All posts by Paul Anderson

About Paul Anderson

Paul is an old-timer here at BCDB- his contributions go back to before the site! Paul is widely regarded as a Disney historian, and is also on staff at the Disney Museum in San Francisco. Paul is also a contributing historian for D23, the Disney Club. Paul has published several books and magazine articles on Disney history, too. You are welcome to drop Paul a line here.

Phineas and Ferb Up for Producers Guild Award

Phineas and Ferb

Phineas and Ferb

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.

Gumball Gets Two British Academy Kids’ Animation Awards

Brian Cosgrove

Brian Cos­grove (left) was pre­sented with the Spe­cial Award at the British Acad­emy Children’s Awards by long-standing friend and col­league David Jason.

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.

Disney Animator and Story Man Mel Shaw Dies at 97

Mel Shaw

Mel Shaw

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.

In 1937, Shaw arrived at Dis­ney, con­tribut­ing to Fan­ta­sia (1940), Bambi (1941) and The Wind in the Wil­lows, which later became a seg­ment in The Adven­tures of Ich­a­bod and Mr. Toad (1949).

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.

One Boy’s Story Cartoon PSA Wins Two Regional Emmy Awards

One Boy'€™s Story

One Boy’€™s Story

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/.

Stray Bullet Kills Boy Watching “Wreck-It Ralph”

Wreck-It Ralph

Wreck-It Ralph

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.

Wreck-It Ralph Destroys Competition, Makes $49.1M

Wreck-It Ralph

Wreck-It Ralph

Wreck-It Ralph” topped the box office at $49.1 mil­lion to achieve the highest-grossing open­ing week­end in Walt Dis­ney Ani­ma­tion history.

Fol­low­ing super­storm Sandy, there actu­ally was an increase in the­ater atten­dance in areas affected.

In a dis­tant sec­ond place was Den­zel Washington’s live-action Flight, which sold $25 mil­lion in tick­ets at United States and Cana­dian the­aters, accord­ing to stu­dio esti­mates Sunday.

Wreck-It Ralph had been pre­dicted to earn grosses in the mid-$40 mil­lion range this week­end, said Paul Der­garabe­dian, pres­i­dent of the box office divi­sion of Hollywood.com.

Last week­end, the box office was luke­warm as the U.S. East Coast pre­pared for Sandy.

Week­end ticket sales at inter­na­tional the­aters for films dis­trib­uted abroad by Hol­ly­wood stu­dios put Wreck-It Ralph in fourth place at $12 million.

Movie atten­dance in areas affected by the storm was “very healthy,” accord­ing to Dave Hol­lis, exec­u­tive vice-president of film dis­tri­b­u­tion at Walt Dis­ney Stu­dios. School clo­sures Fri­day boosted mati­nee screen­ings, he added.

In a nice way, Wreck-It Ralph, in areas affected by the storm, ended up actu­ally becom­ing an oppor­tu­nity to relieve your­self from the real­ity that might be going on around you. We saw the the­ater busi­ness around areas affected by the storm very healthy,” Hol­lis said.

The storm and its impact — I don’t know if it was a func­tion of cabin fever or just escap­ing by get­ting into a movie the­ater, but there was def­i­nitely a gravitating-towards-the-theater phenomenon.

Wreck-It Ralph became some­thing of a dis­trac­tion and an oppor­tu­nity for fam­i­lies to do some­thing sep­a­rate of the storm. Schools being shut down on Fri­day also played a role as par­ents were look­ing for things to enter­tain the kids and keep them out of the cold,” Hol­lis added.

Over a decade in devel­op­ment, Wreck-It Ralph cost an esti­mated $165 mil­lion to pro­duce. It was made by the team behind Disney’s ani­mated movie Tan­gled, which set the pre­vi­ous high­est open­ing week­end gross with $48.8 mil­lion in 2010.

The Dis­ney movie would ben­e­fit from school being out in a large num­ber of big urban and sub­ur­ban east­ern mar­kets, they were always going to have a very good open­ing, I think they got a lit­tle help on Fri­day,” acknowl­edged Don Har­ris, pres­i­dent of dis­tri­b­u­tion at rival stu­dio Para­mount Pictures.

