Monthly Archives: September 2012

Winners From The Great White North

Ottawa International Animation Festival (OIAF)

Ottawa Inter­na­tional Ani­ma­tion Fes­ti­val (OIAF)

The Ottawa Inter­na­tional Ani­ma­tion Fes­ti­val (OIAF) came to a close late last night, with clos­ing cer­e­monies held at the National Arts Cen­tre. This years fes­ti­val, which ran Sep­tem­ber 19th-23rd, fea­tured a spe­cial jury of chil­dren who voted on-appropriately– Best Short Ani­ma­tion Made for Chil­dren and the Best Tele­vi­sion Ani­ma­tion Made for Children.

This years fes­ti­val fea­tured sold out work­shops, packed screen­ings, and many high pro­file net­work­ing events for indus­try pro­fes­sion­als. Although atten­dance fig­ures have not been offi­cially released and final­ized, rumors hold that this year’s Fes­ti­val reached its high­est atten­dance to date. The OIAF brings over 1500 indus­try pass hold­ers from across Canada and around the world to Ottawa. Total atten­dance at the events is esti­mated at 30,000.

This years winners:

Nel­vana GRAND PRIZE for Best Inde­pen­dent Short Ani­ma­tion: Junk­yard– directed by Hisko Huls­ing, Netherlands

GRAND PRIZE for Best Ani­mated Fea­ture: Arru­gas (Wrin­kles), directed by Igna­cio Fer­reras, Spain

Walt Dis­ney GRAND PRIZE for Best Stu­dent Ani­ma­tion: I Am Tom Moody– directed by Ainslie Hen­der­son, Edin­burgh Col­lege of Art, UK

GRAND PRIZE for Best Com­mis­sioned Ani­ma­tion: Primus “Lee Van Cleef” — by Chris Smith, USA

Best Ani­ma­tion School Showreel: Supin­fo­com (France)

BEST Nar­ra­tive Short: A Morn­ing Stroll — by Grant Orchard, STUDIO AKAUSA

BEST Experimental/Abstract Ani­ma­tion: Riv­ière au Ton­nerre – directed by Pierre Hébert, Canada

Adobe Prize for BEST High School Ani­ma­tion: The Bean – by Hae Jin Jung, Gyeonggi Art High School, South Korea

Hon­ourable Mention:

La Soif Du Monde (Thirsty Frog) – by a Col­lec­tive: 12 Chil­dren, Camera-etc, Belgium

BEST Under­grad­u­ate Ani­ma­tion: Reizwäsche — by Jelena Walf & Vik­tor Stickel, Germany

BEST Grad­u­ate Ani­ma­tion: Ball­pit – directed by Kyle Mowat, Sheri­dan Col­lege, Canada

BEST Pro­mo­tional Ani­ma­tion: Red Bull ‘Music Acad­emy World Tour’ – by Pete Can­de­land, Pas­sion Pic­tures, UK

BEST Music Video: The First Time I Ran Away — by Joel Trussell, USA

BEST Tele­vi­sion Ani­ma­tion for Adults: Port­landia: Zero Rats – by Rob Shaw, USA

BEST Short Ani­ma­tion Made for Chil­dren: Beethoven’s Wig, directed by Alex Haw­ley & Denny Sil­ver­thorne, Canada

Hon­ourable Mentions:

Au Coeur de L’Hiver — directed by Isabelle Favez, Switzerland

Why do we Put up with Them? — directed by David Chai, USA

BEST Tele­vi­sion Ani­ma­tion Made for Chil­dren: Reg­u­lar Show: Eggs­cel­lent — by JC Quin­tel, Car­toon Network

Hon­ourable Mention:

Adven­ture Time: Jake vs. Me-Mow — by Pendle­ton Ward, Car­toon Net­work, USA

The National Film Board of Canada PUBLIC PRIZE: It’s Such a Beau­ti­ful Day — directed by Don Hertzfeldt, USA

