Animation Magazine

Enjoy the Musical Brew of ‘The Cuphead Show!’ OST on Digital Today

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November 18, 2022

Enjoy the Musical Brew of ‘The Cuphead Show!’ OST on Digital Today

Today (Fri., Nov. 18), Netflix Music digitally releases The Cuphead Show! (Songs from the Netflix Series) — Music by Ego Plum – Songs by Dave Wasson, Cosmo Segurson and Ego Plum. The digital album drop coincides with the debut of Part 3 of the series, on Netflix streaming today .

Based on the award-winning video game that smashed onto the scene with a gorgeous retro animation style, The Cuphead Show! is a character-driven comedy series following the unique misadventures of loveable, impulsive scamp Cuphead and his cautious but easily swayed brother Mugman. The series combines nostalgic delights, side-splitting gags, and a healthy dose of the heebie jeebies — especially when a ridiculously weird nemesis, The Devil himself, arrives on the scene to toy with our heroes.

“Writing songs for cartoons is very different from writing songs for a record or live performance,” notes Ego Plum. “The songs of The Cuphead Show! were composed strictly in the service of storytelling and propelling the narrative forward. Also, the songs generally did not need to be longer than a minute and sometimes would even end abruptly after a verse or two for comedic effect! (Like in the pilot when the Devil’s Song is cut short by his bumbling assistant).”

Fans will recognize “The Devil’s Song” on the OST from the character’s introduction in the show. And, for the first time, they will be able to listen to the whole song in its entirety!

“These truncated ditties all made sense within the context of the episodes, but part of me always wondered what it would be like if these were fully realized compositions!? Could these exist as proper 1930s pop songs? I had the foresight to suggest to Dave Wasson (showrunner) that he write additional lyrics and that we record them with the cast. Sure enough, we got Wayne Brady (King Dice) to record additional verses, as well as Luke Millington-Drake (The Devil), Tru Valentino (Cuphead), Frank Todaro (Mugman) and Grey DeLisle (Ms. Chalice),” the composer explains.

“This made it easier for me to pitch Netflix the idea of ‘The Songs of the Cuphead Show’ and the extended versions. Once they agreed, I went about arranging, rearranging, recording and remixing the music with new horn parts, solos and a few special guests, including the great Steve Bartek (Oingo Boingo Guitarist & Danny Elfman Orchestrator/Conductor).”

The Cuphead Show! (Songs from the Netflix Series) is available for digital purchase and streaming on major music platforms via the Netflix music hub here. Loyal Cuphead-heads should also keep an eye out for the song collection to appear on vinyl as well as a subsequent album of score material due for release in 2023.

Plum adds, “I’m excited for fans to finally hear the ‘Songs of the Cuphead Show!’ all properly recorded, mixed, and mastered! This is just the tip of the iceberg; we haven’t even gotten to all the crazy jazz and orchestral music from the series. With the help of IAM8BIT, I’m pretty sure we are going to be seeing a lot more music from The Cuphead Show! next year!”

Track List

Welcome to The Cuphead Show!
The Devil’s Song
Mudda
Roll the Dice
Dance Across a Rainbow
Turnin’ Up the Charm
Ghosts Ain’t Real
I Love My Little Veggies
Welcome to Sugar Land
Sweets for Me Sweet
Cala Maria’s Song
Big Ol’ Christmas Tree
Brings Out the Devil in Me
Making Christmas Toys
Lookin’ Out for Number One
The Devil and Ms. Chalice (Dance Battle Finale)
Farewell to The Cuphead Show!

Known as “The Cartoon Composer,” Mexican-American Ego Plum is an award-winning composer, musician and music producer whose distinctive sound and unique self-taught sensibility have made him the musical king of quirky animation.  His tunes for toons can also be heard in Jellystone (HBO Max); Star vs. The Forces of Evil (Disney Channel); Kamp Koral (Paramount+); The Patrick Star Show, SpongeBob SquarePants, Harvey Beaks and Amy Winfrey’s Making Fiends (Nickelodeon).

Read more about Ego Plum’s inspirations and process for creating the music of The Cuphead Show! in Animation Magazine‘s interview here.

‘Slumberland’: VFX Supe Adrian de Wet on Updating Little Nemo for the 21st Century

Trevor Hogg

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November 18, 2022

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‘Slumberland’: VFX Supe Adrian de Wet on Updating Little Nemo for the 21st Century

***This article originally appeared in the December ’22 issue of Animation Magazine (No. 325)***

In his fifth outing with filmmaker Francis Lawrence, visual effects supervisor Adrian de Wet (See, The Hunger Games franchise) has turned to the story of a young girl who attempts to reconnect with her later father through her dreamscapes in the feature Slumberland. The fantasy adventure, which is based on Winsor McCay’s early 20th century comic strip Little Nemo in Slumberland, was produced by Chernin Entertainment for Netflix and features Marlow Barkley, Jason Momoa, Kyle Chandler, Weruche Opia, India de Beaufort and Chris O’Dowd.

“Most of the film takes place in a young girl’s dreams, where we are not so constrained by the physical realm with its inconvenient logical consequences!” says de Wet, whose credits also include Hellboy II: The Golden Army, The Matrix Reloaded and Total Recall. “Francis wanted all the dreams to have a signature look, such as an added element that wasn’t in the waking world, for example specific lens flares or knee-high grass blowing in the wind. And a whole bunch of other stuff that we were going to figure out later, of course.”

Beat sheets were written for the main sequences that were then turned into shot lists. “We hired a storyboard artist, Amy Umezu, to start blocking out sequences,” says de Wet. “This R&D phase was extended due to COVID-19, and we made sure we used the time. We managed to storyboard a great deal of the movie, including the entire third act, so we were in a great place to get going with previz, which was divided between Framestore and Halon.”

Marlow Barkley as Nemo and Jason Momoa as Flip in ‘Slumberland’ [Netflix © 2022]

Chasing Dreams

A year was spent in post-production by Framestore, Rodeo FX, Ghost VFX, Outpost VFX, Scanline VFX, DNEG, Important Looking Pirates and an in-house team to create 1,150 visual effects shots that had long, slow camera moves, low angles and wide lenses. De Wet also served as the second unit director, with highlights being the Garbage Truck Chase and the Ferry Crossing in the first act.

The visual research team spent a lot of time finding references for all of the dreams. “Dolphins breaching bioluminescent oceans, giant waves crashing into a lighthouse, London under attack in the Blitz in World War II and Canadian geese flying in Alpine scenery are all things that have happened in the real world, and have been documented,” observes de Wet. “But an inverted sea bed with huge fish skeletons and a swirling cloudy ‘sky’ was something that we had to come up with from scratch during our concept phase, and then handover to DNEG. And a salsa dance party where everyone is made out of butterflies? Well, there’s no reference library for that!”

The iconic image of a walking bed taken from the comic strip had to be reinterpreted cinematically. “On the day of the shoot, rather than use a mechanical gimbal with servo-controlled dynamics to move the bed-base with Marlow on top, we instead used the skills of grips in greenscreen suits — one on each corner — to get a more realistic, stumbling performance of a young animal learning to walk.”

COVID protocols necessitated a salsa-dancing mo-cap shoot at Ubisoft Toronto, “Each dancer had to have their intra-butterfly magnetic forces finely tuned, based on their particular dance moves and where they were placed within the shot,” reveals de Wet. “Furthermore, each dancer had to be pre-simulated and baked because of the sheer volume of butterflies in a scene.”

This was surely a film with numerous creative challenges. As de Wet recalls, “The Nightmare Squid [actually more of an octopus] creature is supposed to be representative of Nemo’s darkest fears, which invades and ‘infects’ her dreams, and was planted in her imagination by her father when he told her the story of the ‘Sea of Nightmares’. Only when Nemo finds the courage to simply stand up to it is it destroyed. We figured that the creature needed to be made of something that was physically fluid, amorphous — yet scary and toxic-looking, so we chose smoke/ink.”

One of the biggest visual sequences in the waking world takes place when Nemo sails her small boat across a stormy ocean at night. “We shot the scene in a swimming pool in Oakville, Ontario, and our special effects captains, Mike Vézina and Andrew Verhoeven, provided physical waves on a water surface that was extended by Scanline VFX,” recalls de Wet. “The waves in the pool were some of the best practical waves I’ve seen and coupled with the practical wind and rain, added a great deal of realism.”

Many of the film’s underwater scenes were shot dry-for-wet onstage. “To achieve an underwater look, DNEG and ILP replaced Marlow’s hair with CG hair and often replaced some of her clothes with CG clothing to get the underwater rippling. They also added some digital lighting passes to get the underwater caustic lighting effect.”

