Monthly Archives: February 2012

Kids’ finalists for British Animation Awards named

British Animation Awards

British Ani­ma­tion Awards

British Ani­ma­tion Awards final­ists were announced Tues­day for both the juried cat­e­gories and the Children’s Choice awards, as deter­mined by kid vot­ers in the United Kingdom.

The awards will be held March 15 at the British Film Insti­tute in London.

Here is the full list of the children’s cat­e­gories and finalists:

Best Long Form
The Itch of the Golden Nit (dir. Sarah Cox; Aard­man Ani­ma­tions for Tate and CBBC)
Maska (dirs. Quay Broth­ers; Pol­ish Cul­tural Insti­tute in London/Se-Ma-For Stu­dios Poland)
The Gruffalo’s Child (dirs. Johannes Wei­land, Uwe Hei­d­shöt­ter; Magic Light Pic­tures in asso­ci­a­tion with Stu­dio Soi)

Best Preschool Series
Ben & Holly’s Lit­tle King­dom: “Acorn Day” (dirs. Neville Ast­ley, Mark Baker; Ast­ley Baker Davies Ltd for Chan­nel 5, Nick Jr and eone Enter­tain­ment)
Octo­nauts: “The Blob­fish Broth­ers” (dir. Dar­ragh O’Connell; Sil­ver­gate Media and Brown Bag Films for CBee­bies)
Peppa Pig: “The New House” (dirs. Joris van Hulzen, Philip Hall; Ast­ley Baker Davies Ltd for Chan­nel 5, Nick Jr and eone Entertainment)

Children’s Choice
Book­a­boo: “Johnny Vegas” (dirs. Lucy Good­man, Ian Emes; Happy Films for CITV)
The Amaz­ing World of Gum­ball: “The Quest” (dirs. Mic Graves, Ben Boc­quelet; Car­toon Net­work, in asso­ci­a­tion with Dan­de­lion Stu­dios, Boul­der Media and Stu­dio Soi for Car­toon Net­work)
Peppa Pig: “The New House” (dirs. Joris van Hulzen, Philip Hall; Ast­ley Baker Davies Ltd for Chan­nel 5, Nick Jr and eone Entertainment)

Best Children’s Series
The Amaz­ing World of Gum­ball: “The Quest” (dirs. Mic Graves, Ben Boc­quelet; Car­toon Net­work, in asso­ci­a­tion with Dan­de­lion Stu­dios, Boul­der Media and Stu­dio Soi for Car­toon Net­work)
Ras­ta­mouse: “Da Missin’ Mas­ter­piece” (dir. Derek Mog­ford; The Ras­ta­mouse Com­pany for CBee­bies)
Ask Lara: “Oh No! B.O.!” (dir. Mer­cedes Marro; Red Kite Pro­duc­tions for BBC Scotland)

Best Mixed Media Children’s Series
Get Squig­gling!: “Cat Episode” (dirs. Mike Wyatt, Damian Hook, Adrian Hed­ley; Dot to Dot Pro­duc­tions Ltd for CBee­bies)
Baby Jake: “Loves Tummy Slid­ing” (dirs. Alan Shan­non, Maddy Dar­rall; Dar­rall Mac­queen Ltd for CBee­bies)
Book­a­boo: “Johnny Vegas” (dirs. Lucy Good­man, Ian Emes; Happy Films for CITV)

Name that toon: UK poll on for favorite character

Wallace and Gromit

Wal­lace and Gromit

Who’s Britain’s great­est ani­mated character?

Are there two faves: Wal­lace and Gromit? Maybe TV’s Mr Benn, Bag­puss, Peppa Pig or Alek­sandr Orlov the meerkat (from Britain’s Com­pare The Mar­ket online site)?

All are on a short­list for an online vote being con­ducted by the British Ani­ma­tion Awards. The win­ner will be announced at BAA’s annual cer­e­mony March 15.

Over the next three weeks, the pub­lic can have a chance to choose their favorite. Lead­ing fig­ures in the world of ani­ma­tion drew up the short­list of names from TV, ads and online.

Other con­tenders include Wal­lace and Gromit, TV’s Dan­ger Mouse and the Cresta bear, the 1970s TV com­mer­cial star known for the catch­phrase “It’s frothy, man.”