Cana­dian Film Insti­tute Award for BEST Cana­dian Ani­ma­tion: Nightin­gales in Decem­ber, directed by Theodore Ushev, Canada

Hon­or­able Mentions

Ball­pit – directed by Kyle Mowat, Sheri­dan Col­lege, Canada

MacPher­son — directed by Mar­tine Char­trand, National Film Board of Canada, Canada

BEST Cana­dian Stu­dent Ani­ma­tion Award: Gum — By Noam Suss­man, Sheri­dan Col­lege, Canadaa

Hon­or­able Mentions

Ball­pit — By Kyle Mowat, Sheri­dan Col­lege, Canada

Ten­gri — By Alisi Telengut, Con­cor­dia Uni­ver­sity, Canada

ParaNorman Retains First Place in UK; Nemo Finding Fourth

ParaNorman

Para­Nor­man

Thanks to a No. 1 fin­ish in its sec­ond week­end in the United King­dom, Laika Entertainment’s Para­Nor­man made $3 mil­lion from 2,200 venues in 39 over­seas coun­tries this past weekend.

Dis­trib­uted abroad by Uni­ver­sal, the ani­mated com­edy made $1.9 mil­lion at 479 British loca­tions for a cumu­la­tive total of $4.7 mil­lion in the coun­try over 10 days.

Para­Nor­man had strong open­ings in Swe­den, Poland and Den­mark over the week­end as well. Its total for­eign gross has now reached $29.2 million.

Mean­while, Seth MacFarlane’s partly ani­mated comedy-fantasy Ted has grossed a total of $202.8 mil­lion inter­na­tion­ally, though it’s still to be seen in 12 coun­tries. It’s the third Uni­ver­sal movie so far this year to gross over $200 mil­lion abroad.

This past week­end, Ted grossed $9.3 mil­lion at 2,800 loca­tions in 43 coun­tries, debut­ing in Brazil to make $1.3 mil­lion at 247 the­aters. In its sec­ond week­end in Mex­ico, Ted expe­ri­enced a 7% increase in grosses, col­lect­ing $2.3 mil­lion on 465 screens to make $6.2 mil­lion over 10 days south of the bor­der. This week, the movie opens in five coun­tries, includ­ing South Korea and Hong Kong.

Pixar-Disney’s Brave brought in $5.7 mil­lion from 55 coun­tries this week­end. It’s now made $508 mil­lion around the world, includ­ing $274.4 mil­lion overseas.

A 16-week vet­eran of for­eign screens, Mada­gas­car 3: Europe’s Most Wanted finally opened in New Zealand — at No. 1 — and stayed at the top of the box office in its sec­ond week­end in Aus­tralia. The three­quel grossed $2.6 mil­lion from 277 screens for a cumu­la­tive total of $8.1 mil­lion in the market.

Dis­trib­uted by Para­mount, the Dream­Works Ani­ma­tion movie made $4.6 mil­lion at 1,712 venues in 33 coun­tries, gross­ing a for­eign total of $411.9 mil­lion since it first screened overseas.

Paramount’s release of Tad, the Lost Explorer stayed at No. 1 in the Span­ish box office for the fourth week­end in a row. The lat­est entry in the the Tadeo Jones ani­ma­tion fran­chise made $1.6 mil­lion at 323 venues over the week­end, con­tribut­ing to a $13.8 mil­lion total in Spain. The movie opened in South Korea this week­end, reach­ing No. 5.

In domes­tic box office, End of Watch and House At The End of the Street tied with 13 mil­lion each, closely fol­lowed by Trou­ble With The Curve with 12.7 million.The Find­ing Nemo 3D re-release placed fourth with  9.5 mil­lion,  beat­ing out Res­i­dent Evil at fifth.

Guardians Unite On A New Poster

Rise of the Guardians

Rise of the Guardians

After a series of character-centric teaser posters, Dream­Works Animation’s Rise of the Guardians released a new pre-release poster. Fea­tur­ing all the major char­ac­ters from the film, the poster instills a sort of ani­mated Avengers team of super-heroes feel with it’s “Leg­ends Unite” tag line.