Hotel Tran­syl­va­nia was in sev­enth place at the North Amer­i­can box office with $4.5 mil­lion and third over­seas with another $13.7 million.

Also abroad, Mada­gas­car 3 took in $7.9 mil­lion to reach #5, while Franken­wee­nie was 10th with $5.3 million.

The North Amer­i­can box office gross increased 21 per­cent over the same week­end last year.

Final domes­tic fig­ures are sched­uled for release Monday.

 

DWA’s Katzenberg To Receive 150% Salary Increase

DreamWorks Animation

Dream­Works Animation

Dream­Works Ani­ma­tion CEO Jef­frey Katzenberg’s annual base salary will increase 150% from $1 mil­lion a year to $2.5 mil­lion under a con­tract exten­sion reached with the studio.

Katzenberg’s term as CEO will now run through 2017. His pre­vi­ous con­tract had run until the end of 2014.

He will also be eli­gi­ble for $4 mil­lion a year in cash bonuses. Accord­ing to United States Secu­ri­ties and Exchange Com­mis­sion, he will also be eli­gi­ble for long-term equity incen­tives of $4.5 mil­lion. These have been reduced from $8 mil­lion under his pre­vi­ous agreement.

In addi­tion, Katzen­berg will be com­pen­sated for such busi­ness expenses as pri­vate air­craft use for business-related travel and secu­rity personnel.

The new terms stip­u­late that if DWA changes owner, Katzen­berg could col­lect his com­pen­sa­tion for the rest of the cur­rent con­tract or for two years, whichever is longer.

Mean­while, Ann Daly’s term as chief oper­at­ing offi­cer has been extended through 2017, too. Her annual base salary is being hiked from $1.012 mil­lion to $1.5 million.

Daly will be eli­gi­ble for $750,000 in annual cash bonuses this year, which will be dou­bled in 2013. She also will be eli­gi­ble for annual long-term equity incen­tives of $3.5 mil­lion, up from $2.5 mil­lion under her ear­lier agreement.

Under a new agree­ment, gen­eral coun­sel Andrew Chang’s annual salary increases from $460,000 to $550,000, start­ing next year. The agree­ment runs until Jan­u­ary 1, 2016.

[Via The Hol­ly­wood Reporter www.hollywoodreporter.com/news/jeffrey-katzenberg-ann-daly-up-384615]

Creators of Chicken Run Release A Pig’s Tail

A Pig's Tail

A Pig’s Tail

The Humane Soci­ety of the United States has teamed up with Acad­emy Award-winning film com­pany Aard­man Ani­ma­tions to pro­duce a four-minute ani­mated children’s film titled “A Pig’s Tale” expos­ing prob­lems with fac­tory farm­ing from the per­spec­tive of a piglet named Ginger.

The film’s release coin­cides with Food Day, a national move­ment for healthy, sus­tain­able food.

Aard­man Ani­ma­tions, cre­ators of Chicken Run, Wal­lace and Gromit and other beloved ani­mated fea­ture films, pro­duced the short film A Pig’s Tale under a grant from the Steven C. Leuthold Fam­ily Foundation.

The Humane Soci­ety of the United States is thrilled to cel­e­brate Food Day with the release of this endear­ing and edu­ca­tional short film,” said Joe Maxwell, vice-president of out­reach and engage­ment at The HSUS. “We hope A Pig’s Tail will launch a con­ver­sa­tion about how food gets to the table and help end inhu­mane prac­tices in the pork industry.”

Added Aard­man Ani­ma­tions direc­tor Sarah Cox: “I was very proud to direct this film for The Humane Soci­ety of the United States because it is about an issue I pas­sion­ately believe in. It is so impor­tant that chil­dren under­stand where their food really comes from, par­tic­u­larly the con­nec­tion between meat prod­ucts and the treat­ment of the ani­mals that they are made from. I wanted the cam­paign to be pos­i­tive and opti­mistic, so I cre­ated a strong and lik­able lead char­ac­ter — a lit­tle piglet called Gin­ger — and gave the story a happy end­ing because that is ulti­mately what we are try­ing to achieve.”

