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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.
In one of the more bizarre recent examples of cross-corporate collaboration, Disney has announced a new TV program called "Treasures From the Disney Vault" that will air on Time Warner-owned Turner Classic Movies.
Steve Hulett on everything from "Winnie the Pooh and a Day for Eeyore" to "Katy Caterpillar."
The state of California recently expanded its tax credit program for film and TV productions. Here's why it won't work.
Festival by Pixelatl begins today in Cuernavaca, Mexico, in what promises to be the largest-ever animation industry event that has ever happened in Mexico.
Animation historian John Canemaker talks about the process and challenges of creating the monumental new biography "The Lost Notebook: Herman Schultheis & the Secrets of Walt Disney's Movie Magic."
After a harsh breakup, our hero, Guy, decides to leave it all and fly to New Zealand hoping to find true love. However, he must first defeat his inner demons before he can put the past behind him.
"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."
"They say Mexicans have a special fascination with death," writes Christian Bermejo of the Mexican animation website Tweenbox. "We don't believe it but maybe playing around with mapping in the cemetery doesn't help."
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."
How did Aymeric Kevin and his team manage to produce so many quality backgrounds on such a short schedule? Aymeric speaks to Cartoon Brew about the background art of "Ping Pong."
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.
On a couple occasions throughout the years, people have asked me, Why do so many animated films have dead mothers in them?
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.
For the fifth year in a row, we are delighted to present the selections for the Cartoon Brew Student Animation Festival, our online showcase for animated short premieres by student filmmakers. We like to believe that each year is our strongest year, but this year's selections feel particularly vital, illustrating the remarkable breadth of work currently being produced by student filmmakers around the globe.
In its second weekend, "How to Train your Dragon 2" eased 49% to an estimated $25.3 million. The drop was significantly greater than the 34% second-weekend decline of the original film in the series. Combined with the lower-than-expected opening weekend, the sequel is now all but guaranteed to finish below the original film's $217.6 million domestic gross.
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.
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.
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.