Also on the short­list are Roo­barb and Cus­tard, Pen­fold (Dan­ger Mouse), Timmy (from Timmy Time), The Snow­man, Padding­ton, Count Duck­ula, Morph, Super Ted, Post­man Pat, Tiny Clanger (The Clangers), Soup Dragon (also of The Clangers), Nog­gin the Nog, Uncle Nog­bad (also of Nog­gin The Nog), Lola (Char­lie And Lola) and Simon’s Cat.

The poll was cre­ated as part of a cam­paign by Ani­ma­tion UK to increase aware­ness of the industry’s eco­nomic ben­e­fits and the need for tax breaks com­par­ing with those gained by for­eign competitors.

The UK is famed for its ani­ma­tion the world over,” said BAA direc­tor Jayne Pilling. “This vote cel­e­brates the illus­tri­ous her­itage of cher­ished char­ac­ters that have been cre­ated in the UK over the last few decades and high­lights the wealth of cre­ative tal­ent that could dis­ap­pear if the indus­try con­tin­ues to decline.”

Votes can be cast until March 9 through the British Ani­ma­tion Awards’ Face­book page.

Charlotte’s Web (1973) — Hanna-Barbera Feature Length Theatrical Cartoon

Charlotte's Web (1973) - Hanna-Barbera Feature Length Theatrical

Charlotte’s Web (1973) — Hanna-Barbera Fea­ture Length Theatrical

CotD: Hanna-Barbera’s third movie “Charlotte’s Web “, and the first to be a Para­mount Pic­tures release.

Charlotte’s Web (1973) — Hanna-Barbera Fea­ture Length The­atri­cal Cartoon

Wilbur the pig is scared of the end of the sea­son, because he knows that come that time, he will end up on the din­ner table. He hatches a plan with Char­lotte, a spi­der that lives in his pen, to ensure that this will never hap­pen. And with the help of Tem­ple­ton the rat, Wilbur pro­tects Charlotte’s offspring.

Come see “Charlotte’s Web ” on video at Big Car­toon DataBase

Homer The Father” winner of Writers Guild Awards

One Fish, Two Fish, Blowfish, Blue Fish (1991) - The Simpsons

One Fish, Two Fish, Blow­fish, Blue Fish (1991) — The Simpsons

Homer The Father,” writ­ten by Joel H. Cohen, won a Writ­ers Guild Award in the Ani­ma­tion cat­e­gory Sun­day, defeat­ing — among oth­ers — three other episodes of Fox’s The Simp­sons.

Homer The Father tri­umphed over “Bart Stops to Smell the Roo­sevelts,” writ­ten by Tim Long; The Blue and the Gray, writ­ten by Rob LaZeb­nik; and Don­nie Fatso, writ­ten by Chris Cluess.

Also nom­i­nated in the Ani­ma­tion cat­e­gory were the Ben 10: Ulti­mate Alien episode “Moon­struck,” writ­ten by Len Uhley, and the Futu­rama episode The Silence Of The Clamps, writ­ten by Eric Rogers.

In the cat­e­gory of Tele­vi­sion Graphic Ani­ma­tion, the win­ner — and sole nom­i­nee — was “CBS News Ani­ma­tions” (CBS News), Graphic Ani­ma­tion by David Rosen.

For Orig­i­nal Screen­play, the win­ner was Mid­night in Paris, writ­ten by Woody Allen. The Descen­dants, with screen­play by Alexan­der Payne, Nat Faxon and Jim Rash, won for Adapted Screen­play; it was based on the novel by Kaui Hart Hemmings.

Bet­ter This World, writ­ten by Katie Gal­loway and Kelly Duane de la Vega, won for Doc­u­men­tary Screenplay.

Pre­sented by the Writ­ers Guild of Amer­ica, the Writ­ers Guild Awards were held at simul­ta­ne­ous cer­e­monies at the Hol­ly­wood Pal­la­dium in Los Ange­les and at B.B. King Blues Club in New York City.

Two For The Zoo (1941) — Gabby Theatrical Cartoon Series

Two For The Zoo (1941) - Gabby Theatrical Cartoon Series

Two For The Zoo (1941) — Gabby The­atri­cal Car­toon Series

CotD: Today we visit Gabby in “Two For The Zoo”. Gabby was the first ani­mated char­ac­ter to make the jump from a fea­ture film to his own series.