The film is directed by Peter Ram­sey and co-directed by William Joyce, based on his series of books. The film The Fan­tas­tic Fly­ing Books of Mr. Mor­ris Less­more won an Oscar for best ani­mated short was based on another of Joyce’s stories.

The film, which does not release until Novem­ber 21, 2012, will be hon­ored at the 16th Annual Hol­ly­wood Film Awards with the Hol­ly­wood Ani­ma­tion Award on Oct. 22 at the Bev­erly Hilton. The Hol­ly­wood Ani­ma­tion Award hon­ors the year’s best ani­mated film; pre­vi­ous win­ner include Rata­touille (2007), Wall-E (2008), Up (2009), Toy Story 3 (2010) and Rango (2011). While not all win­ners go on to win the Best Ani­mated Fea­ture at the Oscars, tak­ing the Hol­ly­wood Ani­ma­tion Award goes a long way to increas­ing the chances of a win espe­cially for an unre­leased film.

Rise of the Guardians is an epic adven­ture that tells the story of a group of heroes — each with extra­or­di­nary abil­i­ties. When an ancient evil spirit known as Pitch lays down the gaunt­let to take over the world, the immor­tal Guardians must join forces for the first time to pro­tect the hopes, beliefs and imag­i­na­tion of chil­dren all over the world. The world’s five unlike­li­est heroes– Jack Frosty, North (aka Santa), Bun­ny­mund (the Easter Bunny), Tooth (the Tooth Fairy) and Sandy (the Sand­man)- must band together to stop Pitch (the Boogey­man) from plung­ing the world into eter­nal darkness.

Saving Mr. Banks Tells Story Behind Mary Poppins Adaptation

Saving Mr. Banks Tells Story Behind Mary Poppins Adaptation

Sav­ing Mr. Banks

Dis­ney began pro­duc­tion Wednes­day on “Sav­ing Mr. Banks,” the account of Walt Disney’s 20-year pur­suit of the film rights to P.L. Tra­vers’ pop­u­lar novel Mary Pop­pins, and the testy part­ner­ship that the upbeat film­maker devel­ops with the uptight author dur­ing the partly ani­mated film’s pre-production in 1961.

Two-time Acad­emy Award win­ner Tom Hanks (Philadel­phia, For­rest Gump) will essay the role of the leg­endary Dis­ney (the first time that the entre­pre­neur has ever been depicted in a dra­matic film) along­side fel­low dou­ble Oscar win­ner Emma Thomp­son (Howard’s End, Sense and Sen­si­bil­ity) in the role of the prickly nov­el­ist. Before actu­ally sign­ing away the book’s rights, Tra­vers’ demands for con­trac­tual script and char­ac­ter con­trol cir­cum­vent not only Disney’s vision for the film adap­ta­tion, but also those of the cre­ative team of screen­writer Don DaGradi and sib­ling com­posers Richard and Robert Sher­man, whose orig­i­nal score and song (“Chim-Chim-Cher-ee”) would go on to win Oscars at the 1965 cer­e­monies (the film won five awards of its 13 nominations).

When Tra­vers trav­els from Lon­don to Hol­ly­wood in 1961 to finally dis­cuss Disney’s desire to bring her beloved char­ac­ter to the motion pic­ture screen (a quest he began in the 1940s as a promise to his two daugh­ters), Dis­ney meets a prim, uncom­pro­mis­ing sex­a­ge­nar­ian not only sus­pect of the impresario’s con­cept for the film, but a woman strug­gling with her own past. Dur­ing her stay in Cal­i­for­nia, Tra­vers reflects back on her child­hood in 1906 Aus­tralia, a try­ing time for her fam­ily which not only molded her aspi­ra­tions to write, but one that also inspired the char­ac­ters in her 1934 book.

