Tired of the same old periodic table? Want to breathe some fresh air into the stale old chemicals? That’s is exactly what animator and illustrator Kaycie D. decided to take on a massive character design project. In her thesis project– titled Elements – Experiments in Character Design- at Milwaukee Institute of Art & Design, Kaycie decided she would design a character based on each of the known chemical elements in the periodic table, until she had a complete world of science-inspired cartoon characters.
Disney short and Oscar contender Paperman has hit the Internets. Yesterday, Disney released the full short, uncut, on the Internet on Huffington Post and Youtube. Directed by John Kahrs, the film is important because it combines the art of hand-drawn, 2D animation with the quality of computer animation seamlessly. The short made it’s theatrical debut paired with Wreck-It Ralph on November 2, 2012.
A relatively simple tale of a boy meets girl chance encounter leads to the hero desperately attempting to re-introduce himself to a pretty girl via the medium of paper planes from his office skyscraper to hers. His failed attempts and passion for his original goal manifest in the hundreds of discarded planes as they try to guide, prod, poke and shove him towards his destination whilst gently persuading the goal of his affections along to a possible reconciliation too.
Premiered at the Annecy Film Festival in France. General release was with Wreck-It Ralph on November 2, 2012.
Blend of 2D and CGI using Meander software.
This is John Kahrs’ first film as a director.
Kahrs said that the concept for the short materialized when he was working as an animator at Blue Sky Studios. Kahrs went on to say, “We brought together as best we could the expressiveness of 2D drawing immersed with the stability and dimensionality of CG. It really goes back to working with Glen Keane on Tangled, watching him draw over all the images.”
The youtube video of the acclaimed short is available on our site from the Paperman Video page.
Other contenders for this years Best Animated Short Oscar include:
Adam & Dog (dir. Minkyu Lee, U.S.A.)
The story about the dog of Eden. What happened in those first days of Creation that made Man and Dog so inseparable? The dog, as he lives through this curious world, encounters a strange creature; a human being named Adam — and with that discovers a new-found connection to the world.
Fresh Guacamole (dir. PES, U.S.A.)
Learn how to transform familiar objects into Fresh Guacamole!
Head Over Heels (dir. Timothy Reckart, United Kingdom)
After many years of marriage, Walter and Madge have grown apart: he lives on the floor and she lives on the ceiling. When Walter discovers a long-lost memento of their wedding day, he tries to reignite their old romance. But it brings their equilibrium crashing down, and the couple that can’t agree which way is up must find a way to put their marriage back
Maggie Simpson in “The Longest Daycare” (dir. David Silverman, U.S.A.)
Maggie Simpson spends a day at the Ayn Rand Daycare Center, where she is diagnosed at an average intelligence level. Longing to be grouped with the gifted children, Maggie finds her destiny by rescuing a lonely cocoon from Baby Gerald, who is busy smooshing butterflies.
Camera and staging artist Saschka Unseld is the director. Amidst the rain in a singing city, two umbrellas -– one blue, one red -– fall eternally in love.
The blue umbrella notices and takes a shine to the red umbrella. Distance and natural forces halt their attraction, but objects on the street — such as construction signs and a mailbox — come to life to help bring them together again.
Unseld, 36, is a German native who began working with Pixar in 2008. He got the idea when walking in San Francisco and spotting an umbrella lying in the gutter on a rainy day.
“It was the saddest thing. I stood there and wondered what had happened to him. I think that was when I got the idea of giving him a story,” he recalled.
At first, Unseld got ideas for characters by taking iPhone pictures on San Francisco and New York streets. He asked colleagues to do likewise when they went to such places as Chicago and Paris. One character in the film was inspired by his photo of a manhole cover just two from his San Francisco home.
Meanwhile, he was listening to singer Sarah Jaffe’s music. While shooting an animation test on his iPhone, he timed it to her voice.
Jaffe can be heard in the final film: “She’s been there for me since the inception.”
A photorealistic look was needed, according to Unseld: “If we made it stylized and cartoony, the magic of those things coming to life would be completely gone.”
