Monthly Archives: October 2012

Oh, Pretty Woman Songwriter Bill Dees Dead at 73

William "Bill" Dees

William “Bill” Dees

Singer-songwriter William “Bill” Dees, co-writer with Roy Orbi­son of such global hits as “Oh, Pretty Woman” and “It’s Over,” died Wednes­day night at a nurs­ing facil­ity in Moun­tain Home, Arkansas. He was 73.

A res­i­dent of Forsyth, Mis­souri, near Bran­son, the enter­tain­ment was diag­nosed this sum­mer with an inop­er­a­ble brain tumor.

Orbison’s ren­di­tion of “Oh, Pretty Woman” was heard in the sound­track of the 2001 Futu­rama episode “The Cyber House Rules.”

Though best known for his work with Orbi­son, Dees wrote songs that were recorded by such other famed per­form­ers as Johnny Cash, Loretta Lynn and Glen Campbell.

Born in Borger, Texas on Jan­u­ary 24, 1939, he had lived for the last three decades in the Arkansas and Mis­souri Ozarks.

Funeral ser­vices are pending.

Pixar’s WALL-E Finds Place in Robot Hall of Fame

WALL-E

WALL-E

The Robot Hall of Fame inducted WALL•E, the fic­tional robot of the name­sake Pixar movie, dur­ing a cer­e­mony Tues­day evening at Carnegie Sci­ence Cen­ter in Pittsburgh.

WALL•E was one of four robots cho­sen for the first time by a pop­u­lar vote.

In the Enter­tain­ment cat­e­gory, vot­ers chose WALL•E (Waste Allo­ca­tion Load Lifter Earth Class), the lov­able star of the 2008 Disney/Pixar block­buster by the same name. In the movie, WALL•E inad­ver­tently embarks on a space jour­ney that ulti­mately decides the fate of mankind. Other nom­i­nees in this cat­e­gory included Rosie the maid from the car­toon series The Jet­sons.

More than any pre­vi­ous class of inductees, this group of robots selected by pop­u­lar vote rep­re­sents con­tem­po­rary robot­ics — robots at the cut­ting edge of tech­nol­ogy — rather than older robots of strictly his­tor­i­cal impor­tance,” said Shirley Sal­damarco, Robot Hall of Fame direc­tor and a fac­ulty mem­ber at Carnegie Mellon’s Enter­tain­ment Tech­nol­ogy Cen­ter. “Even our fic­tional hon­oree, WALL-E, is from a movie that’s just four years old.”

More than 17,000 peo­ple across every con­ti­nent except Antarc­tica par­tic­i­pated in the online vote in August and Sep­tem­ber. The 12 nom­i­nees on this year’s bal­lot were cho­sen by a group of 107 robot­ics experts, indus­try lead­ers and afi­ciona­dos selected by the Robot Hall of Fame.

The RHOF, cre­ated in 2003 by Carnegie Mel­lon Uni­ver­sity, rec­og­nizes excel­lence in robot­ics tech­nol­ogy. It hon­ors both the fic­tional robots that inspire inno­va­tion and the real robots that embody it. In 2009, it was inte­grated into Carnegie Sci­ence Center’s roboworld exhibit.

Pre­sen­ters at the cer­e­mony included Jared L. Cohon, pres­i­dent of Carnegie Mel­lon; John Dulchi­nos, pres­i­dent and CEO of Adept Tech­nol­ogy; Henry Thorne, chief tech­nol­ogy offi­cer of 4Moms; and Quasi, the robot char­ac­ter cre­ated by Inter­bots, a spin­off of CMU’s Enter­tain­ment Tech­nol­ogy Cen­ter. Heather Knight, a Ph.D. stu­dent in CMU’s Robot­ics Insti­tute, and her stand-up come­dian robot, Data, per­formed dur­ing the event.

This year’s induc­tion cer­e­mony was cel­e­brated in con­junc­tion with the RoboBusi­ness Lead­er­ship Sum­mit, a con­fer­ence of hun­dreds of robot­ics indus­try lead­ers that is in Pitts­burgh this week.