Two For The Zoo (1941) — Gabby The­atri­cal Car­toon Series

Gabby and the head zookeeper at the Lil­liput Zoo bring in a new kan­ga­roo to the zoo. A deliv­ery man pushes a crate down the street con­tain­ing a Rub­ber Necked Kango. Gabby bumps into the crate, and in his usual know-it-all fash­ion, offers to per­son­ally deliver the ani­mal, a baby. Gabby doesn’t know that the mother is also in the crate, and she catches up with them, drop­ping the baby into her pouch, caus­ing Gabby to think that the baby sud­denly grew. They end up get­ting trapped in the kangaroo’s cage and the Kan­ga­roo runs free.

Come see “Two For The Zoo” on video at Big Car­toon DataBase

Miyazaki’s “Arrietty” takes ninth at $6.4 million

Karigurashi No Arietti (The Secret World of Arrietty")

Karig­urashi No Ari­etti (The Secret World of Arrietty”)

Hayao Miyazaki’s “The Secret World of Arri­etty,” based on Mary Norton’s famous children’s novel The Bor­row­ers, opened in ninth place in lim­ited North Amer­i­can release, tak­ing $6.6 mil­lion this past weekend.

It’s esti­mated that Arri­etty will earn $8 mil­lion over the four-day President’s Day week­end, which ends Monday.

Play­ing on fewer screens than bigger-earning films this week­end, it made an aver­age of $4,189 at 1,522 venues.

For over a decade, Dis­ney has been dis­trib­ut­ing Miyazaki’s Stu­dio Ghi­bli films in North Amer­ica. Arri­etty had a much bet­ter open­ing than any pre­vi­ous anime film dis­trib­uted by Dis­ney. Ponyo, Disney’s last wide-release anime film, opened at $3.6 mil­lion and even­tu­ally gar­nered $15.1 mil­lion in 2009.

The Secret World of Arri­etty had the fifth-best anime open­ing in United States box office his­tory, behind three Poké­mon flicks and a Yu-Gi-Oh! movie.

The biggest hit in its native coun­try in 2010, Arri­etty grossed over $110 mil­lion in Japan alone. It’s received an “A-” Cin­e­maS­core grade from North Amer­i­can moviegoers.

About tiny peo­ple liv­ing under the floor­boards of a coun­try home, the film fea­tures a voice cast includ­ing Carol Bur­nett, Amy Poehler and Will Arnett.

Den­zel Wash­ing­ton and Ryan Reynolds’ Safe House led nar­rowly with $24 mil­lion between Fri­day to Sun­day, accord­ing to Sunday’s stu­dio esti­mates. Rachel McAdams and Chan­ning Tatum’s The Vow was a close sec­ond with $23.6 million.

Stu­dios will report final num­bers for the long hol­i­day week­end on Tuesday

Rango” wins editing award for animated feature



The Amer­i­can Cin­ema Edi­tors named “Rango” as 2011’s Best Edited Ani­mated Fea­ture Film on Sat­ur­day night, giv­ing it one of this year’s ACE Eddie Awards.

Edited by Craig Wood, A.C.E., Rango defeated chal­lengers The Adven­tures Of Tintin: Secret Of The Uni­corn (Michael Kahn, A.C.E.) and Puss In Boots (Eric Dap­kewicz). Gore Verbinski’s movie has been nom­i­nated for an Oscar for Best Ani­mated Fea­ture Film.

The 62nd annual ACE Eddie Awards were pre­sented at the Bev­erly Hilton.

The Descen­dants, edited by Kevin Tent, A.C.E., was named Best Edited Fea­ture Film (Dra­matic). The Artist (Anne-Sophie Bion and Michel Haz­anavi­cius) won the Eddie for Best Edited Fea­ture Film (Com­edy or Musical).

The Great Rabbit” hops to a win at Berlin fest

The Great Rabbit

The Great Rabbit

Atsushi Wada’s “The Great Rab­bit,” or “Gure­hto Rabitto,” won the Berli­nale Shorts Inter­na­tional Jury’s Jury Prize (Sil­ver Bear) at this year’s Berlin Inter­na­tional Film Festival.

Pro­duced in France, the word­less film uses a del­i­cate hand-drawn style and runs for seven minutes.

This dream­like film uses a unique, sur­real lan­guage to tickle our uncon­scious while show­ing us the con­fu­sion of the mod­ern world in ani­mated form,” said jurors. “Using a del­i­cate hand-drawn style, Atsushi Wada decodes real­ity with absurd sequences of char­ac­ters caught in time.”

If you believe in the Rab­bit, you’ll believe in any­thing. If you don’t believe in the Rab­bit, it means that you wouldn’t believe any­thing,” said Wada, 31.

