand-drawn look for his cg feature, and much more.
The Icelandic filmmaker speaks about photograph, shoestring budgets, and the beguiling power of a single syllable.
Pixar veteran Oh has scored an Oscar nomination for his self-produced experimental short. He tells us how the project came about.