This entailed techniques not previously used by Pixar: global illumination, in which light is simulated as being emitted and reflected off surfaces, and deep compositing, where images holding three-dimensional data are layered. This results in deeper plays between light and shadow, and greater depth of field.
As well, Unseld slowed filming to 12 frames per second — half the usual rate for movies — at some points. He also varied exposure times, thus resulting in different rhythms of rain.
Unusually, Unseld was directing some of his earlier camera and staging co-workers. Often, he said, he felt guilty when he would send them back with many notes for revisions after they had show him their work.
“If you give someone all that feedback to do all that work, I was used to doing part of that work. Here, I just had someone go off and do all that work by himself. That was a very new experience for me,” he said.
At the same time, however, he considered his background advantageous for good communication with them. “If you work in one of those technical departments, it’s really nice if you have a director who really understands you because you can talk the same language,” he said.
A clip from The Blue Umbrella can be seen on our website now.
Layoffs at the Walt Disney Company’s studios and other units may take place in the wake of an internal cost-cutting review begun by the Mouse House several weeks ago, according to “three people with knowledge of the effort.”
Due to improved technology, Disney is pondering cutbacks in jobs that it no longer needs, one of the three told Reuters. It’s also examining redundant aspects of its empire that could be eighty-sixed after several major acquisitions over the past several years, the person added.
Although Disney has used layoffs to smooth operations, staff cuts are not certain at this point, the source added. The company is considering a hiring freeze instead of layoffs, a second source said.
The sources requested anonymity because Disney has not acknowledged the review publicly.
Disney’s studio division is the least profitable of the entertainment giant’s four major product divisions, having had a profit margin of 12.3% last year. Cuts will most likely take place at the studio division, two of the three sources said.
The company has changed its business practices to make fewer films and depend more on such outside studios as Steven Spielberg’s DreamWorks. The studio finances its own films, and paying Disney a marketing and distribution fee.
Tony Wible, an analyst with Janney Montgomery Scott, suggested that Disney may cut jobs at the studio and interactive divisions, along with its music arm. His company has a neutral rating on Disney stock.
“This is not necessarily a negative thing,” Michael Morris, an analyst with Davenport and Co., said of the possible layoffs. “It speaks to a fiscally responsible management.”
Though Morris was unaware of the review, he has a buy recommendation on the stock.
Disney shares dropped Monday by 2.3% to close at $50.97.
Vancouver-based Bron Studios announced Tuesday that it is making its first CG-animated feature film, Sole Mates.
Set to begin production next year, the movie is an “animated journey of love, lost and found, with comedic charm and universal themes set in a familiar world from a new point of view.” Bron Studios will team up with Hidden Empire Film Group on the project.
Sole Mates is based on an original concept by Deon Taylor (Chain Letter).
Bron managing director Aaron L. Gilbert will be one of the producers, joining Taylor and Ahmet Zappa (The Odd Life of Timothy Green).
Taylor has produced, directed and written several other projects, including The Hustle (Charlie Murphy) and the drama Supremacy, with Danny Glover.
Japanese animator Hayao Miyazaki’s first film in five years will come out next year, distributor Toho announced Thursday.
Miyazaki will release wartime romance Kaze Tachinu, based on the novel of the same name, usually translated as The Wind Has Risen.
He created Spirited Away, which a 2003 Oscar for Best Animated Feature. His last movie was 2008’s Ponyo.
The protagonist of Kaze Tachinu is based on flight engineer Jiro Horikoshi, designer of the Zero fighter, Japan’s best known Second World War fighter aircraft.
Also next year, longtime Miyazaki collaborator Isao Takahata will release his first new film in over a decade. Kaguya Hime No Monogatari will be based on Taketori Monogatari (The Tale of the Bamboo Cutter). Japan’s oldest novel, Taketori Monogatari is thought to have been written over 1,000 years ago.
“ParaNorman” was named Best Animated Feature of 2012 by the Washington, D.C. Area Film Critics Association on Monday morning.
WAFCA honored a wide sweep of films, ranging from musicals to science fiction. And while only three films garnered more than one award, it was clear that historical/political dramas resonated most with the critics from America’s capital.