The film fea­tures voices from actress Cather­ine Taber and voice actor James Arnold Tay­lor of the ani­mated series Star Wars: The Clone Wars. Orig­i­nal music was pro­duced by singer and song­writer Steven Delopoulos.

The film, intended for chil­dren ages 7 to 10 and acces­si­ble to all audi­ences, fol­lows Gin­ger and her mother as they expe­ri­ence life on a typ­i­cal indus­trial fac­tory farm. After Gin­ger is taken from her mother, she is deter­mined to escape. The film fol­lows her jour­ney, and the evo­lu­tion of a farmer who opens his eyes to a more humane and sus­tain­able way of farming.

The film cen­ters on indus­trial pig farm­ing, where most breed­ing pigs are con­fined day and night dur­ing their four-month preg­nancy in ges­ta­tion crates, cages roughly the same size as the ani­mals’ bod­ies, pre­vent­ing them from even turn­ing around. The pigs are then placed into another crate to give birth, re-impregnated, and put back into a ges­ta­tion crate. This hap­pens preg­nancy after preg­nancy for their entire lives, adding up to years of vir­tual immobilization.

Recently, such lead­ing food com­pa­nies as McDon­alds, Burger King, Wendy’s, Cracker Bar­rel, Oscar Mayer, Costco, ConA­gra and Kroger have agreed to elim­i­nate ges­ta­tion crates from their pork sup­ply chains. This cor­po­rate shift away from crates comes on the heels of nine Amer­i­can state laws ban­ning the crates.

A Pig’s Tail is avail­able online.

Kids’ Delhi Safari Hits U.S. Theaters December 7

Delhi Safari

Delhi Safari

Delhi Safari,” directed by Nikhil Advani, will be in the­aters across the United States in the top 20 regional mar­kets fea­tured on over 70 screens start­ing Decem­ber 7, Applied Art Pro­duc­tions announced Wednesday.

The film fea­tures the vocal tal­ents of Hollywood’s favorite stars, includ­ing Jane Lynch (Glee), Cary Elwes (Princess Bride), Vanessa Williams (Ugly Betty), Brad Gar­rett (Rata­touille, Every­body Loves Ray­mond), Christo­pher Lloyd (Back to the Future), Jason Alexan­der (Sein­feld), Car­los Alazraqui (Happy Feet) and Tara Strong (Rugrats, Lit­tle Mer­maid). Delhi Safari’s mes­sage is the preser­va­tion of the envi­ron­ment and the cel­e­bra­tion of wildlife.

Delhi Safari is a jour­ney for these ani­mals to stand up for their own rights, the rights to exist in nature and on the planet. They have to go to the humans because they’re in charge. What is really won­der­ful about it is even with such a huge cast, every part is very funny and unique,” said Lynch, the voice of the female flamingo.

We’ve got a strong fam­ily that deals with cri­sis together; we’ve got a group of char­ac­ters that go off on an adven­ture together with a mis­sion, and a happy end­ing with fan­tas­tic music and great per­for­mances,” said Williams. the voice of Begam, Mother Leopard.

In the movie, the tran­quil­ity of jun­gle life is threat­ened when a real estate devel­oper begins con­struc­tion on a new sub­di­vi­sion. The unlikely team of a leop­ard cub named Yuvi; his mother, the leop­ardess Begam; an unruly mon­key, Bajrangi; and a lov­able bear named Bagga real­ize that the only way to stop things before it’s too late is by talk­ing to the humans. This will take a major feat: enlist­ing the sup­port of the only human-speaking ani­mal, Alex, the Parrot.

Long since “off the reser­va­tion,” Alex lives in a high-end neigh­bor­hood with all the con­ve­niences of mod­ern life, from air con­di­tion­ing to a mas­sive flat-screen tele­vi­sion, and a mas­ter. Sur­rounded by his com­forts, he lives in denial that he is someone’s pet. When he reject­ing the pleas of his friends, they resort to kid­nap­ping him and show­ing him what is becom­ing of their pre­cious home.

