Monthly Archives: April 2011

Bridge” takes top college TV award for animation

Academy of Television Arts & Sciences Emmy

Acad­emy of Tele­vi­sion Arts & Sci­ences Emmy

Bridge,” by Ting Chian Tey of Acad­emy of Art Uni­ver­sity, took first place in ani­ma­tion last Sat­ur­day when the Acad­emy of Tele­vi­sion Arts & Sci­ences Foun­da­tion hosted its 32nd Col­lege Tele­vi­sion Awards.

The awards cer­e­mony in Los Ange­les hon­ored the nation’s best student-produced work in video, dig­i­tal and film pro­duc­tion. Mary Lynn Rajskub of 24 hosted the gala, spon­sored by the orga­ni­za­tion which hands out the Emmys.

The three-minute, computer-animated Bridge is a story about four ani­mal char­ac­ters try­ing to cross a bridge, but end­ing up as obsta­cles to one another in the process. The moral behind this story revolves around how there are often dis­agree­ments or com­pet­ing paths in life, and the pos­si­ble results of pride, obsti­nance and compromise.

Sec­ond place in ani­ma­tion went to The Girl and the Fox, by Nicholas William Allred and Tyler Kupferer of Savan­nah Col­lege of Art and Design.

The film also received the first-ever Focus on Diver­sity and Gen­der Equal­ity in Children’s Media award. The $5,000 award pre­sen­ta­tion was made by actress Geena Davis of the Geena Davis Insti­tute on Gen­der in Media.

Dream­Giver, by Tyler Carter of Brigham Young University’s Cen­ter for Ani­ma­tion, took third place in ani­ma­tion. It was also hon­ored for best com­po­si­tion (R. Lance Mont­gomery, II of BYU’s School of Music).

About a boy who’s saved from a hor­ri­fy­ing night­mare, Dream­Giver is the 11th recip­i­ent of a Col­lege Tele­vi­sion Award by BYU’s ani­ma­tion in eight years. Carter got the idea for the six-minute film over two years ago while eat­ing at an Orem Arc­tic Cir­cle with his wife more.

I had this idea come into my head of where do dreams come from and where do night­mares come from and how do you stop a night­mare,” said Carter, who is grad­u­at­ing in ani­ma­tion after serv­ing intern­ships at Dis­ney and Pixar. “I wrote the ideas on the back of what­ever I had — a nap­kin and the back of a busi­ness card,” added Carter, 25.

Dream­Giver was first planned as a side project while stu­dents were mak­ing another film that would have been their main the­sis. How­ever, that film wasn’t com­pleted in time.

It never felt like a side film for us who worked on it,” said Carter. “There was more pas­sion and love for this film than any film we’ve had in awhile. There was so much ded­i­ca­tion. We wanted to make a very good film, and we wanted peo­ple to see it.”

It took 18 months for 46 BYU stu­dents to pro­duce Dream­Giver. The film uses 3-D com­puter ani­ma­tion, along with 2-D art­work dur­ing the dream sequences.

Accord­ing to Mont­gomery, this is the sec­ond straight year that BYU has won the Col­lege Tele­vi­sion Award for music com­po­si­tion. In addi­tion, Mont­gomery received an hon­or­able men­tion for his music for a feature-length live-action film from the university.

It was an amaz­ing expe­ri­ence. It’s excit­ing because it’ll open a lot of oppor­tu­ni­ties,” said Mont­gomery, who cred­its such film com­posers as Danny Elf­man (The Night­mare Before Christ­mas) and John Williams (Star Wars) as his inspi­ra­tion. “It will def­i­nitely speed up my career.”

Pre­vi­ous win­ners of Col­lege Tele­vi­sion Awards includ­ing Jorge Gutier­rez, the Emmy-winning cre­ator of El Tigre: The Adven­tures of Manny Rivera.