None more so than the one per­son whom she loved and admired more than any other — her car­ing father, Tra­vers Goff, a tor­mented banker who, before his untimely death that same year, instills the young­ster with both affec­tion and enlight­en­ment (and would be the muse for the story’s patri­arch, Mr. Banks, the sole char­ac­ter that the famous nanny comes to aid). While reluc­tant to grant Dis­ney the film rights, Tra­vers comes to real­ize that the acclaimed Hol­ly­wood sto­ry­teller has his own motives for want­ing to make the film — which, like the author, hints at the rela­tion­ship that he shared with his own father in the early 20th Cen­tury Midwest.

Colin Far­rell (Minor­ity Report, Total Recall) co-stars as Tra­vers’ dot­ing dad, Goff, along with British actress Ruth Wil­son (the forth­com­ing films The Lone Ranger and Anna Karen­ina) as his long-suffering wife Mar­garet; Oscar and Emmy nom­i­nee Rachel Grif­fiths (Six Feet Under, Hilary and Jackie, The Rookie) as Margaret’s sis­ter, Aunt Ellie (who inspired the title char­ac­ter of Tra­vers’ novel); and a screen new­comer: 11-year-old Aussie native Annie Buck­ley as the young, blos­som­ing writer, nick­named “Ginty” in the flash­back sequences.

The cast also includes Emmy win­ner Bradley Whit­ford (The West Wing, The Cabin in the Woods) as screen­writer Don DaGradi; Jason Schwartz­man (Rush­more, Moon­rise King­dom) and B.J. Novak (NBC’s The Office, Inglou­ri­ous Bas­terds) as the song­writ­ing Sher­man Broth­ers (Richard and Robert, respec­tively); Oscar nom­i­nee and Emmy win­ner Paul Gia­matti (Side­ways, Cin­derella Man, HBO’s John Adams) as Ralph, the kindly lim­ou­sine dri­ver who escorts Tra­vers dur­ing her two-week stay in Hol­ly­wood; and multi-Emmy win­ner Kathy Baker (Picket Fences, Edward Scis­sorhands) as Tom­mie, one of Disney’s trusted stu­dio associates.

Sav­ing Mr. Banks will be directed by John Lee Han­cock (The Blind Side, The Rookie) based on a screen­play by Kelly Mar­cel (cre­ator of FOX-TV’s Terra Nova), from a story by Sue Smith (Brides of Christ, Bas­tard Boys) and Kelly Mar­cel. The film is being pro­duced by Ali­son Owen of Ruby Films (the Oscar-nominated Eliz­a­beth, HBO’s Emmy-winning Tem­ple Grandin), Ian Col­lie of Essen­tial Media (the Aussie TV doc­u­men­tary The Shadow of Mary Pop­pins, DirecTV’s Rake) and long­time Han­cock col­lab­o­ra­tor Philip Steuer (The Rookie, The Chron­i­cles of Nar­nia tril­ogy). The film’s exec­u­tive pro­duc­ers are Ruby Films’ Paul Tri­jbits (Lay the Favorite, Jane Eyre), Hop­scotch Fea­tures’ Andrew Mason (The Matrix tril­ogy, Dark City) and Troy Lum (Mao’s Last Dancer, I, Franken­stein), and BBC Films’ Chris­tine Lan­gan (Oscar nom­i­nee for The Queen, We Need to Talk About Kevin).

Hancock’s film­mak­ing team includes a trio of artists with whom he worked on his 2009 Best Pic­ture Oscar nom­i­nee, The Blind Side: two-time Oscar nom­i­nated pro­duc­tion designer Michael Coren­blith (How The Grinch Stole Christ­mas, Apollo 13), Emmy-winning cos­tume designer Daniel Orlandi (HBO’s Game Change, Frost/Nixon) and film edi­tor Mark Livolsi, A.C.E. (Wed­ding Crash­ers, The Devil Wears Prada). Han­cock also reunites with Acad­emy Award-nominated cin­e­matog­ra­pher John Schwartz­man (Seabis­cuit, Pearl Har­bor), with whom he first worked on his inspir­ing 2002 sports drama The Rookie.