The Robot Hall of Fame induc­tion is spon­sored by Carnegie Mel­lon and its Enter­tain­ment Tech­nol­ogy Cen­ter, Carnegie Sci­ence Cen­ter, the Pitts­burgh Tech­nol­ogy Coun­cil and RoboBusi­ness. The Robot­ics Insti­tute, the world’s largest robot­ics research and edu­ca­tion orga­ni­za­tion, is part of Carnegie Mellon’s School of Com­puter Sci­ence. Infor­ma­tion about the RHOF and pre­vi­ous win­ners is avail­able at www.robothalloffame.org.

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.

PLATFORM Animation Festival Opens Friday in L.A.

PLATFORM, the inter­na­tion­ally acclaimed ani­ma­tion fes­ti­val, is host­ing a three-day event in Los Ange­les from Fri­day to Sun­day, Octo­ber 26 to 28.

In col­lab­o­ra­tion with CalArts and the Roy and Edna Disney/CalArts The­ater (REDCAT), PLATFORM will show­case excit­ing and inno­v­a­tive new ani­mated films and tal­ent while also cel­e­brat­ing animation’s her­itage through spe­cial screen­ings and infor­ma­tive panel discussions.

Draw­ing upon some of the fresh­est per­spec­tives on the world of ani­ma­tion, fes­ti­val direc­tor Irene Kot­larz has dis­cov­ered a new gen­er­a­tion of cura­tors for this year’s fes­ti­val. Says Kot­larz, “It has been a spe­cial plea­sure this year to work with a tal­ented group of CalArts ani­ma­tion stu­dents who have helped select the pro­gram. Their cre­ative think­ing per­fectly com­ple­ments the festival’s mis­sion to be a plat­form for artists, to break bound­aries, and to reflect devel­op­ments in new media. Together we are really excited to bring PLATFORM to Los Ange­les with an out­stand­ing range of pre­mieres, exclu­sive screen­ings, and spe­cial guests.”

CalArts dean of the School of Film/Video Steve Anker is thrilled to have his stu­dents part­ner in craft­ing the event for Los Ange­les. “The PLATFORM Ani­ma­tion Fes­ti­val makes a great case for the con­tin­ued vital­ity of ani­ma­tion as an inde­pen­dent, per­sonal art form. In just one week­end, an aston­ish­ing array of pro­grams has been orga­nized that will give L.A. view­ers a chance to see dozens of films, rang­ing from the begin­ning of cin­ema to the lat­est Inter­net sen­sa­tions, that together present a won­der­ful kalei­do­scope of ani­ma­tion as a visual art,” says Anker.

Intro­duc­ing films that have won world­wide acclaim to ani­ma­tion fans in Los Ange­les, PLATFORM will screen high­lights from the Annecy Inter­na­tional Ani­ma­tion Fes­ti­val. One pro­gram will focus on stu­dent films, and a sec­ond will present films from estab­lished artists, offer­ing view­ers a wide vari­ety of story-telling and styl­is­tic entertainment.

Embrac­ing the lat­est plat­forms for ani­ma­tion, the fes­ti­val will fea­ture both screen­ings and pan­els that focus on how the inter­net has changed the indus­try. Show­cas­ing another realm of ground­break­ing ani­ma­tion, PLATFORM is hon­ored to present a spe­cial pre­view screen­ing of Walt Dis­ney Ani­ma­tion Stu­dios’ Paper­man, fol­lowed by a panel dis­cus­sion with the key film­mak­ers of this short film.

To honor the his­tory of ani­ma­tion and those who have bro­ken bound­aries through the years, PLATFORM will share spe­cial ret­ro­spec­tive screen­ings of some of the stu­dent films from CalArts’ most famous alumni, such as John Las­seter and Craig McCracken. Reach­ing even fur­ther back into ani­ma­tion his­tory, PLATFORM will present an archival screen­ing of the short films by Ladis­las Stare­witch, the sur­re­al­is­tic stop-motion pio­neer. His work in the 1910s to 1950s ini­ti­ated the genre of fan­tas­ti­cal, gothic stop-motion ani­ma­tion whose line of influ­ence can be traced directly to con­tem­po­rary film­mak­ers like Tim Bur­ton and Henry Selick.