The clock is tick­ing as the troop set off on a seem­ingly impos­si­ble jour­ney meet­ing an eclec­tic array of char­ac­ters along the way. Arriv­ing in Delhi, they cause absolute com­mo­tion and with it, suc­cess­fully get the atten­tion of the media. Now in the spot­light, they must share their story and get the sup­port of the only ones who can make a dif­fer­ence: humans.

Ani­ma­tion for the 90-minute movie was pro­duced by Krayon Pic­tures, a 3D ani­ma­tion stu­dio in Pune, India. Directed by Nikhil Advani, the film is an orig­i­nal screen­play by the writ­ing team of Nikhil Advani, Girish Dhamija and Suresh Nair, with addi­tional dia­logue by Milap Zaveri. Delhi Safari was pro­duced by Anu­pama Patil and Kishor Patil and exec­u­tive pro­duced by Fred deWysocki, Ni***th Takia, Aditya Nath Jha and Nam­rata Sharma.

A Delhi Safari fea­turette can be seen at www.youtube.com/watch?v=W8yHngCe9hc&feature=plcp.

For more infor­ma­tion on Delhi Safari, visit www.delhisafarimovie.com/.

NFB Offering Free Animation Films and Workshops

The National Film Board of Canada (NFB)

The National Film Board of Canada (NFB)

The National Film Board of Canada is launch­ing the sixth edi­tion of Get Ani­mated!, bring­ing many of the country’s finest and fun­ni­est ani­mated films to com­mu­ni­ties across Canada in cel­e­bra­tion of Inter­na­tional Ani­ma­tion Day (Sun­day, Octo­ber 28).

Tak­ing place this year from Fri­day, Octo­ber 26 to Sat­ur­day, Novem­ber 10, Get Ani­mated! will bring the magic of ani­ma­tion to over 30 cen­tres, in every province and ter­ri­tory, with screen­ing pro­grams for audi­ences of all ages, work­shops and more. And it’s all absolutely free!

Get Ani­mated! is com­ing to a loca­tion near you, in:

Abbots­ford, BC (Octo­ber 27 and 30)
Cal­gary (Novem­ber 2 and 4)
Char­lot­te­town (Novem­ber 2 and 4)
Edmon­ton (Novem­ber 7)
Flin Flon (Octo­ber 28)
Hal­i­fax (Octo­ber 26 and 27)
Iqaluit (Novem­ber 8 )
Miramichi, NB (Octo­ber 28)
Monc­ton (Octo­ber 27 and 30)
Mon­treal (Octo­ber 27)
New West­min­ster (Novem­ber 7 and 8 )
Prince George (Novem­ber 2 and 4)
Regina (Novem­ber 2, 3 and 10)
Rich­mond (Novem­ber 4)
St. John’s (Octo­ber 27, 28 and 31)
Saska­toon (Octo­ber 29, 30 and Novem­ber 1)
Stephenville, NL (Novem­ber 4)
Tata­m­agouche, NS (Octo­ber 28 )
Toronto (Octo­ber 27 and Novem­ber 1)
Van­cou­ver (Octo­ber 27 and 31)
Vic­to­ria (Novem­ber 7)
White­horse (Octo­ber 28)
Wind­sor (Novem­ber 3 and 4)
Win­nipeg (Octo­ber 26 and 27; Novem­ber 2 to 5)
Yel­lowknife (Octo­ber 29)
– and more!

Get Ani­mated! is pre­sented by the NFB in col­lab­o­ra­tion with local part­ners across Canada. For a com­plete and up-to-date sched­ule of screen­ings, visit nfb.ca/getanimated.

Get Ani­mated! pro­grams New Releases

The New Releases pro­gram fea­tures a daz­zling selec­tion of the NFB’s most acclaimed inter­na­tional co-productions, cre­ated by many of the world’s top ani­ma­tion directors.