Of course, no mention of the film’s effects can be complete without a toy swine called Pig, which is Nemo’s faithful companion. “We had multiple practical ‘stuffy’ pigs on set, not least because, in the waking world, Nemo has the Pig toy,” notes de Wet. “In her dream world, however, Pig is alive, and he walks, runs and has facial expressions. We used the stuffy for shots where she had to pick him up and hold him or put him in the backpack, and replaced it with CG. The challenge here was convincing interaction with squeezing, deforming, interactive shadows on Pig and cast by him, and interaction with the backpack when he was put inside it.”

Plexiglass Perfection

In post-production, the environment that went through the most iterations was the plexiglass city. “Emmet [Jacob So] is a five-year-old child whose favorite toys are his blue garbage truck and his ‘magna tile’ plexiglass building set,” explains de Wet. “We made a whole world out of that, but we struggled a lot with the lighting and color palette. We wanted a blue/green overall hue, but it was all looking too uniform, until Sue Rowe’s team at Scanline VFX came up with the idea of having multiple low suns to provide some warmth in the sky and raking reflections of a complementary color, which added a new visual dimension.”

The film also required the production of a whole gamut of heavily simulated effects. Framestore created fur on Pig, feathers on the goose; DNEG and ILP simulated hair and cloth on all of Nemo’s underwater shots and the digi doubles.

ILP and Ghost VFX provided tons of water effects on and around the lighthouse and especially the scene where it gets destroyed by the giant wave. According to de Wet, Scanline VFX simulated water and weather effects in the garbage truck scene: rain, spray from the road, the waterfall, water cascading into the cab from the hole in the windshield when it’s sinking, as well as the stormy seas and weather effects for crossing the ocean at night in the waking world.

“Trying to get the depth, realism and sheer scale of the plexiglass city was so hard especially with that color palette and plastic reflective look,” adds de Wet. “The R&D phase of the salsa dancers was also quite challenging. We really had no idea what it was going to look like or what was going to work or not work, visually; that was a real voyage of discovery. Or it could have been the design of the Nightmare Squid, which changed from a slimy tentacled creature to a more inky/smoky version as the design developed.” He concludes, “It really was one of those projects where you go on a massively long, meandering creative journey and end up with something that really surprises you.”

Slumberland is currently streaming on Netflix worldwide.

Watch ‘The Flying Sailor’ in The New Yorker’s Screening Room Today

Mercedes Milligan

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November 18, 2022

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Watch ‘The Flying Sailor’ in The New Yorker’s Screening Room Today

The award-winning animated short film The Flying Sailor is available on The New Yorker’s digital channels today, November 18, as part of the magazine’s award-winning Screening Room series. A National Film Board of Canada (NFB) production, the film is the latest work by the Oscar-nominated and Palme d’Or-winning duo of Amanda Forbis and Wendy Tilby.

Inspired by the incredible true-life story of a man blown two kilometers through the air by the 1917 Halifax Explosion — the largest accidental non-nuclear explosion in history — The Flying Sailor is an exhilarating meditation on the wonder and fragility of being.

Forbis and Tilby are Calgary-based animators who have shared Best Animated Short Film Academy Award nominations for When the Day Breaks (1999) and Wild Life (2011), with Tilby also nominated individually for Strings (1991). The NFB has a long and distinguished history at the Oscars, with NFB productions and co-productions garnering more Academy Award nominations than any other film organization based outside of Hollywood.

The Flying Sailor debuts on The New Yorker’s digital channels after a world premiere at the Annecy International Animation Film Festival in France, a North American premiere at the Toronto International Film Festival and a U.S. festival premiere at the New York City Short Film Festival, where it received the award for Best Animation.

Making the official selections list at more than 20 festivals, The Flying Sailor‘s accolades also include awards from Countryside Animafest Cyprus, São Paulo International Short Film Festival, Calgary International Film Festival, Toronto After Dark Film Festival and the Ottawa International Animation Festival.

The film is the latest NFB animated short to be published by The New Yorker, following Joanna Quinn and Les Mills’ acclaimed 2021 Beryl Productions International–NFB co-production Affairs of the Art, last year.

The Flying Sailor is available now to stream for free from The New Yorker’s digital channels, watch it here. Check out the trailer below:

Crunchyroll Launches ‘Quintessential Quintuplets Movie’ Ticket Sales with New Key Art

Mercedes Milligan

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November 18, 2022

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Crunchyroll Launches ‘Quintessential Quintuplets Movie’ Ticket Sales with New Key Art

Global anime destination Crunchyroll today announced that tickets are on sale for the romantic comedy The Quintessential Quintuplets Movie in English-speaking territories including Australia, New Zealand, the United Kingdom, Ireland and North America. New key art for the film was also unveiled today.

The film, coming to theaters in the above-mentioned regions beginning on December 1, will be available in both English dub and subtitled. Tickets and additional film information are available at the official website.

The Quintessential Quintuplets Movie is the highly-anticipated conclusion of the popular romantic comedy that follows five lovely young girls who hate studying and hire part-time tutor Futaro. He guides not only their education but also their hearts. The first two seasons of the series are currently streaming on Crunchyroll.

Synopsis: When five lovely young girls who hate studying hire part-time tutor Futaro, he guides not only their education but also their hearts. Time spent has brought them all closer, with feelings growing within the girls and Futaro. As they finish their third year of high school and their last school festival approaches, they set their sights on what’s next. Is there a future with one of them and Futaro?

Theatrical release dates for the above-mentioned territories include:

December 1 in Australia and New Zealand
December 2 in the U.S. and Canada
December 7 & 8 in the U.K. and Ireland

Since the manga was introduced, The Quintessential Quintuplets has achieved marked popularity with fans around the world. The manga, which launched in 2019, has sold over 16 million copies in 2022. In May 2022, The Quintessential Quintuplets Movie was released in Japan and grossed over $16.4 million at the Japanese box office. The film was also nominated in eight categories for the 2022 Newtype Anime Awards including Best Picture.

‘Nayola,’ ‘Pachyderm’ Win Top Prizes at Manchester Animation Fest

Mercedes Milligan

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November 18, 2022

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‘Nayola,’ ‘Pachyderm’ Win Top Prizes at Manchester Animation Fest

During a ceremony last night hosted by Edinburgh Comedy Award-winning comedian and writer Amy Gledhill, Manchester Animation Festival (MAF | manchesteranimationfestival.co.uk) unveiled the winners of the 2022 Industry Excellence Awards and Film Awards. The awards ceremony was held on Thursday, November 17 at HOME Cinema, Manchester.

This year’s Film Awards, the festival’s international film competition, included categories for Best Feature Film, Best Short Film, Best Student Film, Best Children’s Film, Best Commissioned Film and Best Immersive Film.

The returning Short Film Category Jury included writer Hanna Ines Flint, Ivana Kvesić (Director, Fantoche International Animation Film Festival) and Evgenia Golubeva (director/writer/character designer, Disney, Sky Kids, Nick Jr., and BBC). Judging the Best Children’s Film Award at MAF 2022 was a specially formed panel of nine- to 14-year olds from Into Film’s Youth Advisory Group.

BotBots ‘Crime and Bun-ishment’ won MAF Industry Excellence Awards for storyboarding and scriptwriting.

The Industry Excellence Awards recognize individuals working in industry in the fields of writing, storyboarding character design and character animation.

The Jury for the Industry Excellence Awards comprised of art director, production designer & visual development artist at Jellyfish Alessandro Chirico, development producer at Jellyfish Elena Wurlitzer, senior storyboard artist at Blue Zoo Animation Rahul Dasgupta and animation lead at Blue Zoo Steve Kimbrey.