Sav­ing Mr. Banks will film entirely in the Los Ange­les area, with key loca­tions to include Dis­ney­land in Ana­heim and the Dis­ney Stu­dios in Bur­bank. Film­ing will con­clude around Thanks­giv­ing this year, with no spe­cific 2013 release date yet set.

Sofia the First Gets A Special Date

Sofia The First

Sofia The First

Disney’s Sofie the First- a series about a child princess– is get­ting closer to air­ing, and a spe­cial based on the series has a firm air date. The spe­cial, titled Sofia the First: Once Upon a Princess, will hit Dis­ney Chan­nel on Sun­day, Nov. 18 at 7 PM, and 9 a.m. Thurs­day, Nov. 22, on Dis­ney Junior.

Sofie the First tele­vi­sion the tele­vi­sion series will pre­miere some­time in early 2013. The movie and series will appear in var­i­ous other coun­tries from mid-2013 on both Dis­ney Chan­nels and Dis­ney Junior channels.

Sofia the First: Once Upon a Princess is aimed at kids aged 2–7. Craig Ger­ber (Pixie Hol­low Games) devel­oped the movie and serves as co-executive pro­ducer and story edi­tor. Jamie Mitchell (Spe­cial Agent Oso) is exec­u­tive pro­ducer and direc­tor. Kevin Kli­esch (Tan­gled Ever After) com­posed the music while John Kavanaugh (Win­nie The Pooh: Spring­time With Roo) is onboard as songwriter/music direc­tor. The show fea­tures a voice cast headed by Ariel Win­ter (Mod­ern Fam­ily) as Sofia, Sara Ramirez (Grey’s Anatomy) as Queen Miranda, Wayne Brady (Let’s Make a Deal) as Clover and Tim Gunn (Project Run­way) as Baileywick.

Set in the sto­ry­book world of Enchancia, Sofia is a lit­tle girl with a commoner’s back­ground. That is until her mom mar­ries the King, and sud­denly, she is roy­alty. Sofia is whisked off to the cas­tle, where she learns what it means to be a real princess, dis­cov­er­ing empow­er­ing lessons about kind­ness, for­give­ness, gen­eros­ity, courage and self-respect. With the help of the three famil­iar fairies in charge of the Royal Train­ing Acad­emy– Flora, Fauna and Mer­ry­weather of Disney’s clas­sic “Sleep­ing Beauty”- Sofia learns that look­ing like a princess isn’t all that hard, but behav­ing like one must come from the heart.

Disney’s Cin­derella makes an appear­ance in the movie to offer Sofia some words of wis­dom as she learns to nav­i­gate the life of royalty.

Sophie is Disney’s first child princess. The sto­ries in this series are designed to com­mu­ni­cate pos­i­tive mes­sages and life lessons that are applic­a­ble to preschool-aged children.

Set in the sto­ry­book world of Enchancia, the movie intro­duces Sofia, an aver­age girl whose life sud­denly trans­forms when her mother mar­ries the king and she becomes a princess, Sofia the First. Disney’s Cin­derella makes an appear­ance in the movie to offer Sofia some words of wis­dom as she learns to nav­i­gate the life of royalty.

Looney Tunes Movie Back In Action

Looney Tunes Movie Back In Action

Looney Tunes Movie Back In Action

Bugs Bunny, Daffy Duck and Yosemite Sam look to be back in action, or at least headed back to the big screen. Warner Bros. has announced that they plan to reboot the clas­sic car­toon short char­ac­ters into an as-yet unti­tled new hybrid live-action/CG film.

For­mer Sat­ur­day Night Live cast mem­ber Jenny Slate is already on board as writer for the new flick. Jef­frey Clif­ford, Harry Pot­ter pro­ducer David Hey­man and Dark Shad­ows writ­ers David Katzen­berg and Seth Grahame-Smith are slated to pro­duce the film.