The film is about peo­ple who wor­ship a rab­bit. It alludes to an aspect of mod­ern soci­ety in which peo­ple uncon­sciously sub­mit them­selves to some­thing mysterious.

I am proud to win this award,” said Wada, now a Lon­don res­i­dent. “I feel relieved because I used to think my works were rather hard to under­stand. In the work, the rab­bit (admired by peo­ple) doesn’t have any par­tic­u­lar sig­nif­i­cance at all, but I depicted it because I liked it.”

Mean­while, mem­bers of the Gen­er­a­tion 14plus Youth Jury gave a Spe­cial Men­tion to Japan­ese direc­tor Isamu Hirabayashi’s ani­mated eight-minute film 663114.

Every 66 years, a cicada makes its way out of the earth and climbs up a tree to shed its skin. This is the way it’s been since time immemo­r­ial. But this time, it’s dif­fer­ent. In this film, an osten­si­bly resis­tant insect’s mono­logue draws a par­al­lel between the cat­a­stro­phes of Hiroshima and Fukushima. The insect poses a fun­da­men­tal ques­tion about the future of our planet. Short but hard-hitting, 663114 takes dif­fer­ent points of view.

Visu­als and sound melded together flaw­lessly to cre­ate a philo­soph­i­cal and lay­ered mas­ter­piece. The direc­tor con­veys his mes­sage beyond all con­ven­tions. Through a sim­ple metaphor, he por­trays the sur­vival of a cul­ture, even in the face of cat­a­stro­phe,” the jury said.

The film build on the theme of last March’s dev­as­tat­ing quake, tsunami and nuclear dis­as­ters. After spend­ing 66 years under­ground since the end of World War II, the cicada emerges only to sur­vive the nat­ural dis­as­ters and melt­downs at the Fukushima No. 1 nuclear power station.

The title 663114 is a ref­er­ence to 66 years, 3/11 (March 11, the date of the earth­quake and tsunami) and four (the num­ber of nuclear reac­tors crip­pled at the Fukushima plant).

Chil­dren are being exposed to dan­ger­ous radioac­tiv­ity a year after the earth­quake. It is our respon­si­bil­ity as Japan­ese adults to pro­tect the chil­dren,” Hirabayashi, who was in Japan, said in a mes­sage that was read out at the awards ceremony.

The Berlin Inter­na­tional Film Fes­ti­val began Feb­ru­ary 9 and ends Sunday.

Puss Gets The Boot (1940) — Tom and Jerry Theatrical Cartoon Series

Puss Gets The Boot (1940) - Tom and Jerry Theatrical Cartoon Series

Puss Gets The Boot (1940) — Tom and Jerry The­atri­cal Car­toon Series

CotD: One of the most sto­ries pairs in ani­ma­tion began their careers 72 years ago today in “Puss Gets The Boot” watch it today and see how it all started!

Puss Gets The Boot (1940) — Tom and Jerry The­atri­cal Car­toon Series

In close-up, Jerry the mouse runs from his oppo­nent. The cam­era cuts back, and we see that Tom the cat (called Jasper in this film only) has already caught the mouse, who is run­ning on the spot, his tail held by the cat’s claw.

While Tom toys with his prey, Jerry gets away, lead­ing to a num­ber of gags which result in the break­ing of a vase. Mammy-Two-Shoes warns Tom that if he breaks one more thing, she’ll throw him out of the house. Jerry hears this; nat­u­rally, this is an oppor­tu­nity that the mouse can­not pass up.

To keep Tom at bay, Jerry men­aces every break­able object in the house. Tom (whom Mammy calls “you good-for-nothin’ cheap fur coat”) does his best to save them, but ulti­mately fails and gets the boot.

Come see “Puss Gets The Boot” on video at Big Car­toon DataBase

Hello Aloha (1952) — Goofy Theatrical Cartoon Series

Hello Aloha (1952) - Goofy Theatrical Cartoon

Hello Aloha (1952) — Goofy The­atri­cal Cartoon

CotD: Goofy takes a vaca­tion in “Hello Aloha” and finds out that maybe the islands are not all that they are cracked up to be.

Hello Aloha (1952) — Goofy The­atri­cal Car­toon Series

Goofy lives out the working-man’s dream of walk­ing away from his job and mov­ing to a trop­i­cal island paradise.

Come see “Hello Aloha” on video at Big Car­toon DataBase