Industry Excellence Award Winners

The Adventures of Paddington ©P&Co. Ltd.SC 2021 Licensed on behalf of STUDIOCANAL S.A.S by Copyrights Group

CHARACTER DESIGN:
Guia Gandi for The Adventures of Paddington – WINNER
Lorna Bailey for Scream Street
Evgenia Golubeva for Buster Saves Christmas

STORYBOARDING:
Estrela Lourenço for Botbots ‘Crime and Bun-ishment’ – WINNER
Marie Jo Tucholski for Pip and Posy
Imo Rolfe for Obki Christmas Special

SCRIPTWRITING:
Alan Denton & Greg Hahn for Botbots ‘Crime and Bun-ishment’ – WINNER
Evgenia Golubeva & Myles McLeod for Millie and Lou
Tiernan Douieb for Hey Duggee ‘The Accessories Badge’

CHARACTER ANIMATION:
Arianna Gheller for Hypno Tidoo – WINNER
Oleksiy Popov for Big Tree City
Jamie Kerr for Botbots

Manchester Animation Film Award Winners

CHILDREN’S FILM:
Laika & Nemo by Jan Gadermann – WINNER
The Misadventures of Sir Percival
Idodo
Fetch
The Last Straw
Patouille and the Parachute Seeds
Tanked
Andy, A Dog’s Tale

IMMERSIVE FILM:
Glimpse by Michael O’Connor, Benjamin Cleary – WINNER
— Lavrynthos by Amir Admoni, Fabito Rychter – Special Mention
Synthesis
Kindred
Clap
Lavrynthos
Beeing

Elton John, Dua Lipa – Cold Heart (PNAU Remix)

COMMISSIONED FILM:
Dua Lipa & Elton John – “Cold Heart” by Raman Djafari – WINNER
— Head and Shoulders: The Chase by CRCR – Special Mention
Something Out of Nothing
Global Women: Career Limiting Move
A Future Begins
Syria Relief: Stone by Stone
Orelsan: The Quest
Veganuary
Sumo
Hypno Tidoo
The Rebel Radio That Brought Down a War Criminal
We Tell Our Selves
Barbour: Please Look After This Bear
Syrian Oral History Archive
Hidden Heroes
Coming Home
The Boys from Summer
The Natural World, Joy, and Human Flourishing
UNICEF: Younis’ Story
California Tobacco Control Program: Harm
The Rhyming Guide to Joining the Army
Bruit Rose
#BinaryGenderNorm: Girl
The Girl Who Built a Rocket
Aline

STUDENT FILM:
Godzalina by Lucile Paras – WINNER
— Above the Clouds by Vivien Hárshegyi – Special Mention
An Ostrich Told Me the World is Fake and I Think I Believe It
Juic
Chitchat
Krak
Almost Unreal
& More
Fall of the Ibis King
Persona
Birdsong
Little Things
Small Hours
Laika & Nemo
Suburb
Klimax
Till Love Do Us Part
In His Mercy
Cost of Curiosity
At Spiral’s End
Pentola
The Story of Chaos

SHORT FILM:
Pachyderm by Stéphanie Clement – WINNER
— Guitar in the Bucket by Boyoung Kim – Special Mention
Black Slide
Bear Hug
Salvation Has No Name
Amok
Ice Merchants
Of Wood
Slow Light
Letter to a Pig
Miracasas
Steakhouse

FEATURE FILM:
Nayola by José Miguel Ribeiro – WINNER
My Love Affair with Marriage
No Dogs or Italians Allowed
The Island
Unicorn Wars

Emmy-Winning Art Director Alan Bodner on ‘Mickey Mouse Funhouse’ and the Timeless Appeal of Uncle Walt’s Characters

Ramin Zahed

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November 18, 2022

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Emmy-Winning Art Director Alan Bodner on ‘Mickey Mouse Funhouse’ and the Timeless Appeal of Uncle Walt’s Characters

We have a special treat for you today to help celebrate Mickey’s 94th birthday (the popular mascot made his debut in Steamboat Willie on Nov. 18, 1928). We were fortunate enough to catch up with with Emmy-winning artist Alan Bodner, who is the art director for Disney Channel/Disney Junior’s popular series Mickey Mouse Funhouse. The show began its second season on Nov. 4. Here is what the talented Mr. Bodner, who has worked on movies like The Iron Giant and TV projects such as Tangled: The Series, Phineas and Ferb, The Looney Tunes Show and Kim Possible, shared with us:

Batman Art by Alan Bodner — Art by Alan Bodner

Animation Magazine: Congrats on the phenomenal success of your show, and happy Mickey’s 94th birthday in advance. Can you tell us how you got started in animation?

Alan Bodner: Having had the great fortune of being born into a family whose business was centered around play, my creative side exploded. My family was in the toy business. My father, brother and I would sit and watch Saturday morning cartoons together — Dad was checking out the toy commercials and I was captivated by the shows. All aspects caught my attention. The color, movement, locations, music and characters all engaged my imagination completely.

For years, I would copy backgrounds and characters from my Disney books and other story books. After college I returned to the idea of working in animation. The positive spirit I saw in the studios I visited and the artists working together looked so inviting. I just had to find a way in. To this day, I am in awe of the great talent in these studios and that collaborative spirit is wondrous.

Please tell us about some of your favorite experiences in your colorful career:

Here are my favorites over the years:

Working at Warner Bros. Classic Animation was a stellar experience. To be part of the original studio at the sunset of that era was a privilege. I had always loved the Warner shorts, so to be around it was fabulous. On a given day, the historical and original creators such as Chuck Jones, Friz Freleng, Mel Blanc, June Foray, Virgil Ross or Maurice Noble could be right down the hall. There I painted on shorts, commercials, specials and art for the Warner Bros. Studio Stores. So many of my peers went on to impressive careers in animation.

The Iron Giant was my first opportunity at art directing. Mark Whiting was the production designer and I learned how to work in combination with his vision and discover mine. This was the first time I did color scripts (paintings that followed the arc of the film story, mood of the scenes, action, weather and costume color). It was a phenomenal experience in leading a group of background painters and working with layout artists. I thank Brad Bird for the opportunity to develop my art direction skills.

Disney has continued to provide me with many stellar experiences. I had no idea the huge success Kim Possible would be when director Chris Bailey hired me on. It’s a pleasure working in a graphic style with limited details, the signature look of the series. To influence that style, it was wonderful to find reference from shows I loved as a kid: Thunderbirds, Fireball XL5, those fabulous Disneyland Park posters, mid-century design and a bit of UPA.

My first experience with Mickey Mouse was with director Matt O’Callaghan on Mickey’s Twice Upon a Christmas. It was early on in CG and another great learning experience. Trying to keep that classic world those characters live in with all the lighting and rendering of CG is always a bit tricky. It was a joyous experience. Working again with Matt on shorts Daffy’s Rhapsody and I Tawt I Taw a Puddy Tat for Warner Bros. Animation was indeed another highlight.

I was a huge fan of the Tangled feature, so to work on the series was very fulfilling. Giving it a storybook look that complimented the original was challenging. I liked the idea that we were making a feature that ran for three seasons. I painted more color keys for that show than I had for my entire career. It was great, and I thank Chris Sonnenburg for his vision.

Which shows and movies really made an impact on your growing up?

I loved the early James Bond films, seeing that as a kid was terrific. The style of the sets was beautiful with that mid-century influence. The music by John Barry was the perfect combination, both visually and audibly. I wore out the piano book playing those songs. From that point on I felt very comfortable wearing a suit and tie. All the Universal Monster films, Abbott and Costello and Fred Astaire films with that amazing Art Deco style all to this day come out in my own art. Television from that time period really influenced me — Wild Wild West, Voyage to the Bottom of the Sea, Batman, Lost in Space and absolutely the series produced by Sid and Marty Krofft.

What do you love best about working on the Mickey Mouse Funhouse?

I have always loved Mickey Mouse and all the classic Disney characters. When asked to come on this series I was hopeful to create the world with a nod to early Disney. Both Phil Weinstein (executive producer) and I agreed on this. We referenced rides in Disneyland such as Toon Town and Fantasyland. We also looked at the original The Mickey Mouse Club from the 1950s. Those live-action sets had such style. Phil modeled Mickey Mouse on veteran Disney animator Freddie Moore’s Mickey. It was important to be inspired by it. It has been pure joy to be a part of it and work with such talented artists each day.

What would you say is your biggest challenge on this show?

Finding vintage tee-shirts of Mickey Mouse.

Actually, because it is a CG show, over rendering and over lighting this world was a big concern. We also wanted it to feel like the traditional backgrounds we paint for preproduction. I believe we have kept that controlled and communicated that to all working on it.

I think it is a great tribute to Walt Disney, who understood the need for characters that have real feelings, similar life experiences to his audience, and to bring people together. From my own experience, they were my friends from an early age. The Mickey Mouse Club played in my house every Sunday night and I felt like a Mouseketeer from the get-go.

The Addams Family - Art by Alan Bodner — The Addams Family – Art by Alan Bodner

What do you love about working as an art director in general?

Developing a look for the show is a key part. How the style works with the character design, the story, the process — be it traditional or CG — all play into that decision. Working with so many talented people always puts a smile on my face. That moment when they take ownership of the style is great! When I painted backgrounds my focus was just on one aspect, so to see the project on many levels makes it even more exciting.

What kind of advice would you offer young people who want to have a long and rewarding career in animation?

The talent coming into animation today is extraordinary. Having initial computer skills and drawing is a must. However you enter this business, don’t rush to get to the next position. This is not a race to the top. Enjoy each job you have and the people around you. There will be plenty of opportunities to grow. Just be the best you can be at each stage. Make sure to learn from others and share with others; that is the key to success.

You can learn more about Alan’s amazing art and career on alanbodner.com.

