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I regret starting this review on a negative note, but it should be said that "Anime Fan Communities" is not the most accurately-titled book. Author Sandra Annett takes international anime fandom as her starting point, but she ends up engaging with a much wider range of topics.
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.
These cartoonists stood up against intimidation and fought for their right to freedom of expression. Let us celebrate their victories.
"I do think that animation can have a language of its own, rather than simply mimicking live action."
We rarely see "Peace On Earth" alongside more traditionally revered holiday standards like "A Charlie Brown Christmas" or "How the Grinch Stole Christmas"—but we really should.
The first creative casualty resulting from the Sony hack ("The Interview" notwithstanding) is a project that's not even being produced by Sony; it's the New Regency film adaptation of Guy Delisle's graphic novel "Pyongyang."
"LEGO Movie" Phil Lord and Chris Miller turned down an offer to run Sony Animation because "it’s too hard to do great work there."
Walt Disney Productions changed forever when two guys named Mike and Frank showed up.
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.
We go behind-the-scenes of the Oscar-shortlisted "The Bigger Picture" with animator Chris Wilder.
Today, Reel FX's film "The Book of Life" opens in the United States, and the story of its 39-year-old director, Jorge Gutierrez, is also one worth telling.
"BoJack Horseman" creator Raphael Bob-Waksberg and director Mike Hollingsworth speak with Cartoon Brew about the making of the show, its dark but sincere tone, and the lighter side of bestiality.
Two best friends wake up and start the day.
Steve Hulett recounts his role in the the confusing and chaotic production of Disney's most un-Disney-like feature, "The Black Cauldron."
Join Mr. Piggy on an adventure through time and space. Please wear 25-D glasses.
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.
My wrestling match with Ken Anderson now over, I returned once more to Wolfgang "Woolie" Reitherman and Larry Clemmons, working on the story end of "The Fox and the Hound."
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.
The championship grinds on. After Smile’s defeat at the hands of Kong, the tables are turned and the elite players of Kaio Academy come …
"Frozen" is beautiful to see, fun to sing along with and is a modern day marketing marvel, but the script has structural and performance issues that are worth examining because they impact directly on acting.