Director Jérémy Clapin walks us through the making of his new feature “I Lost My Body.”
“Klaus” brings hand-drawn animation back — but it also pushes it forward. The film’s artists tell Cartoon Brew how they created the film’s unique look.
In his debut feature “The Tower,” Grorud draws on personal experience to tell a story of Palestinian refugees that spans five generations.
A director talks us through the ups and downs of making a low-budget cg animated feature.
“It’s really in vogue to evoke old things to roll your eyes at them and sneer at them, and we really don’t want to do that.”
In 2017, John Morena set out to make 52 shorts in a year. The animator talks to Cartoon Brew about the one-of-a-kind project that is “Area 52.”
Dozens of Latin American series have been optioned, and moved into development and production thanks to the Ideatoon competition.
Thurop Van Orman, creator of “The Marvelous Misadventures of Flapjack,” makes the most of his feature directorial debut.
“If you have an idea for a short that involves story, for God’s sake don’t do it in vr.”
Antín harnessed pre-Columbian iconography as the basis for the film’s character and production design.
The film screened last week in the Contrechamp Feature Film competition of the Annecy festival.
“Funan” opens today in Los Angeles.
In an exclusive English-language interview, Yoshiaki Nishimura speaks with Cartoon Brew’s about the growth of his company, Studio Ponoc.
With over 60 Pokémon to design and a complicated approval pipeline, “Pokémon Detective Pikachu” was not your typical hybrid cg production.
“I like taking on something that’s not going to be that easy,” says “Uglydolls” director Kelly Asbury.
Adult Swim’s newest animated series, “Lazor Wulf,” is an acid vision of friendship and modern life from an African-American perspective.
Marta Pajek discusses the ideas behind her captivating and complex short film trilogy “Impossible Figures and Other Stories.”
“Some people told us to never pitch directly to the network; other people told us that we should never pitch without artwork. So we pitched it directly to Teletoon without artwork.”
Having been at the helm of all three “How to Train Your Dragon” films, DeBlois has witnessed major changes in editorial processes, effects, and rendering.