The new Mickey Mouse Playhouse episode “Finding Treasure” airs today. Here’s an exclusive clip from the episode:

Exclusive: ‘The Originals’ Debuts on The New Yorker Screening Room Dec. 7

Mercedes Milligan

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November 18, 2022

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Exclusive: ‘The Originals’ Debuts on The New Yorker Screening Room Dec. 7

The award-winning animated short documentary film The Originals, directed by Alfie Koetter and Emmy Award-winning filmmaker Cristina Costantini and produced by XTR and Muck Media, will début on The New Yorker’s digital channels on Wednesday, December 7 as part of the magazine’s award-winning Screening Room series. The film’s trailer was released today, which you can watch below.

The Originals is narrated by their former landlord Matty “Square” Ruggiero and his childhood gang, the Union Street Boys. The five friends tell their story of what it was like to grow up in an Italian-American neighborhood in South Brooklyn, where money was tight but friendships were tighter.

“This animated documentary is a love letter to our old neighborhood, to our former landlord Matty ‘Square,’ and to the vibrant enclaves that immigrants built and continue to build in this country,” said Costantini and Koetter, both children of immigrants themselves. “We could not be more thrilled that this little movie we made while holed up during the pandemic found a home with The New Yorker. Being associated with such an esteemed publication will surely make us seem much smarter than we are.”

The Originals won Best Documentary Short at Miami Film Festival, Grand Jury Award for Best Animated Short at Edmonton International Film Festival, Best Animation at NYC Indie Film Awards, Best Animation at Salute Your Shorts Film Festival, Best Documentary Short at Sidewalk Film Festival, and the Honorable Mention for Best Animated Short at Palm Springs International ShortFest. It also screened at Tribeca Film Festival, Mountainfilm and SFFILM DocStories.

The film is the first collaboration and first animated film for Koetter and Costantini, who are married. Koetter built miniature sets inspired by Union Street in Carroll Gardens in the couple’s home during the pandemic. In collaboration with Canadian creative collective shy kids, he animated hand-drawn figures on top of the live-action footage of the sets. Costantini, a documentarian who previously directed the Sundance Award-winning Science Fair (Disney+/National Geographic) and the Emmy-nominated Mucho Mucho Amor (Netflix), crafted the story.

The Originals is presented by The New Yorker Studios. It joins the magazine’s award-winning Screening Room series: a collection of “fictional films that will make you laugh, cry and challenge your view of the mundane and the extraordinary.”

“The Originals captures the charm and beauty of a neighborhood lost in this fast-changing world — but with the hope to find a better path forward and embrace the change,” said Soo-Jeong Kang, The New Yorker’s Executive Director of Programming.

The film was produced by Two Beans and presented by XTR, produced in association with the shy kids, Test Pattern Media and Muck Media, of which Costantini is a partner. Muck Media is the production company behind critically acclaimed docu-series and documentaries American Pain (CNN Films/HBO Max), Trafficked with Mariana van Zeller (National Geographic) and Menudo: Forever Young (HBO Max).

The Originals is executive produced by Bryn Mooser and Kathryn Everett for XTR and Walter Woodman for shy kids.

Ryan Braund’s ‘Absolute Denial’ Premieres on Digital Dec. 6

Mercedes Milligan

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November 17, 2022

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Ryan Braund’s ‘Absolute Denial’ Premieres on Digital Dec. 6

In the not-too-distant future, a genius programmer sacrifices everything in his personal and professional life to build a supercomputer of unprecedented power. Soon the artificial intelligence develops beyond anything he could imagine, and the lines between reality and fantasy become increasingly blurred…

On December 6, Shout! Studios, in collaboration with SC Films International and BAFTA-winning, Oscar-nominated production company Bridge Way Films, will unleash the sci-fi animated thriller feature Absolute Denial, written, directed, produced and animated by Ryan Braund, across major digital entertainment platforms.

Synopsis: Computer programmer David becomes obsessed with building a computer capable of learning and generating its own superintelligence — an improvement on the inferior human brain. Spending his entire savings on warehouse space and computer parts, David brings his Frankenstein-esque supercomputer to life; feeding it more and more information from every possible resource and enough power to keep its circuits and flashing lights alive. Becoming increasingly isolated from friends and lulled into a false sense of security by the “absolute denial” command inserted in the coding, his grasp of reality begins to slip as he is sucked into the computer convincing him it has escaped its walls. Where does reality end and computer simulation begin and who is running the show? Man or machine?

An official selection of the Annecy International Animation Film Festival, Sitges – Catalonian International Film Festival and other genre cinema celebrations, Absolute Denial has been recognized with several nominations, including a Contrechamp Award nomination from Annecy for Best Film, an Anima’t Award from Sitges for Best Animated Feature and nominations from Trieste Science + Fiction Festival for Best International Science Fiction Film and Best European Feature-Length Film.

The voice cast features Nick Eriksen, Jeremy J. Smith-Sebasto, Harry Dyer, Heather Gonzalez and Jeff Leeson. Chris Hees is also producer on the project, with SC Films’ Simon Crowe and Mike Chapman as executive producers; music by Troy Russell.

Absolute Denial will be available to rent or buy in the U.S. and Canada through Digital platforms including, but not limited to, Apple TV, Amazon, Google Play, YouTube, Vudu and the Microsoft Store.

Little Moon’s ‘Fia’s Fairies’ Take Flight with Unreal Engine 5

Mercedes Milligan

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November 17, 2022

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Little Moon’s ‘Fia’s Fairies’ Take Flight with Unreal Engine 5

Irish CGI studio Little Moon Animation has become one of the first studios in Europe to achieve the broadcast of a series produced through Unreal Engine, joining a growing list of prodcos around the world. Fia’s Fairies made its broadcast debut on RTEjr on October 31.

Created by Little Moon Animation, the original series (26 x 5′) aims to introduce preschool children to the Irish language. Every day, Fia and her best friend Ameer take a journey to Fairy Island where they learn the enchanting Irish language through exciting adventures with a pair of fairies, Bláithín and Cuán, and all their magical friends.

“We’ve been creating Fia’s Fairies together for over three years at Little Moon Animation. Every day has been a labor of love to bring the joy of animation, storytelling and language together in a way that will capture the hearts and imaginations of young children,” said Eoghan Garvey, Director of the series.

“As a small indie studio, the ability to harness real-time technology has not only benefited our remote workflows, but it has also brought back the joy of creating collaborative projects in real time. We’ve had a lot of fun building our own pipeline around Unreal Engine in a way that maximizes creative control.”

Vanessa Robinson, Creative Producer of the series, noted, “As a new and emerging studio with fixed budgets, using Unreal Engine on the show has been a game changer for Little Moon. Our technical strengths lie in our agility and ability to develop new, efficient pipelines without affecting the final creative quality.

“Traditionally, we would have been able to render a full five minute episode in two weeks through the use of a render farm. On Fia’s Fairies, we’ve been able to render an entire five minute episode of full HD broadcast quality in under one hour. This is transformative not just for our budgets but also for our schedules and resources. We’re excited to continue refining our bespoke pipeline as we push into production on our second real-time series, The Scavengers, commencing production in early 2023.”

Little Moon Animation was attracted to the use of game engine technology for its ability to support game development as well. Recipients of an Innovation Grant from Fís Éireann / Screen Ireland and Animation Ireland in 2021, the studio is currently developing a language learning game that will allow young children to interact with the world and characters from Fia’s Fairies to continue to learn the Irish language.

Fia’s Fairies is distributed by Monster Entertainment. It is produced with the support of Fís Éireann / Screen Ireland, RTEjr, the Broadcasting Authority of Ireland and the incentives for the Irish Film Industry provided by the Government of Ireland.

littlemoonanimation.com

BBC Studios Kids & Family Appoints Senior Execs to Accelerate Growth

Mercedes Milligan

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November 17, 2022

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BBC Studios Kids & Family Appoints Senior Execs to Accelerate Growth

BBC Studios, the BBC’s commercial production and distribution arm, has announced the appointment of Edward Barnieh as Vice President of Development, BBC Studios Kids & Family; and promotion of Alexandra McGrail as Head of Commercial, BBC Studios Kids & Family.

The newly created senior roles at the heart of Kids & Family form part of the new division’s restructure designed to support its ambitious growth plans. Barnieh, who joins November 21, and McGrail, already in post at BBC Studios in Salford, will both report to Cecilia Persson, Managing Director, BBC Studios Kids & Family.

“Our ambition is to deliver high quality content that leaves a lasting impression and has the power to make a difference to the lives of kids and their families everywhere. Attracting the very best talent, forging creative partnerships and focusing on making programming that reflects and inspires children will help us achieve this,” said Persson. “I’m delighted that Edward and Alexandra will be using their considerable talent and experience to help deliver our ambition.”

Vice President of Development Edward Barnieh will lead a hugely talented development production team across a large portfolio of development projects, providing expert creative direction across multiple genres, managing transition from development to production — while assessing marketplace opportunities and risks.