No cast­ing has yet been announced.

The clas­sic Warner Bros. Looney Tunes (and Mer­rie Melodies) char­ac­ters appeared in shorts from the stu­dio from 1930 through 1968. Dur­ing their ini­tial the­atri­cal run, the Looney Tunes and Mer­rie Melodies series became the most pop­u­lar of all the­atri­cal series, exceed­ing even Dis­ney in audi­ence draw. Var­i­ous revivals of the shorts have occurred since, includ­ing some well regarded CGI shorts over the last few years.

The char­ac­ters have also made their way into two pre­vi­ous live-action/CG films, Space Jamwhich fea­tured Michael Jor­dan, and the Bren­dan Fraser/Jenna Elf­man film Looney Tunes: Back In Action.

Space Jam grossed $90 mil­lion domes­ti­cally and $230 mil­lion world­wide, while the sec­ond film only made only $20 mil­lion domes­ti­cally and $68 mil­lion worldwide.

Guild Members to Discuss TV Animation Development

The Animation Guild, Local 839

The Ani­ma­tion Guild, Local 839

The State Of TV Ani­ma­tion Devel­op­ment” will be the sub­ject of a panel dis­cus­sion at the gen­eral mem­ber­ship meet­ing of The Ani­ma­tion Guild on Tues­day, Sep­tem­ber 25.

Devel­op­ment”: that enig­matic place where all tele­vi­sion shows get their start. What’s hap­pen­ing in TV ani­ma­tion devel­op­ment today? How does it work, and what are they cur­rently excited about? What are they look­ing for, and what makes a great pitch?

The panel will be hosted by TAG exec­u­tive board mem­ber Karen Carnegie John­son. Pan­elists will include Jenna Boyd (senior vice-president of ani­ma­tion devel­op­ment, Nick­elodeon), Jonathan Davis (exec­u­tive vice-president of com­edy devel­op­ment and ani­ma­tion, Fox Ani­ma­tion), Eric Homan (vice-president, devel­op­ment, Fred­er­a­tor) and Michael McGa­hey (vice-president, devel­op­ment, Dis­ney Tele­vi­sion Animation).

Mem­ber­ship meet­ings offer TAG mem­bers an oppor­tu­nity to recon­nect with the Guild, inter­act with the Exec­u­tive Board, raise con­cerns and hear about the state of the indus­try. While not manda­tory, atten­dance and par­tic­i­pa­tion are key fac­tors in keep­ing TAG abreast of mat­ters in the workplace.

The mem­ber­ship decides how and when the union can act. Par­tic­i­pa­tion on your part is the foun­da­tion to the strength our con­tract and poli­cies hold. Come and be a part of the process of keep­ing TAG’s lever­age focused and strong.

Pizza and refresh­ments are avail­able at 6:30 p.m. The meet­ing begins at 7 p.m.

Mem­ber­ship meet­ings are held in the meet­ing hall of The Ani­ma­tion Guild. It’s located at 1105 North Hol­ly­wood Way in Bur­bank, Cal­i­for­nia, between Mag­no­lia and Chandler.

Cinema Audio Society Adds Category for Animation

Cinema Audio Society

Cin­ema Audio Society

The Cin­ema Audio Soci­ety has announced the addi­tion of a new cat­e­gory for Out­stand­ing Sound Mix­ing for an Ani­mated Motion Pic­ture, as well as changes to eli­gi­bil­ity rules for sound mixers.

We are thrilled to announce that we are adding a new cat­e­gory for Out­stand­ing Sound Mix­ing for an Ani­mated Motion Pic­ture. Ani­ma­tion is a vibrant and vital genre that spans sto­ries for all ages and lives on for gen­er­a­tions. The sound mix­ing being done in ani­ma­tion deserves to be rec­og­nized and hon­ored,” said CAS pres­i­dent David E. Fluhr in mak­ing the announcement.