Zero Dark Thirty, the account of United States intelligence specialists’ and Army special forces’ pursuit and elimination of terrorist Osama bin Laden, won Best Film. In 2009, Kathryn Bigelow became the first woman to ever win the WAFCA prize for Best Director for her Iraq War film, The Hurt Locker. Just three years later, Bigelow has won the same award again for Zero Dark Thirty.
“In a year full of strong films,” said WAFCA president Tim Gordon, “director Kathryn Bigelow’s bold and audacious vision, represented in our Best Picture winner, is the perfect political story for our members in the District of Columbia. This story, told with steely, cold effectiveness, is a worthy entry into WAFCA’s Best Picture canon and a cinematic achievement that we are proud to honor.”
Zero Dark Thirty also netted Jessica Chastain her first Best Actress award. Daniel Day-Lewis won Best Actor for his riveting portrayal of President Abraham Lincoln in the year’s other outstanding historical drama, Lincoln. Best Supporting Actor went to Philip Seymour Hoffman for The Master, and Best Supporting Actress went to Anne Hathaway for Les Miserables, which also scooped the Best Acting Ensemble.
The screenplay awards covered two very different films: Best Adapted Screenplay went to David O. Russell for his story of love and shared neuroses in Silver Linings Playbook, and Rian Johnson won Best Original Screenplay for his time travel mind-bender, Looper.
The award for Best Documentary went to Bully, while that for Best Foreign Language Film was presented to Michael Haneke’s Amour. Best Art Direction went to Cloud Atlas, while Claudio Miranda won Best Cinematography for Life of Pi, and Jonny Greenwood took Best Score for The Master.
New this year, WAFCA proudly instituted The Joe Barber Award for Best Youth Performance, named in honor of beloved D.C. film critic and longtime WTOP arts editor Joe Barber, who died just over a year ago. The award, which highlights the best performance from an actor or actress under 20, went to Quvenzhane Wallis for Beasts of the Southern Wild.
“It’s a shame Joe was not able to see Quvenzhane’s fierce and compassionate performance in this gem of a film,” said Gordon. “It’s exactly the sort of role Joe would have loved, and we are so thankful to be able to remember him going forward with this very special award.”
The Washington, D.C. Area Film Critics Association is comprised of nearly 50 film critics from TV, radio, print and the Internet based in the District of Columbia, Virginia and Maryland. Voting was conducted from Friday to Sunday.
Disney’s “Wreck-It Ralph” has been named Best Animated Feature of 2012 by the National Board of Review, the Board announced Thursday.
John Goodman was given the Spotlight Award for several roles, including his voice work in the animated Paranorman. (He was also recognized for his work in the live-action Argo, Flight and Trouble With the Curve.)
The National Board of Review awards are often considered the beginning of the movie awards season.
Meanwhile, Zero Dark Thirty was named the 2012 Best Film of the Year by the organization.
“Zero Dark Thirty is a masterful film,” said NBR president Annie Schulhof. “Kathryn Bigelow takes the viewer inside a definitive moment of our time in a visceral and unique way. It is exciting, provocative and deeply emotional.”
Bigelow was named Best Director for her work on the film, while Jessica Chastain was named Best Actress.
The other films on the top 10 list are (in alphabetical order) Argo, Beasts of the Southern Wild, Django Unchained, Les Miserables, Lincoln, Looper, The Perks of Being a Wallflower, Promised Land and Silver Linings Playbook.
For Silver Linings Playbook, Bradley Cooper won for Best Actor and David O. Russell for Best Adapted Screenplay.
Beasts of the Southern Wild earned Quvenzhané Wallis an award for Breakthrough Actress and Benh Zeitlin one for Best Directorial Debut.
The Top 5 Foreign Language Films were Barbara, The Intouchables, The Kid With a Bike, No and War Witch.
Top 5 Documentaries (In Alphabetical Order): Ai Weiwei: Never Sorry, Detropia, The Gatekeepers, The Invisible War and Only the Young.
