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Drawing On Classic References, ‘Boss Baby’ Director Tom McGrath Explores A Fresh Look
The animation and design of ‘The Boss Baby’ is a deliberate throw-back to old-school styles.
Interviews
INTERVIEW: ‘Hey Duggee’ Creator Grant Orchard On Creating An Unconventional Preschool Show
After 20 years in the industry, Oscar-nominated short filmmaker and commercial director Grant Orchard discovered that tv series production has its own unique challenges.
‘Rock Dog’ Director Ash Brannon On How To Navigate A Chinese-Funded Production
Made in America with Chinese money, does “Rock Dog” represent a future for animated features?
Q&A: Chris McKay Goes Full Caped Crusader on ‘The Lego Batman Movie’
How Chris McKay immersed himself in the world of Batman for the latest Lego adventure.
‘My Life As A Zucchini’ Director Claude Barras On The Hard Work of Simplicity and Minimalism
Director Claude Barras talks about the hard work of achieving simplicity, the keys to making kid characters in animation feel authentic, and why he believes stop motion is the midpoint between fiction and animation.
‘Return of the Jedi’ and ‘Roger Rabbit’ VFX Supe Ken Ralston Reflects on the State of the Industry
Five-time-Academy Award winner Ken Ralston offers his thoughts on past projects and the future of vfx.
Meet Spain’s Hottest Animator, Alberto Vázquez, Who Swept The Goya Animation Categories Tonight
Alberto Vázquez made history tonight at the Goya Awards, winning both the animated feature and short film prizes.
How ‘Trollhunters’ Went From A Feature Project To Netflix Hit: An Interview with Showrunner Rodrigo Blaas
Is feature quality possible in a tv series? Rodrigo Blaas tried to find out with Dreamworks’ new hit “Trollhunters.”
Q&A: Director Chris Wedge on the Road to ‘Monster Trucks’
How Blue Sky’s Chris Wedge went from animation to live-action for ‘Monster Trucks’.
‘A Monster Calls’ Used Every Kind of Animation To Tell Its Story
Glassworks, Headless Productions, and MPC collaborated to create the stunning visual landscape in “A Monster Calls,” opening wide in the U.S. today.
INTERVIEW: ‘Sing’ Director Garth Jennings Jumps Headfirst into Animation
“I feel like I have learned more in the last three-and-a-half years than on anything else I’ve done before.”
Netflix Looks To Australia For Its New Adult Series ‘Pacific Heat’
“Pacific Heat” co-creator Rob Sitch talks to Cartoon Brew about making an adult series for Australians.
Smith & Foulkes Try Something Different With An Animated Storybook App
The Oscar-nominated duo talks to us why they wanted to make their latest project as an interactive storybook app.
Paul Debevec: A Name You Absolutely Need to Know in CG, VFX, Animation, and VR
A deep dive with researcher Paul Debevec, who has been pivotal in some of the biggest innovations in vfx, including photoreal digital characters.
Marvel’s Victoria Alonso on How Her Studio Tackles VFX Differently
One of the most important executives in vfx, Marvel’s Victoria Alsono, gives a rare interview on how the studio approaches visual effects on its blockbuster superhero films.
‘Trolls’ Director Mike Mitchell: There Was No Mythology to These Things…I’ve Never Felt So Free
‘Trolls’ director Mike Mitchell and co-director Walt Dohrn talk to Cartoon Brew about creative freedom, how Genndy Tartakovsky and Phil Lord helped out, and making cg look more handmade.
From ‘Cow & Chicken’ to ‘Open Season’: Q&A with David Feiss
What’s new with “Cow & Chicken” creator David Feiss?
ILM’s Rebel ‘Jurassic Park’ Artists Reflect On The State of VFX Art Today
Mark Dippé and Steve ‘Spaz’ Williams, who created groundbreaking vfx work on “Jurassic Park,” “T2,” and “The Abyss,” talk about what’s different about the vfx industry today.
‘Sausage Party’ Directors Conrad Vernon & Greg Tiernan On Making 2016’s Most Outlandish Animated Film
The directors of “Sausage Party” talk about the challenges of selling an R-rated animated feature in Hollywood, producing a film on a fraction of the budget of other studios, and knowing when you’ve gone too far in an R-rated cartoon.
Interview: Mark Osborne’s Personal Journey On ‘The Little Prince’
Mark Osborne talks about why he said no to directing the project at first and why working in CG can drive a director crazy.
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