The CAS will also sep­a­rate the Tele­vi­sion Series cat­e­gory into two cat­e­gories: Out­stand­ing Sound Mix­ing for Tele­vi­sion Series – Half Hour and Out­stand­ing Sound Mix­ing for Tele­vi­sion Series – One Hour. There will no longer be a DVD Orig­i­nal Pro­gram­ming category.

The CAS also announced that in addi­tion to the Pro­duc­tion Mixer, Re-Recording Mix­ers and Scor­ing Mixer the ADR and Foley mix­ers in both Motion Pic­ture cat­e­gories and in both the Tele­vi­sion Movies and Mini-Series and Tele­vi­sion Series – One Hour cat­e­gories will now be included in the nom­i­na­tions and awards. Fluhr com­mented, “ADR and Foley is an inte­gral part of the over­all sound mix of a project and we are proud that these mix­ers will now get the recog­ni­tion they so richly deserve.”

Awards for Out­stand­ing Sound Mix­ing in these six cat­e­gories will be pre­sented in a sealed enve­lope cer­e­mony at the 49th CAS Awards Din­ner on Sat­ur­day, Feb­ru­ary 16 in the Crys­tal Ball­room of the his­toric Mil­len­nium Bilt­more Hotel in down­town Los Angeles.

As pre­vi­ously announced the CAS Career Achieve­ment Award will be pre­sented to pro­duc­tion sound mixer Chris Newman.

Com­plete rules and reg­u­la­tions, as well as the pro­mo­tional reg­u­la­tions for the CAS, can be found on the CAS Web site at cinemaaudiosociety.org.

Lilo and Stitch Has a Glitch as Disney Shows Sex Film

Lilo & Stitch

Lilo & Stitch

The man and woman hav­ing sex on a Dis­ney Chan­nel sure weren’t Lilo or Stitch.

The kids wanted to see Lilo and Stitch,” said Fairview, North Car­olina res­i­dent Georgie Brown. She has a five-year-old son, a three-year-old daugh­ter, and a son who is almost two.

She’d recorded the movie from 12:30 to 2 p.m. Sep­tem­ber 7 on one of Dish Network’s Dis­ney Chan­nel outlets.

Three morn­ings after­ward, she turned on the record­ing for her kids to watch while worked in a room nearby.

Around a minute into the record­ing, Brown said, an alert box appeared, stat­ing that “part of the recorded event has been lost due to sig­nal loss.”

Then the pic­ture pix­i­lated. After­ward came video of a man and woman hav­ing sex.

The offend­ing mate­r­ial con­tin­ued for another six min­utes before another mes­sage about a sig­nal loss appeared on the screen and the Dis­ney movie returned, she said.

Brown said that she was work­ing in her kitchen when she real­ized the sounds issu­ing from the tube weren’t the sounds of Disney.

I just heard things that prob­a­bly shouldn’t be on Lilo or Stitch,” she said. “My first thought was the chil­dren have changed the channel.”

But they hadn’t, and the six min­utes of porn was recorded within the movie, Brown said.

If you can imag­ine Mag­gie Simp­son sit­ting on a sofa watch­ing porn, that was him just sit­ting there suck­ing his paci­fier kind of clue­less,” Brown said about her youngest child.

My five-year-old grabbed his ears and ran out of the room scream­ing, ‘I didn’t do it,’ and the three-year-old was sit­ting there crying.”

The video was so explicit that nei­ther the Dis­ney Chan­nel nor FOX Car­olina, which reported the story, are allowed to air it.

An infor­ma­tion page from the movie that Brown recorded made it clear that it was 2002’s “Lilo and Stitch,” and that it was rated PG.

I’ve been in the TV indus­try for 15 years, and I’ve never once seen that,” said David Guttey, a con­trac­tor for Dish Net­work, who exam­ined Brown’s receiver. “It kind of had me astonished.”

He doesn’t blame Brown for the sud­den appear­ance of the sex­u­ally explicit video. “If they would have stopped one and started another, it would have set up another record­ing, and it wouldn’t have just fol­lowed on through.”