Top 10 Independent Films (In Alphabetical Order): Arbitrage, Bernie, Compliance, End of Watch, Hello I Must Be Going, Little Birds, Moonrose Kingdom, On the Road, Quartet and Sleepwalk With Me.
Other awards given by the National Board of Review:
Best Supporting Actor: Leonardo DiCaprio, Django Unchained
Best Supporting Actress: Ann Dowd, Compliance
Best Original Screenplay: Rian Johnson, Looper
Special Achievement in Filmmaking: Ben Affleck, Argo
Breakthrough Actor: Tom Holland, The Impossible
Best Foreign Language Film: Amour
Best Documentary: Searching For Sugarman
William K. Everson Film History Award: 50 years of Bond films
Best Ensemble: Les Miserables
NBR Freedom of Expression Award: Central Park Five
NBR Freedom of Expression Award: Promised Land
A select group of knowledgeable film enthusiasts and professionals, academics, young filmmakers and students, the National Board of Review viewed over 250 films this year, including animated, studio, independent, foreign-language and documentary selections. These screenings were frequently followed by in-depth discussions with filmmakers, directors, actors, producers, and screenwriters. Voting ballots were tabulated by the accounting firm of Lutz & Carr, LLP.
The National Board of Review honors diverse members of the film community at their annual Awards Gala, which also acts as a fundraiser for student grant philanthropy. Hosted by Meredith Vieira, this year’s gala will take place January 8 at Cipriani 42nd Street in New York City.
Believed to be the earliest known poster of the world’s most famous mouse, a 1928 movie poster of Mickey Mouse sold Thursday for over $100,000, Dallas-based Heritage Auctions announced.
Though it had been expected to bring at least $20,000, the poster ended up selling for $101,575. The name of the winning bidder was not released.
It came from the collection of the late Crowell Havens Beech, a major movie poster collector and dealer in Northern California. The poster is considered unique.
“After buying it nearly 25 years ago, Beech secreted the poster away from everyone — even his family,” Heritage Auctions said.
In a statement, Grey Smith, director of movie poster auctions at Heritage Auctions, called the poster “an important piece of pop culture treasure.” He said that it probably was the only Mickey Mouse poster made until 1930.
A poster for another Disney cartoon — Alice’s Day At Sea, a 1924 Alice Comedy by Walt Disney for M.J. Winkler Productions — was sold at Christie’s in London for the equivalent of $36,534 U.S. in April 1994. At the time, Guinness World Records said that this was the highest price ever paid for a cartoon poster.
Walt Disney Animation Studios announced Thursday that it has tapped Jennifer Lee to join Chris Buck at the helm of its 53rd full-length animated feature, Frozen, which is slated for the big screen on November 27, 2013.
Lee, who has contributed to the film’s screenplay, is one of the screenplay writers of this year’s arcade-hopping adventure Wreck-It Ralph.
The comedy-adventure Frozen features the voices of Kristen Bell and Idina Menzel.
When a prophecy traps a kingdom in eternal winter, Anna, a fearless optimist, teams up with extreme mountain man Kristoff and his sidekick reindeer Sven on an epic journey to find Anna’s sister Elsa, the Snow Queen, and put an end to her icy spell. Encountering mystical trolls, a funny snowman named Olaf, Everest-like extremes and magic at every turn, Anna and Kristoff battle the elements in a race to save the kingdom from destruction.
Frozen producer Peter Del Vecho says that the match-up is perfect: “Jenn has a real connection to the film and creates dynamic and relatable characters. Her sense of comedy, adventure and story structure, paired with Chris Buck’s vast experience and incredible instincts, create an ideal situation for this film.”
Lee’s screen adaptation of John Steinbeck’s The Acts of King Arthur and His Noble Knights is being produced by Troika Pictures. She has an original screenplay in development with Leonardo DiCaprio’s Appian Way, and her original script Lucid Dreams was optioned by Wolfgang Peterson’s Radiant Productions. Lee holds an MFA in Film from Columbia University and a BA in English from the University of New Hampshire.