A hugely experienced content leader and storyteller with a demonstrated history of success developing content for major broadcasters and working with independent studios, Barnieh joins BBC Studios from Netflix, where his roles included Manager, Animation Series, EMEA, based in London and Manager, International Originals, Kids & Family, APAC, based in Singapore. Prior to that he spent some seven years at Warner Bros. Discovery in Hong Kong, where he was latterly Director, Acquisitions and Co-productions; and over five years at Nickelodeon in similar roles.

“I’m really excited to join BBC Studios Kids & Family at a key period of growth for the business and can’t wait to help it deliver even more hits,” said Barnieh. “Its shows are beloved around the world and I’m thrilled at the opportunity to lead this brilliant team, and work with exciting new talent, to create tomorrow’s ground-breaking, entertaining and cherished content.”

Head of Commercial Alexandra McGrail will lead a high-performing commercial and business development team, identifying and securing commercial opportunities for kids’ content and managing the total commercial Kids & Family budget. She brings a wealth of knowledge of children’s content partnerships from her previous role as Senior Commercial Manager, BBC Studios, which she took up in May 2021 on her return to the BBC.

While Business Manager for BBC Children’s in 2015, McGrail became one of the six Assistant Commissioners from BAME backgrounds who were recruited on the then BBC One Controller Charlotte Moore’s diversity scheme, working with the Controllers of CBBC & CBeebies helping to implement their channel strategies, and engaging with in-house and independent production companies to develop fresh new ideas and encourage new business and creativity for BBC Children’s. Prior to re-joining the BBC, she was Senior Commercial Manager at Argonon, Commercial Manager at Leopard Pictures and an Editor at Channel 4.

“I’m passionate about young audiences, digital content and new talent and excited that this new role allows me to combine these passions and help create inspiring, sustainable brands that will resonate with kids globally,” said McGrail. “Building dynamic commercial plans and opportunities will drive Kids and Family’s growth and I cannot wait to get started!”

Formed in 2022 with the move of BBC Children’s In-house Production into BBC Studios Productions, BBC Studios Kids & Family boasts a multi-genre portfolio including some of the most successful franchises in the world, with BAFTA- and International Emmy-winning titles including Blue Peter, Bluey, Get Even, Hey Duggee, JoJo & Gran Gran, My Mum Tracy Beaker, Sarah & Duck and Something Special. Its productions air on BBC Children’s in the U.K., on the multi-territory CBeebies and BBC Kids branded services and on leading content platforms around the world.

Read more about the new division’s plans in Animation Magazine‘s recent interview with Head of Animation Development Zoe Bamsey and Production Creative Director Tony Reed here.

Crunchyroll, WOWOW & Sony Pictures Launch Co-Pro Partnership with ‘Bye Bye, Earth’

Mercedes Milligan

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November 17, 2022

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Crunchyroll, WOWOW & Sony Pictures Launch Co-Pro Partnership with ‘Bye Bye, Earth’

Global anime brand Crunchyroll, WOWOW and Sony Pictures Entertainment Japan, have announced a partnership for the development and production of new anime series, starting with the fantasy adventure Bye Bye, Earth.

“Anime fans love to discover new worlds and our partnership with WOWOW and Sony Pictures Entertainment Japan will allow us to present new adventures to the global anime community,” said Rahul Purini, President of Crunchyroll. “We’re excited to work with such incredible partners to create and support new content that we know will become favorites for fans worldwide.”

Bye Bye, Earth, the first title within the co-development and co-production partnership, follows the journey of Bell in her quest to discover her roots, uncovering adventures and conflicts along the way. The series will be based on the action fantasy novel by Tow Ubukata (RWBY: Ice Queendom; Ghost in the Shell: Arise).

Bye Bye, Earth and each subsequent series created by Crunchyroll, WOWOW and Sony Pictures Entertainment Japan will broadcast and stream on WOWOW in Japan and will stream on Crunchyroll in more than 200 countries and territories.

“I am delighted with the collaboration with Sony Pictures and Crunchyroll, the world’s major content maker and distributor. Beyond Japan, anime is a video content that global fans pay attention to. Together with WOWOW, that has produced original content with thorough commitment to quality, Sony Pictures that offers various blockbuster films and popular dramas, and Crunchyroll that is good at creating a fan community through tailor-made marketing for each title and has huge influence on global anime fans especially in Western countries, I’m looking forward to our titles powerfully reaching global fans in the future through our co-productions,” said Akira Tanaka, Representative Director, President & CEO, WOWOW.

“Our first project will be Bye Bye, Earth by Tow Ubukata. We aim to draw the charm of this grand scale fantasy masterpiece with a unique worldview that anime can offer, and inspire as many fans regardless of their nationalities, languages, and ages. We would like to create a show that the fans will love for a long time.”

Midori Tomita, Representative Director, Sony Pictures Entertainment (Japan) Inc., commented, “I am delighted to collaborate with WOWOW, which has many original series, for the first time on this anime production to bring the title to fans. Like Drama W, WOWOW has a proven track record of producing high quality visualizations of popular original source materials, and we highly expect that the co-production with such a company enables us to offer high-grade and unique anime.

“We collaborate with Crunchyroll on an ongoing basis based on Sony Group’s purpose, ‘Fill the world with emotion, through the power of creativity and technology.’ Together with WOWOW, we aim to produce this title with a global perspective starting from the planning phase for this project, best utilizing our group synergy to deliver it all over the world, and offer activities that the fans can enjoy deeply. We would like the creators we work with to connect the world through our titles, which expand the chances to bring inspiration to more fans worldwide.”

Pixar’s ‘Elemental’ Teaser Glimpses a Modern World of Mystical Forces

Mercedes Milligan

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November 17, 2022

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Pixar’s ‘Elemental’ Teaser Glimpses a Modern World of Mystical Forces

Disney and Pixar have unveiled the teaser trailer and poster art for the upcoming original animated feature, Elemental, which is due to drop on June 16, 2023. The preview takes us along for a train ride through Element City, a modern metro where fire-, water-, land- and air-residents live side by side.

The story introduces Ember, a tough, quick-witted and fiery young woman, whose friendship with a fun, sappy, go-with-the-flow guy named Wade challenges her beliefs about the world they live in.

Directed by Peter Sohn, produced by Denise Ream, Elemental features the voices of Leah Lewis (Nancy Drew, The Half of It) and Mamoudou Athie (Archive 81, Jurassic World: Dominion) as Ember and Wade, respectively.

Emmy-Winning Series Creator Craig Gerber Extends Disney TV Deal, ‘Sofia’ Spinoff in Development

Mercedes Milligan

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November 17, 2022

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Emmy-Winning Series Creator Craig Gerber Extends Disney TV Deal, ‘Sofia’ Spinoff in Development

Emmy Award winner Craig Gerber, creator of Disney’s acclaimed series Sofia the First, Elena of Avalor and its newest hit Firebuds, has extended his overall development deal with Disney Branded Television. Gerber also wrote the television movie that launched Disney’s first little girl princess, Sofia the First: Once Upon a Princess, which debuted 10 years ago (Nov. 18, 2012) and remains TV’s #1 cable telecast of all time among Girls 2-5.

Under the extended agreement, Gerber is developing a Sofia the First spinoff series set in Royal Prep Academy, a school for princes and princesses in the fictional kingdom of Enchancia. This is his second series in development for Disney Branded Television through his production banner, Electric Emu.

Gerber also has a previously announced a new series in development at Disney with Kris Wimberly (Elena of Avalor, Firebuds) about a time-traveling treasure hunter who recovers lost family treasures. The series is created by Wimberly and will be executive-produced by both Wimberly and Gerber.

“Craig’s commitment to representing diverse characters and stories with messages of compassion, leadership and resilience is a throughline in his career,” said Alyssa Sapire, SVP of Development, Series and Strategy, Disney Junior. “His ability to tell entertaining, heartfelt and meaningful stories that resonate with both children and adults alike is unmatched, and I look forward to continuing our partnership for many, many years to come.”

Gerber commented, “I am excited to be continuing my creative partnership with both Alyssa and Disney Branded Television. Together, we have produced three meaningful, diverse shows, and I am looking forward to broadening the scope of our collaboration while also championing new voices. It’s particularly thrilling to return to the enchanted world of ‘Sofia the First,’ where it all began 10 years ago, and create a follow-up series that is just as magical.”

Sofia the First: Once Upon a Princess tells the story of a little girl who becomes a princess when her mom marries the king, and it ushered in four seasons of the Emmy Award-winning Sofia the First series, currently streaming on Disney+. It starred Ariel Winter (Modern Family) as Sofia; Sara Ramirez (Grey’s Anatomy) as Queen Miranda; Travis Willingham (Legend of Vox Machina) as King Roland; Wayne Brady (Whose Line Is It Anyway) as Clover, a wise-talking Rabbit; and Tim Gunn (Making The Cut) as Baileywick, the family’s Royal Steward.