Accord­ing to Guttey, it’s pos­si­ble that any­one who saw the pro­gram Sep­tem­ber 7 saw the six-minutes of porn, too.

Brown’s still wait­ing for answers from Dish Net­work. In the mean­time, she’s explain the facts of life to her children.

When I told [them] you guys were com­ing and to talk about the tele­vi­sion, they mim­ic­ked the action and sound back to me, and they’re only three and five,” said Brown, who called Dish Net­work to report the incident.

We have tech­nol­ogy in place to help ensure we deliver the con­tent that sub­scribers want to watch. We are work­ing with var­i­ous part­ners and our cus­tomers to bet­ter under­stand what occurred,” the net­work said in a statement.

Dis­ney has not returned calls from FOX Car­olina seek­ing a statement.

[Via Fox Car­olina — www.foxcarolina.com/story/19561411/children-exposed-to-porn-during-disneys-lelo-and-stich-on-dish-network]

Persistence of Vision World Premiere in Vancouver

 

Persistence Of Vision

Per­sis­tence Of Vision

Per­sis­tence of Vision, a doc­u­men­tary film about acclaimed Cana­dian ani­ma­tor Richard Williams, will pre­miere to the world at this years Van­cou­ver Inter­na­tional Film Fes­ti­val. The  83 minute film will show Thurs­day, Octo­ber 4th, 6:00 PM @ the Empire Granville 7 Cin­e­mas The­atre #4. The show­ing will be fol­lowed by a Q&A with director/producer Kevin Schreck plus a spe­cial guest animator.

First con­ceived in Sep­tem­ber 2007, Per­sis­tence of Vision began in devel­op­ment as director/producer Kevin Schreck’s senior project at Bard Col­lege in August 2009. Film­ing began in earnest a year later in August 2010, with edit­ing fin­ished about march of 2012.

To pay for such a com­plex and in-depth film, Schreck “crowd-sourced” his fund­ing through cre­ative project fund­ing web­site Kick­starter. After post­ing his project on the site, the gen­eral pub­lic pledged over eight thou­sand dol­lars toward the com­ple­tion of the film– some even earn­ing pro­ducer cred­its in the film for their larger contributions.

Persistence Of Vision

Per­sis­tence Of Vision

Per­sis­tence of Visionis a doc­u­men­tary look at Richard Williams and his thirty year attempt to make the ani­mated film The Thief And The Cob­bler. It was to be the great­est ani­mated film of all time. Not just an eye-opener, but a game-changer. Richard Williams demanded noth­ing less, invest­ing nearly three decades into his movie masterpiece.

Still best known today for the ani­mated por­tions of Who Framed Roger Rab­bit, the Cana­dian producer-director came to the UK in the 1950s and won acco­lades for his short films. He formed a pro­duc­tion com­pany and reaped the boom in ani­mated com­mer­cials and movie credit sequences. But from as early as 1964 he ploughed most of the prof­its right back into his pet project, a fea­ture inspired by the Ara­bian Nights and pro­vi­sion­ally known as Mul­lah Nas­rud­din.

He assem­bled a team of inspired young artists—and brought in the best Hol­ly­wood crafts­men to teach them—and devised what would be the most elab­o­rate, kalei­do­scopic, mind-boggling visual sequences ever com­mit­ted to cel­lu­loid. Years passed. Poten­tial financiers came and went. Work con­tin­ued. But it was only after Roger Rab­bit that Williams had a stu­dio bud­get to cor­rob­o­rate the munif­i­cence of his imag­i­na­tion. After 25 years and as many mil­lion dol­lars in the mak­ing his labor of love finally saw the light of day…

Kevin Schreck’s doc­u­men­tary is essen­tial view­ing on three counts: it show­cases Williams’ daz­zling, often unprece­dented visu­als; it reveals how these stag­ger­ing effects were cre­ated; and it’s a heart­break­ing por­trait of artis­tic obses­sion run­ning smack into the busi­ness of show…