Buck directed (with Kevin Lima) Disney’s 1999 high-swinging feature Tarzan, which won an Oscar and a Golden Globe for Best Music/Original Song (Phil Collins’ “You’ll Be in My Heart”). He directed (with Ash Brannon) 2007’s Oscar-nominated Surf’s Up for Sony Pictures Animation. His credits within animation also include 1989’s The Little Mermaid, The Rescuers Down Under (1990) and Pocahontas (1995).
With original songs by Tony Award winner Robert Lopez (The Book of Mormon, Avenue Q) and Kristen Anderson-Lopez (In Transit), Frozen appears in Disney Digital 3D in select theaters. For more information, visit www.facebook.com/DisneyFrozen.
Disney Channel’s “Phineas and Ferb” was the sole animated program announced Wednesday as a nominee for the 24th Annual Producers Guild Awards.
Phineas and Ferb is up for the Award for Outstanding Children’s Program. Other shows nominated by the Producers Guild of America in the same category are the live-action Good Luck Charlie (Disney Channel), iCarly (Nickelodeon), Sesame Street (PBS) and The Weight of the Nation for Kids: The Great Cafeteria Takeover (HBO).
Nominees were also announced for the Norman Felton Award for Outstanding Producer of Episodic Television, Drama; the Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy; the Award for Outstanding Producer of Non-Fiction Television; the Award for Outstanding Producer of Live Entertainment & Talk Television; the Award for Outstanding Producer of Competition Television; the Award for Outstanding Sports Program; and the Award for Outstanding Digital Series.
All other nominations for the 2013 Producers Guild Award categories will be announced January 3, along with the individual producers.
All 2013 Producers Guild Award winners will be announced January 26 at the Beverly Hilton Hotel. This year, the Producers Guild will also award special honors to Bob and Harvey Weinstein, J.J. Abrams, and Tim Bevan and Eric Fellner, among others. The 2013 Producers Guild Awards Chair is Michael DeLuca.
Cartoon Network Europe series “The Amazing World Of Gumball” was the winner in both the Animation and Writing categories Sunday at the British Academy Children’s Awards.
The show, which airs on Cartoon Network UK, was produced in association with Dandelion Studios, Boulder Media and Studio Soi.
Ben Bocquelet, Mic Graves and Joanna Beresford were singled out for their work in animation, Bocquelet, James Lamont and Jon Foster were honored as the writers.
Other British Academy Children’s Award nominees for animation were The Amazing Adrenalini Brothers (Pesky Productions/POP), The Gruffalo’s Child (Magic Light Pictures in association with Studio Soi/BBC One) and The Mechanical Musical Marvel (Chris Randall and Julie Boden; Second Home Studios/THSH Birmingham).
In Pre-School Animation, the winner was Peppa Pig (Philip Hall, Joris van Hulzen and Phil Davies; Astley Baker Davies/Five).
Others nominated for Pre-School Animation were Rastamouse (Greg Boardman, Eugenio Perez and Derek Mogford; The Rastamouse Company/CBeebies), Timmy Time (Jackie Cockle, Liz Whitaker and David Scanlon; Aardman Animations/CBeebies) and Tree Fu Tom (Daniel Bays and Adam Shaw; Plug-in Media/Blue Zoo Productions/CBeebies).
The award in the International category was given to SpongeBob SquarePants (Paul Tibbitt, Casey Alexander and Zeus Cervas; MTV Networks International/United Plankton Pictures/Nickelodeon UK).
The animated Share A Story 2011 (Dave Hickman, Carl Hadley and David Heslop; CiTV Creative/CiTV) won in the Short Form category.
CBBC was named Channel Of The Year, defeating CBeebies, CiTV and Cyw.
Brian Cosgrove, the man behind classic children’s animations The BFG, Count Duckula, DangerMouse and many more, was honoured with the Special Award for outstanding creative contribution to the industry.
Cosgrove formed Manchester-based animation studio Cosgrove Hall with his business partner Mark Hall in 1975. The studio quickly established itself as the leading producer of animated programmes in the United Kingdom. It created shows and films that have entertained millions of people all over the world, including Bill and Ben, Noddy, Rainbow and Chorlton and the Wheelies.
The Special Award was presented to Cosgrove by long-standing friend and colleague David Jason.