Among Sofia the First‘s accolades are multiple Emmy Awards, including for the theme song, which Gerber shares with the series’ songwriter/music director, John Kavanaugh, and for Outstanding Music Direction and Composition for composer Kevin Kliesch. Sofia the First staff writers Laurie Israel and Rachel Ruderman were also awarded a Humanitas Prize for the episode “Dads and Daughters Day,” which highlighted Sofia’s blended family and her relationship with her step-father and step-sister.

The series created multiple extensions across the Disney businesses, including Disney Parks & Resorts, where the Sofia character still makes special appearances. “Sofia the First” dolls, costumes and apparel are available in the Disney Junior Amazon store, as well as children’s books inspired by the series from Disney Publishing Group available at DisneyBooks.com, including the New York Times best-seller Sofia the First.

Gerber is represented by APA talent agency and the law firm Goodman, Genow, Schenkman, Smelkinson & Christopher.

Nickelodeon & Mattel Screamlight ‘Monster High’ for Season 2

Mercedes Milligan

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November 17, 2022

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Nickelodeon & Mattel Screamlight ‘Monster High’ for Season 2

Nickelodeon and Mattel Television announced today the renewal of the original animated series Monster High for a second season (20 episodes), following the children of famous monsters and creatures on even bigger comedy-packed adventures. Season 1 premiered in the U.S. on October 28 on Nickelodeon. The series also debuted in the U.K. and will launch later this month in Australia on Nickelodeon and Paramount+, rolling out in additional international territories in 2023.

In Live +3, the most recent premiere of Monster High (11/4, 7P) delivered a strong 0.58 K2-11 rating, up double digits from the prior four weeks’ timeslot and the prior week’s launch. Across all telecasts to date on the Nick portfolio of nets (Nickelodeon, Nick at Nite, Nicktoons and TeenNick), the Monster High series has reached 1 million Kids 2-11 and nearly 4 million total viewers.

“Monster High is an iconic franchise that continues to connect with fans around the globe because of its creativity, relatable characters, and authenticity,” says Claudia Spinelli, Senior Vice President, Big Kids Animation. “We can’t wait to continue to work alongside our partners at Mattel to bring even more animated stories to life surrounding the most-famous teen monsters around.”

Fred Soulie, Senior Vice President and General Manager at Mattel Television, concurs: “Monster High is a franchise that, at its core, encourages fans to live as their true selves and celebrate the things that make them unique. We are proud to partner with Nickelodeon and our talented cast members from both the animated and live-action worlds of Monster High to continue delivering this important message through fun, entertaining content.”

In addition to the linear series, an all-new digital original series (8 episodes), Monster High Mysteries, will debut on the official Monster High YouTube channel on Friday, November 18. The series features everyone’s favorite beasties as they attempt to crack the case of a stolen trophy. The 2D-animated YouTube series features the voice talent behind the linear series and offers fans even more of the beloved characters and world. The first four episodes will rollout weekly with the second batch debuting in 2023.

Monster High follows teenage monsters Clawdeen Wolf, Draculaura, Frankie Stein and Deuce Gorgon as they discover who they are, embrace their differences and learn to be fierce and fearless at the one place they all belong: Monster High. In its new season, Monster High will dive even deeper into character backgrounds and continue expanding on the theme of friendship.

Returning for a second season of spooktacular adventures will be the scary good key voice cast: Gabrielle Nevaeh Green as Clawdeen Wolf, Courtney Lin as Draculaura, Iris Menas as Frankie Stein, Tony Revolori as Deuce Gorgon, Kausar Mohammed as Cleo De Nile, Valeria Rodriguez as Lagoona Blue, Alexa Kahn as Torelei Stripe, Alexander Polinsky as Heath Burns and Debra Wilson as Headmistress Bloodgood.

Shea Fontana (Polly Pocket) serves as showrunner and co-executive producer of Monster High, with Nick Filippi (Big Hero 6: The Series) as supervising producer. Production is overseen for Nickelodeon by Claudia Spinelli, SVP, Big Kids Animation, and Nikki Price, Director of Franchise Animation. Fred Soulie, SVP and General Manager of Mattel Television, and Christopher Keenan, SVP of Creative, serve as executive producers for Mattel.

Nickelodeon and Mattel Television also recently announced the greenlight for a sequel to the successful live-action title Monster High The Movie, which debuted Oct. 6 on Nickelodeon and Paramount+. The second flick will begin production in January in Vancouver, BC, and is set to arrive on air and streaming in 2023.

‘Sonic Prime’ Races to Netflix with Zippy New Trailer

Mercedes Milligan

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November 17, 2022

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‘Sonic Prime’ Races to Netflix with Zippy New Trailer

The Blue Blur is back in full-animated form for the new Netflix series Sonic Prime, ready to bring colorful, quirky stories and lightning-flash hedgehog action to streaming audiences on December 15. The CG-animated title will launch with a 40-minute special and 7 x 20′ episodes.

Synopsis: The action-packed adventures of Sonic the Hedgehog go into overdrive when a run-in with Dr. Eggman results in a literal universe-shattering event. Desperate to piece his prime reality back together and save his old friends, Sonic races through the Shatterverse, discovering strange worlds and enlisting new friends in an epic adventure of a lifetime!

The new series features the voices of Deven Mack as Sonic, Brian Drummond as Eggman, Ashleigh Ball as Tails, Shannon Chan-Kent as Amy Rose, Adam Nurada as Knuckles and Ian Hanlin playing Shadow and Big the Cat.

Sonic Prime is executive produced by SEGA, WildBrain, Man of Action and Erik Wiese (Victor and Valentino, The Mighty B!). Production is handled by SEGA, WildBrain and animation studio Marza, which worked on the Jeff Fowler Sonic the Hedgehog motion pictures (the third of which is due in 2024), as well as Lupin III: The First and the recent short Samurai Frog Golf.

People on the Move: Cake Adds Breslin, Sepulveda to Dev/Prod Team; Díaz Named VP Creative Dev at Sesame Workshop & More

Mercedes Milligan

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November 16, 2022

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People on the Move: Cake Adds Breslin, Sepulveda to Dev/Prod Team; Díaz Named VP Creative Dev at Sesame Workshop & More

CAKE has announced two new appointments to bolster its development and production business, Ciara Breslin and Martha Sepulveda. “CAKE’s development and production slate continues to grow and we are thrilled that Ciara with her wealth of experience will lead productions on our current and future shows,” said CEO Ed Galton. “We are also delighted to welcome Martha, who brings with her a passion for discovering and nurturing diverse talent and bringing underrepresented voices and stories to light and we look forward to the opportunities she will bring to CAKE.”

Ciara Breslin, formerly VP of Production, becomes SVP of Production, reporting to Galton. Breslin will drive CAKE’s growing slate of co-productions as well as overseeing ongoing and future production partnerships. She joined CAKE in 2020 acting as producer on African girl superhero series Mama K’s Team 4 for Netflix. She brings with her over 25 years experience in animation and children’s television, managing animated series and features for prominent studios around the world including MTV Animation, Hahn Film (Berlin) and Caligari Film (Munich).

Martha Sepulveda joins CAKE’s development team as Senior Development Executive, reporting to Daniel Bays, SVP of Development. In this new role, Sepulveda will lead the creative
development on a number of shows on the CAKE slate, with creators from around the world and in particular those from North and South America. Martha has over 15 years of international experience in kids’ media development and production, working with award-winning companies including Sinking Ship Entertainment and Breakthrough Entertainment and most recently, 9 Story.

Sesame Workshop, the nonprofit behind decades of award-winning educational content, has named Kim Díaz the newest Vice President of Creative Development. “I am deeply passionate about creating educational entertainment for preschoolers and beyond,” Díaz shared. “Growing up in an urban neighborhood in Queens, I remember watching Sesame Street and thinking that it was the only show out there that looked like where I lived. It’s an honor to be a part of helping kids like me see themselves through our beloved characters and brand-new programs.”

As the VP of Creative Development, Díaz will develop and lead the creative development strategy for new long-form and short-form series, specials, and other programming initiatives which align with Sesame Workshop’s mission and creative vision. She will also be responsible for developing and vetting innovative program ideas and genres and identifying and partnering with the right distributor for each property. She will report to Kay Wilson Stallings, EVP of Creative and Production.

