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PREVIEW: 2011 U.S. Animated Features
2011 promises to deliver a brand new slate of American animated features. But how new is it? Our list of sixteen features below reveals …
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A Thrilling Tour Through The History Of Wild Takes In Animation
Get ready to have your eyes pop out of your skull, because today we’re taking a look at some of the great wild takes throughout animation history.
First-Time Showrunner Natasha Kline On Creating Disney’s Latest Series ‘Primos’
Kline discussed with Cartoon Brew the challenges of musical segments in TV animation, balancing scripts and boards, and the show's evolution from the original pitch.
Calarts Alumni Reveal What It’s Like To Attend The World-Famous Animation School
You've no doubt heard of the animation programs at Calarts, but what is it like to actually attend the school. We asked some recent students about their experiences.
Venturia Animation Studios Takes Us Behind The Scenes Of Bebe Rexha And Snoop Dogg’s New 420-Themed Music Video ‘Satellite’
We caught up with Venturia founder Juan M. Urbina, who directed the Hanna-Barbera-inspired video.
10 Tips For First-Time Showrunners, From People Who Did It — And Survived
The showrunners of three series — "Puffin Rock," "Moominvalley," and "Cupcake & Dino: General Services" — told us what helped them make the first season of their shows.
‘Lupin III: The First’ Gets A New Action-Packed Trailer
The first cg feature in the iconic franchise will be released December 6 in Japan.
‘I Love Animators, I Just Want Them to Wake Up:’ A Birthday Interview With Ralph Bakshi
The outspoken animation legend speaks with Cartoon Brew about his new film "The Last Days of Coney Island" and other topics.
‘Mouse in Transition’: Basil or Mouse Detective? (Chapter 19)
Long before "Tangled" and "Frozen," Disney artists complained about the silly title of another Disney film—"The Great Mouse Detective."
‘Mouse in Transition’: Goodbye Disney (Chapter 18)
The first sign that you might get laid off at Disney: the bosses won't give you a new computer.
‘Mouse in Transition’: The Trials of ‘Oliver & Company’ (Chapter 17)
Steve Hulett recounts his experiences working on "Oliver & Company" and the unexpected tragedy that happened during its production.
‘Mouse in Transition’: A Gong Show with Eisner and Katzenberg (Chapter 16)
Steve Hulett remembers the time when Disney artists were told they were being moved to a warehouse off the lot, and the animation division's first "gong show" pitch session.
‘Mouse in Transition’: The Arrival of Jeffrey Katzenberg (Chapter 15)
Michael Eisner lounged his six-foot-four frame in a conference room chair. He was wearing jeans and sweatshirt, but why not? It was a Saturday morning.
‘Mouse in Transition’: “Call Us Mike and Frank” (Chapter 14)
Walt Disney Productions changed forever when two guys named Mike and Frank showed up.
‘Mouse in Transition’: ‘Basil’ Kicks Into High Gear (Chapter 13)
When the Disney strike of 1982 ended and the story artists returned to their respective work spaces in the animation building, "Basil of Baker Street" was still running along two sets of tracks. There were storyboards filled with gags and character bits, and boards filled with plot points.
‘Mouse in Transition’: Disney Dead-Ends and Lucrative Mexican Caterpillars (Chapter 12)
Steve Hulett on everything from "Winnie the Pooh and a Day for Eeyore" to "Katy Caterpillar."
‘Mouse in Transition’: Cauldron of Confusion (Chapter 10)
Steve Hulett recounts his role in the the confusing and chaotic production of Disney's most un-Disney-like feature, "The Black Cauldron."
‘Mouse in Transition’: The CalArts Brigade Arrives (Chapter 9)
"Chief has to DIE,” Ron Clements said. “The picture doesn't work if he just breaks his LEG. Copper doesn't have enough motivation to hate the fox."
‘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."
‘Mouse in Transition’: Detour Into Disney History (Chapter 6)
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.
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