[Via Salt Lake Tri­bune…ation-award.html.csp]

Make Mine Music (1946) — Feature Length Theatrical Animated Film

CotD: One of Disney’s ‘Wartime Anthol­ogy’ films, “Make Mine Music” was also Disney’s first film aimed pri­mar­ily for adults ~

Make Mine Music (1946)

Make Mine Music (1946)

Make Mine Music (1946) — Fea­ture Length The­atri­cal Ani­mated Film

An anthol­ogy film made from 10 sec­tions: The Mar­tins And The Coys, Casey at the Bat, Peter and the Wolf, John­nie Fedora and Alice Blue­bon­net, With­out You, All The Cats Join In, After You’ve Gone, Blue Bayou, Two Sil­hou­ettes and The Whale Who Wanted To Sing At The Met.

Watch Make Mine Music at Big Car­toon DataBase

Bugs and Daffy return in “The Looney Tunes Show”

The Looney Tunes Show

The Looney Tunes Show

Animation’s most beloved char­ac­ters are back in an all-new series, The Looney Tunes Show, pre­mier­ing at 8 p.m. (ET/PT) on Tues­day, May 3 on Car­toon Network.

Bugs and Daffy haven’t changed — but their liv­ing sit­u­a­tion has. Bugs is as brazen, sar­cas­tic and ahead-of-the-game as ever, and Daffy, despite his nar­cis­sis­tic, socio­pathic and para­noid ten­den­cies, is Bugs’ best friend and seem­ingly per­ma­nent house­guest. No longer con­fined to seven-minute shorts, their larger-than-life per­son­al­i­ties (and egos) offer an irrev­er­ent, com­i­cal take on our mod­ern world and intro­duce a whole new realm of pos­si­bil­i­ties. Now Bugs and Daffy can wreak as much havoc at the gro­cery store or the DMV as they once did in the forest.

The pre­miere episode, “Best Friends,” sets the scene for this unlikely pair’s dynamic. Daffy decides the duo can make a quick buck by going on the game show Besties, where best friends answer ques­tions about one another.

The Looney Tunes Show will join fel­low car­toon icons from the hit ani­mated series Scooby-Doo! Mys­tery Incor­po­rated on Tues­day nights. Scooby and the gang are back solv­ing mys­ter­ies in the spooky town of Crys­tal Cove — includ­ing the over­ar­ch­ing mys­tery of Mis­ter E. and their Mys­tery Incor­po­rated pre­de­ces­sors — when sea­son two of Scooby-Doo! Mys­tery Incor­po­rated pre­mieres at 7:30 p.m. (ET/PT) on Tues­day, May 3.

The Looney Tunes Show and Scooby-Doo! Mys­tery Incor­po­rated are pro­duced by Warner Bros. Ani­ma­tion. Sam Reg­is­ter (Teen Titans, Ben 10, Bat­man: The Brave and the Bold) is the exec­u­tive pro­ducer of both, and Spike Brandt and Tony Cer­vone (Duck Dodgers, Back at the Barn­yard, Space Jam, Tom and Jerry Tales) are super­vis­ing producers.

Read more at The Big Car­toon Forum

Almost Naked Animals” ready for exposure on CN

Almost Naked Animals

Almost Naked Animals

Multi-award-winning pro­duc­tion and dis­tri­b­u­tion com­pany 9 Story Enter­tain­ment has signed an agree­ment with Car­toon Net­work for the United States broad­cast of its pro­pri­etary ani­mated com­edy series Almost Naked Ani­mals, 9 Story pres­i­dent and CEO Vince Com­misso announced Monday.

The ani­mated series, to run for 40 22-minute episodes, is sched­ule to debut this year on Car­toon Network.

We are thrilled to be bring­ing Almost Naked Ani­mals to U.S. audi­ences with Car­toon Net­work, and antic­i­pate out-of-the-box suc­cess for this hilar­i­ous new series as part of the incred­i­ble Car­toon Net­work brand,” said Commisso.

Almost Naked Ani­mals is an irrev­er­ent, fast-paced series fea­tur­ing free-spirited ani­mals in their under­wear that run a beach­front hotel like kids at a sum­mer camp — and do their best to make each day more fun than the last. Lead dog and hotel man­ager Howie, who has the atten­tion span of an 11-year old in a video arcade, heads the dys­func­tional but extremely humor­ous ensem­ble cast.

