‘Mouse in Transition’: When Everyone Left Disney (Chapter 7)
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."
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."
If you can draw a circle, we can teach you animated cartooning.
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.
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.
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.
The 2011 Spanish animated feature "Wrinkles," based on Paco Roca's graphic novel, will be released onto DVD and VOD in the United States on July 15.
As one of the few animators to successfully cross over into the lucrative world of fine art, Takeshi Murata (b. 1974) has produced a wide range of video works that range from hand-drawn, computer-assisted animation to randomly distorted clips from films and TV shows a la glitch art, such as "Untitled (Pink Dot)" (2007), drawn from "Rambo," or "Timewarp Experiment" (2007) from "Three’s Company."
I was back in Don Duckwall's office, exchanging insincere smiles with him. I had been on "The Fox and the Hound" with Larry, Woolie, and everybody else for half a year. But now Don wanted me to go on another assignment.
The Annecy International Animated Film Festival, the world's oldest and biggest animation festival, wrapped up its 38th edition on June 14th. Here is the complete list of winners.
Poor Garfield. In his heyday, he was amongst the most beloved characters on the funny pages, his plush likenesses fastened to car windows and his sarcastic barbs adorning office walls around the globe. Then, somewhere along the line, he underwent a pop-cultural re-evaluation. Jim Davis’ strip is now something of a pariah: just look at how "The Simpsons" paired it with "Love Is" as the kind of strip that Milhouse reads. What a comedown for a character once hip enough to be quoted in “Two Tribes” by Frankie Goes to Hollywood. But yet, the orange cat has been saved from cultural oblivion by a peculiar trend: the remixed "Garfield" strip.
Disney's "Feast" debuted yesterday to a raucous packed house at the Annecy International Animation Festival, alongside some never-before-seen clips from the studio's next feature "Big Hero 6."
Larry had me writing sequence scripts for "The Fox and the Hound," which turned out to be my assignment for the next six months. Part of the package was attending Woolie Reitherman's marathon story sessions, which often left me drained and dazed. There were also Woolie's marathon take-selection meetings, which left me drained and bewildered.
A short animated collection of memories from a Turkish refugee in New Zealand.
Disney's head animation writer in 1977 was cartoon veteran Larry Clemmons, who had first been hired at the studio in 1930. At the time of his hiring, he was a Yale graduate with a degree in architecture, but an Ivy League education was of little value in 1930 when the economy was collapsing...and few buildings were being erected.
Joanna Davidovich is a freelance animator based in Atlanta, Georgia. A graduate of the Savannah College of Art and Design, she has been working as an animator, designer, and storyboard artist on commercials, on-air content, and TV shows since 2005. Her animated short film "Monkey Rag", which debuts online this afternoon, has been making the festival rounds since it was completed last July.
The producer of this year's most intriguing and visually eclectic animated feature may well end up being the Mexican/Arabic actress Salma Hayek, who screened a work-in-progress version of her pet project, "The Prophet," last week in Cannes.
The first chapter of Steve Hulett's memoir about working as a writer at Disney in the late-Seventies and Eighties.
A look at the work of Jun Cen, Cartoon Brew’s Artist of the Day.
Ralph Bakshi pulled himself away from his drawing desk in New Mexico to chat with Cartoon Brew about his legacy, his latest project "The Last Days of Coney Island," which he recently funded on Kickstarter, and what he really thinks about the computer’s role in animation these days.
Tensions run high during the high school championships, and all eyes are on the showdown between Kong and Smile. The third episode jumps abruptly from Smile's training in episode 2 right to the championships, and to a Smile who has begun to gain the confidence to show his true potential.