“I had the pleasure of working with Brian Cosgrove and Mark Hall a number of times, and it was always a joy. The quality of the creative work, the high standard on which they based every detail of every project was so reassuring for one of the newer people like me,” Debra Gillett explained.
“No matter how long the day, work was always fun, and felt like a family getting together every time we met to record the next set of episodes. Cossie, as he was affectionately known by some, knew what he wanted down to the last minute detail, and the result was wonderful, original shows which were enjoyed all over the world. I am so pleased that his work is being recognized with this well-deserved award.”
Cosgrove and the team at Cosgrove Hall were also champions of Manchester’s arts and cultural scene, so much so that members of Joy Division (Bernard Sumner), The Stone Roses (John Squire) and Inspiral Carpets (Craig Gill) all worked under Cosgrove and Hall’s tutelage at some point in the studio’s life.
Said Cosgrove: “After 40 years of making children’s programs, it is an honor and a privilege to be receiving this Special Award from BAFTA. On hearing I would receive the Award, I was thrilled!
“I’ve been lucky in many ways, particularly that I’ve spent my whole career doing what I would have chosen to do as a hobby, and I was fortunate in finding the right person, Mark Hall, to work alongside. Together, we built a company that gave work to a whole generation of artists and filmmakers, and hopefully, via the programs we made, brought pleasure to many generations of viewers.”
In the BAFTA Kids’ Vote, the partly animated The Smurfs won for Feature Film.
Sunday’s ceremony took place at the London Hilton on Park Lane.
Visual development artist, animator and story man Melvin “Mel” Shaw, named a Disney Legend in 2004, has died at 97, layout artist Mike Peraza announced.
Shaw has been called one of Disney’s “elder statesmen” of animation. Walt Disney, who personally recruited him to join his team, observed another side.
During his early polo playing days, Shaw recalled first meeting Disney at the field, who announced, “You ride like a wild Indian!” And thus, the door opened for Shaw to infuse his passion into Disney animation.
Born Melvin Schwartzman in Brooklyn on December 19, 1914, he discovered his artistic bent at age 10, when selected as one of only 30 children from New York state to participate in the Student Art League Society. Two years later, his soap sculpture of a Latino with a pack mule won second prize in a Procter & Gamble soap carving contest, earning the young artist national fame.
In 1928, his family moved to Los Angeles, where Shaw attended high school and entered a scholarship class at Otis Art Institute. But the teen had an itch to become a cowboy and ran away from home to work on a Utah ranch.
After four months of back-breaking work, he returned home and took a job creating title cards for silent movies at Pacific Titles, owned by Leon Schlesinger. With help from Schlesinger, two former Disney animators, Hugh Harman and Rudy Ising, had made a deal with Warner Bros., and soon, Shaw joined Harman-Ising Studios as animator, character designer, story man and director. While there, he worked with Orson Welles storyboarding a live-action/animated version of The Little Prince.
His Disney career was interrupted by the Second World War, when he served the United States Army Signal Corps as a filmmaker under Lord Louis Mountbatten, helping produce films, including a live action/animated documentary of the Burma Campaign. He also served as art editor and cartoonist for the Stars & Stripes newspaper in Shanghai.
After the war, he ventured into business with former MGM Studios animator Bob Allen. As Allen-Shaw Productions, he designed and created the original Howdy Doody marionette puppet for NBC; illustrated the first Bambi children’s book for Disney; and designed children’s toys, architecture and even master plans for cities, including Century City, California.
In 1974, Walt Disney Studios called Shaw to help in the outgoing transition between retiring animators and the next generation. He offered skill and knowledge to such Disney motion pictures as The Rescuers (1977), The Fox and the Hound (1981), The Great Mouse Detective (1986), Beauty and the Beast (1991), The Lion King (1994) and more.
Though uncredited, he was an animator in the theatrical cartoon shorts We’re in the Money (1933), Toyland Broadcast and Tale of the Vienna Woods (both 1934), To Spring (1936) and Merbabies (1938).