Longtime anime director Osamu Dezaki dead at 67

Osamu Dezaki

Osamu Dezaki

Osamu Dezaki, direc­tor of many pop­u­lar Japan­ese ani­ma­tions and the co-founder of the Mad­house anime stu­dio, died at 12:35 a.m. Sun­day of lung can­cer. He was 67.

Also known as Makura Saki, he was born in Tokyo’s Shi­na­gawa neigh­bor­hood on Novem­ber 18, 1943.

Dezaki made use of split screens and stark light­ing as part of his rec­og­niz­able visual style, which later became pop­u­lar and spe­cific to Japan­ese ani­ma­tion. He also incor­po­rated what he called “Post­card Mem­o­ries,” a process involv­ing pas­tel freeze frames, in which the screen fades into a more involved “paint­ing” of the sim­pler orig­i­nal animation.

His many works as a direc­tor included Ace wo Nerae!, the Air film, Ashi-ta no Joe, Bionic Six, Black Jack The Movie, the Clan­nad film, Ganba no Boken, Genji Mono­gatari Sen­nenki, Golgo 13: The Pro­fes­sional, Hajime Nin­gen Gya­toruz, Mighty Orbots, Nobody’s Boy — Remi, The Rose of Ver­sailles, The Snow Queen, Space Adven­ture Cobra and Takara­jima (Trea­sure Island).

In addi­tion, he directed early episodes of Mighty Atom/Astro Boy, along with sev­eral Lupin III TV episodes and specials.

While still in high school, Dezaki started out as a manga artist. In 1963, he joined stu­dio Mushi Pro­duc­tions, which was founded by manga and anime pio­neer Osamu Tezuka. The year 1970 marked his direc­to­r­ial debut with Ashi-ta no Joe.

In 1972, he and and Masao Maruyama co-founded Mad­house. Later, he and fre­quent char­ac­ter design col­lab­o­ra­tor Akio Sug­ino co-founded Stu­dio Annapuru.

Osamu Dezaki is sur­vived by older brother Satoshi Dezaki, who is also an anime director.

A wake will be held Thurs­day, April 20. A ser­vice will be held Fri­day, April 21 in Tokyo.

Sinkin’ In The Bathtub (1930) — Looney Tunes Cartoon

CotD: 81 Years ago today, Warner released the first Looney Tunes car­toon, in fact, the first Warner car­toon “Sinkin’ In The Bathtub”

Sinkin' In The Bathtub (1930) - Looney Tunes

Sinkin’ In The Bath­tub (1930) — Looney Tunes

Sinkin’ In The Bath­tub (1930) — Looney Tunes The­atri­cal Car­toon Series

Bosko is tak­ing a bath while hum­ming “Singing in the Bath­tub,” play­ing every­thing around him like a musi­cal instru­ment. Even the bath­tub gets up and dances. Bosko rides a stream of water out his win­dow, and calls for his car.

While dri­ving, Bosko plays “Tip-Toe Through the Tulips” on his har­mon­ica, and picks up some flow­ers. He arrives at Honey’s house while she is bathing upstairs. Honey sees Bosko out of her bath­room win­dow and quickly gets dressed.

Wait­ing out­side, Bosko hides the flow­ers behind his back, but a goat eats them. Bosko begins to cry, but Honey calls out from her bal­cony: “Don’t cry Bosko! I still loves you!” Bosko feels bet­ter, and then kicks the goat in the behind. He takes some parts from his car and makes a sax­o­phone out of them. Honey pours a tub of soapy water from her bal­cony into the sax, caus­ing it to blow bub­bles up into the air. Honey jumps off her bal­cony and dances on the bub­bles, even­tu­ally mak­ing her way down to the ground, where she and Bosko play her front path like a xylophone.

The happy cou­ple dri­ves off in the car and smooch. Along the way a lazy cow that won’t budge blocks their path. After being spat on by the cow, Bosko decides to run it over. The car then hits a bump that sends Bosko fly­ing out of the car, split­ting him into eight minia­ture Bosko’s. He pulls him­self together, and then helps push the car up a hill.