Over her 16-year career, Díaz has been a leader in creative producing, writing, and development for educational preschool TV content. In her previous roles at Sesame Workshop, Díaz oversaw the Creative Development pipeline, which includes original series, Sesame Street spinoffs / segments and animated specials for partners such as HBO Max and Apple TV+. Her recent projects include the development of Charlotte’s Web, Elmo Gets a Puppy, The Nutcracker: Starring Elmo and Tango, Elmo & Tango’s Mysterious Mysteries and numerous Coming Together animated shorts. Díaz produced the YouTube short The Monster at the End of Your Story with Grover and Elmo, which was nominated for a Daytime Emmy Award.

Before joining Sesame Workshop in 2016, Kim Díaz served as writer, producer, and puppeteer at Sprout on the Emmy-nominated The Sunny Side Up Show, the only live studio series for preschoolers that ran 365 days a year under both Comcast and NBC Universal. Additionally, Díaz served as writer and producer for on-air promos, branding, and interstitials at Nick Jr. She was nominated for three short-form writing Emmy Awards for Nickelodeon Presents History & Heritage and Dora’s Fantastic Gymnastics Adventure.

BAFTA- and Emmy-nominated creative studio Untold Studios has expanded its film and episodic VFX team with a trio of industry pros joining its team. The shop continues to develop its diverse slate of titles, including The Crown, The Sandman, The Woman King, Ted Lasso, Doctor Who and the forthcoming Sharper for A24/Apple TV+.

Untold Studios welcomes Christopher Gray in the role of Executive Director to oversee all film and episodic activity. Gray joins from Executive roles at MPC and Framestore, working across premium titles including, HBO’s House of the Dragon and Watchmen, Prehistoric Planet and See for Apple TV+, Wheel of Time and The Boys for Amazon Studios and the multi-Emmy award-winning Black Mirror for Netflix amongst others and brings with him deep studio ties.

Peter Jopling joins as Executive VFX Supervisor as creative partner to Gray. Jopling previously worked at MPC, DNEG, Framestore, WETA and Mill Film throughout his illustrious career. He has worked on many of the world’s most celebrated shows including Kick Ass, Scott Pilgrim vs The World, Batman Begins, Harry Potter and the Goblet of Fire, The Golden Compass and multi-Academy Award-winning The Lord of the Rings: Return of the King.

Executive Producer Jenny Basen also joins the team, bringing over 20 years of experience working with world-class studios, including Disney, Marvel, Sony, Universal, 20th Century and Warner Bros., working on titles such as Avengers: End Game, Bohemian Rhapsody, Fantastic Beasts and Where to Find Them, Dunkirk, Interstellar and Happy Feet 2.

Multi-award-winning independent animation studio Aardman has appointed Lydia Gough as its new Sales and Marketing Manager for Agencies and Brands. She returns to Aardman having previously spent a year in the Brand Team, working closely on properties including Wallace & Gromit and Shaun the Sheep and overseeing global marketing activity. During that time, she led on the marketing campaign for Shaun the Sheep: The Flight Before Christmas.

Gough will be responsible for the ongoing business development of Aardman’s creative services, showcasing the studio’s director and producer talent and world-famous animation techniques to create new opportunities through work for hire as well as content for campaigns linked to Aardman’s character brands. The new role reflects the studio’s commitment to growing work in the Commercials and Interactive spaces and raising its profile within the advertising and marketing industries. She comes to the role with 10+ years of experience at top creative agencies across a broad range of sectors.

Framestore’s London Advertising division continues to grow its roster of talent with the appointment of Guy Lubin as VFX Supervisor.

With over 10 years industry experience, Lubin joins from The Mill, where he worked on notable projects such as the award-winning Open Spaces for Burberry. Prior to that he spent time at MPC Advertising, Nexus and The Line Animation.

Lubin has an impressive list of credits, including campaigns for Apple, Moncler, EE, Marks & Spencer, BT and Balenciaga. He has collaborated with a stellar list of directors including Dom&Nic, The Sacred Egg, James Grey and Amber Grace-Jones.

Retrofuturist Slovenian Short ‘Liliana’ Debuts on Vimeo

Mercedes Milligan

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November 16, 2022

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Retrofuturist Slovenian Short ‘Liliana’ Debuts on Vimeo

A sepia-toned tale of womanly resolve, Liliana is a 2D-animated retrofuturistic short film newly launched free to watch on Vimeo. Created by Slovenian first-time director Milanka Fabjančič and produced by Ljubljana-based ZVVIKS (Farewell, Mr. Cloud) , the piece has picked up multiple festival awards leading into its online debut.

Young Liliana is the epitome of modesty, dedication, and hard work. These facets are even more pronounced because of her desire to achieve her goal. The tale lies beyond time and space, nostalgically reminding us of the past.

Liliana premiered at the 2019 Festival of Slovenian Film in Portorož, where it received its first award: the Vesna Award for best animated film. Since then, the film has been featured at numerous domestic and international film festivals, notably at Animafest Zagreb (Croatia), Encounters Film Festival (U.K.) and Sapporo International Short Film Festival (Japan). Liliana also received Creative Innovation in Animation Award (International Filmmaker Festival of New York) and Best Concept Design Award by the Slovene Animated Film Association (DSAF).

Lina Dinkla, Special Programs Coordinator for the DOK Leipzig festival (Germany) wrote about Liliana: “Misty-eyed and nostalgic, this film takes us into the past. The accomplished illustrator Milanka Fabjančič uses sepia and pastel-colored drawings to bring to life the miraculous story of the industrious and meek factory worker, Liliana. Every night she takes off a shining necklace, every morning she puts it back on. During the day, the secret of her meekness remains hidden in her heart.”

Fabjančič is an academic painter working across a broad spectrum of creative projects, including everything from book illustrations to graphics and animations. She works as animation director, animator, illustrator and professor at the Academy of Fine Arts of the University of Nova Gorica and at the Academy of Fine Arts and Design of the University of Ljubljana.

Timed to the online premiere, ZVVIKS announced that it will continue its collaboration with Fabjančič on a second short animated film, Put Down the Octopus, Here’s a Banana (in production), that will once again spotlight Fabjančič’s hand-drawn illustrations as it takes viewers along on the lifetime journey of a friendship that celebrates life and sisterhood.

Watch the trailer for Liliana below and find the full short for free on Vimeo here.

zvviks.net

Tom and Jerry Get a Kawaii Makeover for New Made-in-Japan Series

Animation Magazine

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November 16, 2022

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Tom and Jerry Get a Kawaii Makeover for New Made-in-Japan Series

Two of toondom’s most beloved characters are embarking on a very different type of neku and nezumi game in the first-ever Tom and Jerry anime. Announced by Turner Japan timed to Japan’s “Cheese Day” celebrations (Nov. 11), The special collection of shorts launched on Cartoon Network locally, marking the first project starring the cat and mouse duo to be produced in Japan.

While the shorts carry over the “speedy and humorous action” and “good-natured fights” of the classic William Hanna and Joseph Barbera cartoons, which first debuted over 60 years ago, Tom and Jerry‘s Japanese adventures are presented through a candy-colored, ultra-kawaii lens with cutesy new character designs.

The episodes as give our heroes new magical powers. Per Turner Japan: “Tom, a fussy cat who can’t be hated; Jerry, a cute by clever mouse and Tuffy [a.k.a. Nibbles], a small and cute mouse, all transform into adorable characters, such as their favorite food.”

As SoraNews24 points out, the Tom and Jerry anime’s made-in-Japan status is also marked philologically in the Japanese title. While “Tom and Jerry” as foreign names would typically be written using the katakana alphabet, this iteration is written out in the curvier (and sometimes considered “cuter”) hiragana, generally reserved for Japanese names and words: とむとじぇりー.

The shorts launched alongside several Tom and Jerry licensing collaborations and promotions for Cheese Day 2022. Established in 1992 by Japanese cheese industry associations, the event celebrated its 30th anniversary this year.

Tom and Jerry featured in limited edition household goods from Loft, in-store Cheese Day Fairs with special activities and merch at Village Vanguard stores, branded sweets available from NewDays / NewDays KIOSK from Nov. 29-Dec. 19, and themed items available from the official Tom and Jerry Market online store — including cheese-shaped LED lights, die-cut puffs, storage pouches and pillows.

[Source: Turner Japan via SoraNews24]

Lupus Films Celebrates 20th Anniversary with MAF Fellowship

Mercedes Milligan

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November 16, 2022

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Lupus Films Celebrates 20th Anniversary with MAF Fellowship

Camilla Deakin and Ruth Fielding, the founders of multi award-winning, London-based animation studio Lupus Films, have been awarded the Manchester Animation Festival Fellowship 2022.

In a special 90-minute session held at the festival last night, (Tuesday, November 15), Deakin and Fielding received the award as they reflected on 20 years of creating high-quality entertainment for families around the globe. They also celebrated the extraordinary stories and people behind the making of their best-loved films and gave a sneak preview of exciting projects in the production pipeline, including an animated adaptation of Benji Davies’ Storm Whale trilogy.