High­lights include Georges Schwizgebel’s Genie Award-winning Canada-Switzerland co-production Romance; Franck Dion’s Canada-France co-production Edmond Was a Don­key, win­ner of a Spe­cial Jury Award at the Annecy Inter­na­tional Ani­ma­tion Film Fes­ti­val; Régina Pessoa’s Kali the Lit­tle Vam­pire, a France-Canada-Portugal-Switzerland co-production, recip­i­ent of the Hiroshima Prize at the Hiroshima Inter­na­tional Ani­ma­tion Fes­ti­val; Oscar nom­i­nee Paul Driessen’s lat­est NFB short, the Canada-Netherlands co-production Oedi­pus; and Pol­ish film­maker Kamil Polak’s inter­na­tional co-production The Lost Town of Switez, win­ner of 10 awards.

Fam­ily Program

Get Ani­mated! also offers kid-friendly ani­ma­tion fun for all.

The “Not So Scary Sto­ries” pro­gram of ani­mated films fea­tures Lynn Smith’s The Sound Col­lec­tor, the quirky tale of a 6-year-old who col­lects sounds, along with Antoine Lan­ci­aux and Pierre-Luc Granjon’s col­or­ful and charm­ing fairy tale Boni­fa­cio in Sum­mer­time – per­fect films for chil­dren ages 5 and up.

Friends and Mon­sters” is ideal for the 10+ crowd, with Cather­ine Arcand’s Night­mare at School, a humor­ous look at the unset­tling expe­ri­ence of being in a new school; Claude Grosch and Luc Otter’s Rose & Vio­let, about a very unusual set of twins’ and Paula Gillgannon’s vignette The Big Swing, from the NFB’s renowned Hot­house pro­gram for young animators.

Work­shops

Hands-on work­shops will accom­pany the Fam­ily Pro­gram in a num­ber of Cana­dian cities, giv­ing par­tic­i­pants the thrill of being part of an ani­ma­tion film crew while mak­ing their own short film.

Work­shops in Toronto and Mon­treal on Octo­ber 27 will fea­ture pup­pet ani­ma­tion, with par­tic­i­pants invited to bring cos­tumes and story ideas. To reg­is­ter for the Toronto work­shop, or for more infor­ma­tion, call 1–800-267‑7710; for the Mon­treal work­shop, call (514) 283‑9000. Both work­shops include a half-hour pro­gram of ani­mated short films. Work­shops are offered in Eng­lish or French, based on demand. Pre-registration is required for the work­shop; screen­ings are open to every­one. For com­plete info on these and other Get Ani­mated! work­shops, visit nfb.ca/getanimated.

Indus­try Events

Get Ani­mated! will include free events for ani­ma­tion film­mak­ers and stu­dents — how­ever, these indus­try events are open to the pub­lic, too.

High­lights will include a pre­sen­ta­tion about the NFB’s Hot­house pro­gram by pro­ducer Michael Fukushima and indus­try pan­els led by Ani­ma­tion Stu­dio exec­u­tive pro­ducer Roddy McManus.

List of indus­try events:

Panel dis­cus­sion with Roddy McManus: Car­bon Arc cin­ema (Hal­i­fax, Octo­ber 27, 3 p.m.)
Hot­house pre­sen­ta­tion with Michael Fukushima: Emily Carr Uni­ver­sity of Art and Design (Van­cou­ver, Octo­ber 31, 11:30 a.m.)
Panel dis­cus­sion with Roddy McManus: OCAD Uni­ver­sity (Toronto, Nov. 1, 6:00 p.m.)
Panel dis­cus­sion with Roddy McManus: ACAD (Cal­gary, Nov. 2, 1:00 p.m.)
Indus­try pre­sen­ta­tion with Roddy McManus: Université St-Boniface (Win­nipeg, Nov. 5, 10 a.m.)
Indus­try pre­sen­ta­tion with Roddy McManus: Win­nipeg Cin­e­math­eque (Win­nipeg, Nov. 5, 7 p.m.)

Visit nfb.ca/getanimated for details.

Inter­na­tional Ani­ma­tion Day, Octo­ber 28, is an annual cel­e­bra­tion in over 40 coun­tries, ini­ti­ated by the Inter­na­tional Ani­mated Film Asso­ci­a­tion (ASIFA) in 2002. Nor­man McLaren was the first pres­i­dent of ASIFA, and the NFB is proud to be bring­ing this global cel­e­bra­tion to Cana­dian com­mu­ni­ties for the sixth con­sec­u­tive year.