After reach­ing the top the car starts to speed down­hill, with Bosko chas­ing after it. Bosko grabs a rope attached to the car, but he’s dragged over rocks and trees and ends up in front of the run­away auto­mo­bile. The car goes off a cliff and lands in a pond. Bosko and Honey end up float­ing in their car-turned-bathtub, while Bosko cheer­fully plays “Singing in the Bath­tub” with reeds on the lily pads.

Watch Sinkin’ In The Bath­tub at Big Car­toon DataBase

Some heroes are born to fly.… Rio Review



Rio opened here last night and it was with a great deal of plea­sure and relief to watch after the awful­ness of Hop. Rio is a gen­uine ani­mated fea­ture unlike Hop, and it has one thing over the bunny disaster.…namely quality!!

I wouldn’t go as far to say that Rio is great because it doesn’t quite lift itself into that league. It is made by the same peo­ple who brought us the Ice Age tril­ogy. I’m not overly fond of Ice Age as the ani­ma­tion isn’t quite to my taste, but I do admire the skill involved in its mak­ing, and hence, they are still worth watch­ing. I found the ani­ma­tion in Rio a step ahead of Ice Age and is of a very high cal­iber. It isn’t Rango ter­ri­tory, or Pixar even, but it is well above that of the recent Gnomeo and Juliet.

Over­all though Rio offers noth­ing new ani­ma­tion or plot wise. But this doesn’t mean Rio is a fail­ure, because it isn’t. It is stan­dard fare and I have found over the years that an ani­mated fea­ture like this is still of a con­sis­tently high stan­dard. And unlike Hop Rio is a movie that all ages will enjoy. It is aimed at the younger gen­er­a­tions to be sure, but any adult will get enough out of it and not be hor­ri­fied to have to sit through 90 min­utes of awful­ness for the kid­dies sake. I think most adults will actu­ally like Rio but not rave about it. There is cer­tainly enough ‘grown up ‘humor to be involved in with ref­er­ences to other movies and the likes if you are atten­tive enough to catch them. In one scene a bunch of mon­keys is beaten up by a bunch of birds, with one bird say­ing, ’ yippy i a, mon­key fella’.… Die Hard anyone??!!!

The movie moves along very quickly and I think the young ones will be hard pressed to fid­get and squirm as there won’t be time! The ani­ma­tion as stated is good and I think the kid­dies will love it. Rio de Janiero is col­ored beau­ti­fully whether day or night, and the ‘car­ni­val’ atmos­phere adds a pal­pa­ble and col­or­ful back­drop. Rio as a movie based in South Amer­ica has cap­tured the sight and sounds won­der­fully even though every­one speaks Eng­lish. But hey, it is more for the kids so what does it matter?!

The char­ac­ters, espe­cially the two main pro­tag­o­nists, a pair of Blue Macaws are lik­able. Blu is well voiced by Jesse Eisen­berg who per­fectly cap­tures his doubts and shel­tered upbring­ing ( he is a bird who can’t fly and has to learn in order to save his friends at the end of the movie ). The nas­ties are nasty and get their just desserts in the end. There is not one dud or out of place char­ac­ter which helps the movie move along well. All stan­dard stuff from an ani­mated fea­ture and of course sub­lim­i­ley aimed at the young ones, which I don’t have a prob­lem with. Sur­pris­ingly there are two songs in Rio which I wasn’t expect­ing and very Dis­ney like. I’m not overly fond of singing in ani­ma­tion but in Rio they are fit­ting and still humor­ous enough to not stop the flow of the movie.