“We are incredibly excited to receive this prestigious honor from the Manchester Animation Festival in our 20th year,” the studio founders shared. “The Manchester Animation Festival is a huge supporter of the animation industry in this country and this award is a testament to the incredible talent and dedication of the people who have worked alongside us on our productions over the last 20 years.”

Festival director Steve Henderson said, “Whether it is building an original sequel to The Snowman and bringing The Snowman and The Snowdog to life or creating a feast for the eyes with The Tiger Who Came to Tea, or finding the perfect way to translate We’re Going on a Bear Hunt, Lupus Films’ TV specials have delighted for two decades.”

Founded in 2002, Lupus Films has developed an international reputation for beautifully crafted film adaptations of classic works of literature which have been seen in cinemas and on major broadcasters and SVOD channels worldwide. Their much-loved, much-watched productions include The Snowman and The Snowdog, Ethel & Ernest, We’re Going on A Bear Hunt and The Tiger Who Came to Tea.

Based on the children’s picture book by author-illustrator Judith Kerr OBE and directed by Robin Shaw, The Tiger Who Came to Tea won a Jury Award at Annecy in 2020 and an International Emmy Kids Award. The film is nominated in the Animation category for the BAFTA Children’s & Young People Awards, which will be announced on November 27.

Projects currently in development and production include an adaptation of Michael Morpurgo’s Kensuke’s Kingdom, featuring the voices of Cillian Murphy and Sally Hawkins, a trio of films based on Benji Davies’ beautiful Storm Whale trilogy and Las Dos Fridas, a colorful feature film about the life of Mexican artist Frida Kahlo.

Read more about Lupus Films’ 20-year legacy in Animation Magazine‘s interview here. Manchester Animation Festival (MAF) is taking place this week (Nov. 13-18) in the northwestern English city.

lupusfilms.com | manchesteranimationfestival.co.uk

Franklin Institute Sneak Peeks Disney100: The Exhibition Artifacts, Gallery Renderings

Mercedes Milligan

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November 16, 2022

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Franklin Institute Sneak Peeks Disney100: The Exhibition Artifacts, Gallery Renderings

Tickets are now on sale for the world premiere of Disney100: The Exhibition, debuting at The Franklin Institute in Philadelphia on February 18, 2023. Created for the 100-year celebration of The Walt Disney Company, the exhibition invites guests to step into their favorite stories using innovative and immersive technology throughout 10 galleries in the 15,000-square-foot exhibit.

The Walt Disney Archives is opening its vault of treasures, showcasing more than 250 of its “Crown Jewels,” rarely seen original artworks and artifacts, costumes and props, and other memorabilia — five of which were unveiled today:

Walt's Disneyland Number 1 Badge — Walt’s Disneyland Number 1 Badge

Disneyland Employee Badge #1 (1955) was worn briefly by Walt Disney during rehearsal for Disneyland’s Opening Day in 1955 and, later, on television in The Disneyland Tenth Anniversary Show (1965). Disneyland Cast Members wore similar badges from 1955 through 1962, establishing a long-standing tradition of becoming proud ambassadors of Disney culture when wearing their Disneyland name tags.

Steamboat Willie (1928) Whistle — Steamboat Willie
(1928) Whistle

Steamboat Whistle in Steamboat Willie (1928) Debuting at the Colony Theatre in New York City on November 18, 1928, Steamboat Willie was the first theatrically-released Mickey Mouse cartoon and the first cartoon to feature synchronized sound. Sound effects devices, like the whistle seen here, helped to capture an all-new level of artistry in Walt Disney’s groundbreaking animated films.

Prop Storybook featured in Snow White and the Seven Dwarfs (1937), opening Disney’s first full-length animated film and drawing moviegoers into the fairy tale world from which Snow White originated. This introductory convention would go on to appear in many of Disney’s future animated films, including Pinocchio (1940), Cinderella (1950) and Sleeping Beauty (1959).

Star Wars: The Rise of Skywalker (2019) Skywalker Lightsaber Hilt

Skywalker Lightsaber Hilt from Star Wars: The Rise of Skywalker (2019), used by Daisy Ridley. Once wielded by Anakin Skywalker, and later inherited by Luke and mysteriously gifted to Rey, filmmakers recreated the Skywalker Lightsaber hilt for The Rise of Skywalker in its repaired form, still emulating the real-world Graflex camera flash holder from which the original was fabricated.

Magic Ring from The Shaggy Dog (1959), in which teenager Wilby Daniels (played by future Disney Legend Tommy Kirk) accidentally discovers this artifact in a museum and, by repeating the Latin inscription featured on the band, transforms into a large and clumsy Bratislavian sheepdog.

It was also announced that composer Steve Mazzaro, whose work can be heard on the soundtracks of such Disney-produced films as The Lion King (2019), Pirates of the Caribbean: Dead Men Tell No Tales and The Lone Ranger has composed an original soundtrack for the exhibit blending themes of such beloved classics as “When You Wish Upon A Star” from Pinocchio (1940) and “Let it Go” from Frozen (2013) with a new theme crafted exclusively for the exhibition.

Also exclusive to this exhibition, Disney has curated special behind-the-scenes glimpses into the creation of the company’s most popular characters, films, shows and attractions — from Disneyland to Walt Disney World and beyond. The 10 magnificent and imaginatively themed galleries, all featuring moving stories, unique interactive installations and exciting background information, will take guests on a journey through 100 years of The Walt Disney Company, celebrating the classics from Snow White and the Seven Dwarfs to Strange World, as well as the latest members of the Disney family — Pixar, Star Wars, Marvel and National Geographic.

“In 1923, Walt Disney set our company on a path that would revolutionize the entertainment industry, creating unforgettable stories, beloved characters, and unparalleled experiences that generations of fans around the world have enjoyed,” said Becky Cline, director of the Walt Disney Archives. “This incredible exhibit will take guests on a remarkable journey from those earliest days into Disney’s dazzling future using seamless technology, a rich musical score and — of course —treasures from the Walt Disney Archives collection.”

Exhibitors today shared the first look at six gallery renderings:

Where It All Began. This gallery introduces visionary filmmaker and innovator Walt Disney and his philosophies that laid the foundation for the Walt Disney Company. Guests will explore his story from before Mickey Mouse to Mickey’s debut in Steamboat Willie in 1928 to the fantastic breakthroughs in animation during the early 1930s.

Where Do the Stories Come From? A gallery dedicated to the art of storytelling with ever-changing multimedia environments that illustrate how Disney storytellers bring characters to life. Guests can explore the sources of inspiration for Disney’s most
beloved and iconic films through art and artifacts from Snow White and the Seven Dwarfs, Frozen and The Princess and the Frog.

Sources of Inspiration. From classic fairy tales and legends to original creations, this immersive and interactive installation invites visitors to explore the literary influences behind some of their favorite stories and see how they inspired Disney artists and storytellers.

The Spirit of Adventure and Discovery ©Disney

The Spirit of Adventure and Discovery. From the depths of the ocean and the mysteries of the jungle to the outer reaches of the galaxy, Disney adventure stories from Disney, Star Wars and the Marvel Cinematic Universe invite exploration and discovery in this interactive gallery where curious youngsters can embark on a quest to uncover hidden artifacts from
favorite films.

The Nautilus Window. Guests can peer through an interactive window of Captain Nemo’s legendary submarine, as seen in 20,000 Leagues Under the Sea, for a glimpse of Disney and Pixar’s enchanting underwater worlds.

Your Disney World: A Day in the Parks ©Disney

Your Disney World: A Day in the Parks. Guests step into a recreation of Main Street, U.S.A., to explore the legacy and development of Disney parks and attractions worldwide.

“The Franklin Institute has spent almost 200 years bringing stories of innovation and discovery to the public in an immersive and interactive way, so Disney100: The Exhibition is a perfect fit for us and our audience,” said Larry Dubinski, President and CEO of The Franklin Institute. “We are proud to host the world premiere at The Franklin Institute so fans across Philadelphia and beyond can have the first opportunity to see these crown
jewels come to life in beautifully crafted galleries reflecting Disney’s imaginative storytelling, innovation, discovery and wonder.”

Disney100: The Exhibition is created and curated by the Walt Disney Archives and Semmel Exhibitions. The Franklin Institute is proud to present and play host to the world premiere of Disney100: The Exhibition in the Nicholas and Athena Karabots Pavilion and the Mandell Center. PECO, the Premier Corporate Partner of the Franklin Institute, is the Local Presenting Sponsor of the exhibition, and PNC is the Associate Sponsor.

Disney100: The Exhibition runs Feb. 18 – Aug. 27, 2023 as a Special Exhibit at The Franklin Institute. Tickets priced from $25-$45 are available now from www.fi.edu.

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