He offered additional story contributions to The Black Cauldron (1985) and provided the cartoon story for the 1957 Disneyland episode “Tricks of Our Trade.” Shaw appeared as himself in the 2001 TV documentary Walt: The Man Behind the Myth.
Shaw recently completed his autobiography Animator on Horseback at his home in Acampo, California. It has not yet been released.
In June, he lived with his son and daughter-in-law in Woodland Hills, California.
Mel Shaw married Florence, the widow of Disney animator John Lounsbery.
Blending 3D animation with live action, the public service announcement One Boy’s Story has won two Emmy awards from the National Academy of Television Arts & Sciences, Chicago/Midwest Chapter.
Created by Mode Project, a Chicago-based design and production studio, it won for Outstanding Achievement for Community/Public Service (PSAs) and Outstanding Crafts Achievement Off-Air — Graphics Arts/Animation/Art Direction/Set Design. The spot was created for the non-profit organization Court Appointed Special Advocates, dedicated to providing volunteer advocacy for abused and neglected children.
The spot tells the story of a young boy who was abandoned by his parents, but with the help of a CASA volunteer, was adopted into a loving family. Previously, One Boy’s Story was recognized with a Silver award for Art Direction & Design in the 2012 PromaxBDA North America Design competition.
Mode Project was presented with this opportunity via design studio Thirst/Chicago on behalf of EPIC (Engaging Philanthropy Inspiring Creatives), an organization which helps top-tier creative talent join forces with nonprofit clients. “Mode Project totally made Kelly Butler’s script come to life in this incredible video hybrid that is obviously digital, but remarkably analog in spirit. I love this Mode brand of innocence!”, said Thirst founder and design director Rick Valicenti.
“As always, the Chicago/Midwest Emmy Awards were full of extraordinary projects produced by talented creatives with an unparalleled passion for their work,” said Mode Project President Colin Carter. “Our whole team is incredibly honored by this recognition, and we offer our congratulations to all of the winners.”
These projects demonstrate the diverse capabilities of the studio, which creates original content for an expanding client roster that includes global ad agencies, non-profits, and major brands such as Gogo, Marriott International, AT&T, United Airlines and UPS.
The Chicago / Midwest Emmy awards add to Mode Project’s growing list of industry recognition, including Cannes Lions Titanium and Integrated Grand Prix awards, New York Festivals World Medals, and Promax/BDA North American Design Awards.
One Boy’s Story can be viewed at www.modeproject.com/work/casa-one-boys-story/.
Mystery continues to surround the fatal shooting of a 10-year-old boy who was watching Wreck-It Ralph in a southern Mexico City theater.
Hendrik Cuacuas died two days after a November 2 shooting when he, his father and 12-year-old sister were viewing the animated Disney film, according to an continuing police investigation and local media reports.
Cinepolis, the chain owning the theater, was a Twitter top trend Tuesday.
Strangely, the boy’s father and others in the theater said that they did not hear any gunshots.
Hendrik was hit in the head by a 9-mm bullet at the theatre in the rough neighborhood of Iztapalapa, prosecutor Edmundo Garrido said Tuesday.
According to an autopsy report, the victim was shot from four to six feet away. It said that the bullet entered the front of his head. Oddly, however, the coroner was quoted as saying that the shooter was not necessarily standing in front of the victim.
The boy’s father, Enrique Cuacuas, told investigators and radio station Radio W that his son was sitting on his right side in a full theater when, roughly half an hour into the screening, he heard something whiz past his ear, then the sound of a thud. Turning to his right, he saw his son convulsing and bleeding from the head. He realized that his son had been shot.
According to ballistics expert Anselmo Apodaca, a bullet passed through the building’s laminate roof, then through a suspended ceiling, and traveled to the upper right side of the boy’s head.
Hendrik was rushed to a hospital in critical condition.
Cuacuas told Radio W that he learned similar incidents had taken place in the same theater in the past. However, he did not provide proof.
The head of Cinepolis’ legal department, Pablo Jimenez, told Foro TV that there was an incident in March, “also difficult to explain… in which a person received an injury to the foot.” He said he did not know if the injury caused by a gunshot.
Police have closed the theater as the investigation continues.