So in Rio it is all there. The humor, the plot of look­ing out for your fam­ily and friends, any num­ber of sight gags that all ages will love, and some very good ani­ma­tion. Rio is a very col­or­ful movie and I think the kids will be very engaged by that alone. It is a fast pace humor­ous color fest, with the usual array of good and bad char­ac­ters. Blu’s fel­low, and very female, Macaw, voiced by Anne Hath­away, reminded me a girl I knew years ago who had the most beau­ti­ful blue, and heart­break­ing, doe eyes. I really enjoyed her char­ac­ter as the mak­ers really made her very female to look at! Her eyes are lovely and she is a real charmer as a char­ac­ter, very inde­pen­dent and full of life. Blu’s owner too is the very typ­i­cal ani­mated female with a gor­geously cliqued, per­fect fig­ure!! But hey, again, it is ani­ma­tion and it is escapism, so why can’t there be an ani­mated babe!!

If I was to grade Rio I would give it 7/10. It is all there as I have stated and is a very com­pe­tent fea­ture. It is not in the great realm, but is well above aver­age and is for all ages to enjoy. I think the kid­dies won’t be engaged so much dia­logue wise as they will be color wise. It is quite some­thing and even the oldies will admire what the mak­ers have achieved. It may have a child like slant but any adult or par­ent who takes the kids to Rio will also enjoy it enough to make it a pleas­ant time out for all.

Another good qual­ity ani­mated fea­ture that is for all. While it isn’t in the great league it is cer­tainly among the plethora of very good above aver­age movies mak­ing the rounds. Rio can be watched over and over by the kids when released on DVD and not annoy the par­ents who will more than likely par­take! Above aver­age, enjoy­able, fun for all.

There’s no place like “Gnome” for Robert Zemeckis



Robert Zemeckis will help pro­duce a partly CG-animated adap­ta­tion of the humor book How to Sur­vive a Gar­den Gnome Attack for Sony Pic­tures Animation.

Zemeckis’ Image­Movers stu­dio will pro­duce the R-rated film with the Gotham Group. Bud­geted at between $20 mil­lion and $30 mil­lion, the movie will also include live action. No screen­writer has been hired as yet.

Zemeckis has not com­mit­ted to direct his lat­est film. Report­edly, he’s con­sid­er­ing his options after Mars Needs Moms — which he helped direct — tanked at the box office and Dis­ney decided to halt his planned remake of Yel­low Sub­ma­rine. He remains a pro­ducer on Dream­Works’ upcom­ing movie Real Steel, star­ring Hugh Jackman.

More at the Big Car­toon Forum

Chitty Chitty Death Bang (1990) — Family Guy Cartoon Episode Guide

CotD: Since Fam­ily Guy just got a new sea­son added, it is time to fea­ture one from the first sea­son to cel­e­brate “Chitty Chitty Death Bang”

Chitty Chitty Death Bang (1990) - Family Guy Cartoon

Chitty Chitty Death Bang (1990) — Fam­ily Guy Cartoon

Chitty Chitty Death Bang (1990) — Fam­ily Guy Car­toon Episode Guide

It’s Stewie’s first birth­day, and Lois has a big party arranged for him until Peter messes up her plans. Lois is furi­ous with Peter when he allows Meg to attend a party the same day as Stewie’s birth­day. Mean­while, Meg makes a strange new friend at school. Unbe­knownst to Meg, she’s actu­ally attend­ing a cult meet­ing, and when Peter brings her back home, the cult leader fol­lows. Stewie rec­og­nizes the leader as the man who wants to return him to the “ovar­ian Bastille.”

Watch Chitty Chitty Death Bang at Big Car­toon DataBase

Rio” much louder than “Scream,” opens at $40M



20th Cen­tury Fox’s ani­mated fam­ily film “Rio” made much more noise than Scream 4 could, open­ing in North Amer­ica in first place with $40 mil­lion this weekend.

Fea­tur­ing the voices of Anne Hath­away and Jesse Eisen­berg, Rio had the best debut of any film so far this year. It beat another ani­mated com­edy, Rango, by about $2 million.

In its sec­ond week­end over­seas, the 3D computer-animated Rio stayed in first place, mak­ing $53.9 mil­lion in 13,705 venues in 62 countries.

The movie, from Fox Ani­ma­tion and Blue Sky Stu­dios, has grossed $129.1 mil­lion over­seas and $169.1 mil­lion worldwide.

More at the Big Car­toon Forum