Animation Was UK’s Most Popular Type of Film in 2013
In 2013, filmgoers in the United Kingdom and Ireland watched more animation than any other type of film, according to a new report by the British Film Institute.
In 2013, filmgoers in the United Kingdom and Ireland watched more animation than any other type of film, according to a new report by the British Film Institute.
Ross O'Donovan, an Australian animator who creates Internet cartoons using the handle Rubber Ninja, has posted a video that argues recent changes in YouTube's algorithms give preferential treatment to live-action content creators while making it more difficult for animation creators to earn money on YouTube.
Animated Fragments is our semi-regular feature of animation tests, experiments, micro-shorts, and other bits of cartoon flotsam that don't fit into other categories.
Don Bluth and his troops were gone, but the studio still had an animated movie to get out. Art Stevens, now lead director, was slowly pulling the picture together with the animators and layout artists who remained loyal to the Mouse. But the animation department was still in flux.
"Annedroids" creator J.J. Johnson talks to Cartoon Brew about science-based kids programming, the challenges of making live-action/animation hybrids, and why not understanding the animation process can work to a producer's benefit.
A new commercial studio, House Special, launched in Portland, Oregon last week. The company was started by Lourri Hammack, Kirk Kelly and Al Cubillas, who ran Laika's former commercial division Laika/house.
At a presentation for LAIKA's third stop motion feature "The Boxtrolls," LAIKA's CEO Travis Knight told San Diego Comic-Con audiences that he hopes to make a hand-drawn animated film at some point in the future.
President Obama will honor DreamWorks Animation CEO Jeffrey Katzenberg with the 2013 National Medal of Arts.
"Walking City" is a continuation of Universal Everything’s artistic line of enquiry, investigating human movement, emotional design, architecture and sound.
Any reason to celebrate the National Film Board of Canada is a good one; the NFB is a model for government-funded arts organizations, both in the freedom granted its filmmakers and its long string of successes.
Comic artist Mike Mignola created this poster for the upcoming Pixar TV special "Toy Story That Time Forgot" that will air on ABC this winter.
Like its predecessor, "Planes: Fire & Rescue" opened in third place at the U.S. box office. The new film, however, grossed only $18 million, or 19% less than the opening of the first "Planes."
Don Bluth smiled at me. "I wouldn't worry about being laid off from Disney's, Steve. Nobody gets laid off around here. When somebody messes up, the studio just sends them to WED."
Disney TV Animation announced an unusual series of pilot deals and projects today with an un-Disney-like roster of creators.
Comic-Con International: San Diego is almost upon us, and the organizers have released the event's mammoth program schedule. The madness, taking place from July 24-27, includes hundreds of panels, discussions, art demos, and screenings, with everyone from Buzz Aldrin to Betty White getting their moment to shine.
Jorge Gutierrez, the director of Fox's "The Book of Life," spoke at length about the film's background and production to the website Del Toro Con. At the very least, the film promises to be the most personal and distinctive-looking major studio CG feature of 2014.
Aardman's first star, Morph, has returned in a new series of Kickstarter-backed YouTube shorts.
Masaaki Yuasa's fourth TV show wraps up in a fairly satisfying way with a briskly paced and nicely animated climax that brings emotional closure to the story with a cathartic showdown and thread-tying coda.
While Iranian live-action cinema has achieved vast acclaim throughout the years, the country has yet to produce an animated feature that has made a similar impact on the international scene. That may change soon with multiple animated features currently in production and rapidly rising production standards.
Before I got hired at Disney Features, I sold a few magazine articles and developed a love of writing for print, where there was nothing between writer and reader but words on a page. When I became a Disney employee, I realized I was surrounded by animation veterans with vivid memories of the rambunctious days at the old Hyperion studio, and the creative struggles that went into making "Snow White," "Pinocchio," and the other early features. Talking to older Mouse House staffers, it dawned on me they could provide great source material for articles.