“I know how to do every job in animation, so I’m gonna just sit down and do this,” Kopp says of his decision to go indie.
Animation and live-action director Clay Kaytis believes it’s time for all directors to be covered by the Directors Guild of America.
Illustrator Pablo Lobato, who had never worked in animation prior to this film, had to both learn – and unlearn – craft and skills to design characters for stop motion.
“I wanted to have evidence of [stop motion’s imperfections],” says Selick. “I think the audience needs to work a little bit to make the magic real, but then the movie means more to them.”
The Disney workers’ strike of 1941 changed animation forever, and Friedman’s book tells the whole story for the first time.
Using Giphy, Boya is baking up an expanded universe called ‘The Mill’ to generate interest in a short film and/or series.
In a wide-ranging interview, ‘Victor and Valentino’ creator Diego Molano remains upbeat about the future of his series.
To strike a balance between comedy, horror, and drama, the show’s creators worked hard to keep the series grounds.
Hulsing discusses how he got the gig, working without a character designer, and why 30 naked people sang to him on his 50th birthday.
‘Luck’ director Peggy Holmes discusses the process of creating and developing Skydance Animation’s first animated feature.
Talking Editing With ‘Making The Cut At Pixar’ Authors Bill Kinder And Bobbie O’Steen.
Founder Kris Wimberly discusses the new studio, meant to be a gateway into the industry for artists from marginalized communities.
Director Chris Williams discuss the cinematic influences behind The Sea Beast, and how working on Moana prepped him for this film.
Watch the directing duo of Lilo & Stitch reminisce about the creation, development, production, and enduring legacy of the Disney classic.
Working from home, the studio developed a new IMAX pipeline for its first theatrical release in more than two years.
Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson sat down with Cartoon Brew’s Kambole Campbell to discuss the Spidey sequel.
Former Annecy winner Alberto Vázquez uses teddy bears and unicorns to deliver his colorful, vulgar, and hilarious anti-war allegory.
A look at how Lei Lei combined his own ancestry with photos picked up at flea markets to tell a timeless story about family.
“We have so much ability to love, but our ability to hate comes from the same place,” Baumane learned while researching the film.
Apollo 10 1/2 director Richard Linklater discusses his return to rotoscope, crafting a visual narrative, and the flexibility of memory.