Funded in part with gen­er­ous sup­port from the Acad­emy of Motion Pic­ture Arts and Sci­ences, PLATFORM is hon­ored to have addi­tional sup­port from its found­ing spon­sor Car­toon Net­work, as well as Walt Dis­ney Ani­ma­tion Stu­dios, Dis­ney Tele­vi­sion Ani­ma­tion and ASIFA Hollywood.

The sched­ule for the fes­ti­val is as follows:

Fri­day, Octo­ber 26

7:30 p.m.: Ladis­las Stare­witch. A rare screen­ing of 35mm archival prints of short films by the influ­en­tial sur­re­al­is­tic stop-motion pio­neer played to live music. Polish-born Stare­witch lived most of his life in Paris, cre­at­ing fan­tas­ti­cal, sophis­ti­cated and enter­tain­ing nar­ra­tive films fea­tur­ing strange insect and ani­mal char­ac­ters. The com­pi­la­tion screen­ing will include such titles as L’Epouvantail (The Scare­crow), Amour Noir et Blanc (Love in Black and White), La Reine des Papil­lons (Queen of the But­ter­flies) and Les Yeux du Dragon (Eyes of the Dragon).

10 p.m.: Best of World Stu­dent Ani­ma­tion. Screen­ing of selec­tions from Annecy 2012 rep­re­sent­ing a broad spec­trum of schools from all over the world. The pro­gram will include such award-winning stu­dent films as I’m Fine Thanks, directed by Eamonn O’Neill, and The Mak­ing of Long­bird, directed by Will Anderson.

Sat­ur­day, Octo­ber 27

12 noon: Stream­ing: A Con­ver­sa­tion About Ani­ma­tors on the Web. Panel dis­cus­sion to help answer the ques­tions that today’s ani­ma­tors today face, con­sid­er­ing the bewil­der­ing array of options and plat­forms for get­ting their work out to an audi­ence: Should they put it out on the Web, and if so, which site? Should they give it away for free, or can they make money? Should they invite com­ments? Should they hold off and try to get into fes­ti­vals? Will they miss the boat? Pan­elists include Jason Sondhi (Vimeo), among oth­ers. Mod­er­ated by Aaron Simp­son (Mondo Media).

2 p.m.: Pre­view of Disney’s Paper­man. Spe­cial screen­ing fol­lowed by a panel dis­cus­sion with direc­tor John Kahrs, art direc­tor Jeff Tur­ley and ani­ma­tion super­vi­sor Patrick Osborne. Apply­ing a tech­nique that seam­lessly merges computer-generated and hand-drawn ani­ma­tion tech­niques, first-time direc­tor John Kahrs takes the art of ani­ma­tion in a bold new direc­tion in this short film.

4:30 p.m.: Best of World Ani­ma­tion. Screen­ing of selec­tions from Annecy 2012. Films include Michaela Pavlátová’s Grand Prix win­ner Tram (2012) and exper­i­men­tal artist Stephen Irwin’s Ottawa Grand Prix-winner Moxie (2011). Other award-winning films include Hisko Helsing’s Junk­yard (2012), which just won the Nel­vana Grand Prize for Best Inde­pen­dent Short Ani­ma­tion at the 2012 Ottawa Inter­na­tional Ani­ma­tion Fes­ti­val, and Oh, Willy (2011) by Emma de Swaef and Marc James Roels, which has won Best Euro­pean Ani­ma­tion Short Film at Car­toon D’or and Grand Prix for Shorts at the Hol­land Ani­ma­tion Film Fes­ti­val this year.

7: p.m.: PES: A Ret­ro­spec­tive. Spe­cial pre­sen­ta­tion. The direc­tor and ani­ma­tor of numer­ous witty short stop-motion films and com­mer­cials, PES has a huge fol­low­ing at fes­ti­vals and on the Inter­net. PES will screen and dis­cuss a selec­tion of his work. includ­ing his renowned The Deep (2011).

Sun­day, Octo­ber 28

12 noon: “Awe­some” Car­toon Net­work. Screen­ing and panel. A selec­tion of shows and cre­ative inter­sti­tials that exem­plify an influ­en­tial trend in TV and Inter­net ani­ma­tion, appear­ing first in the network’s Pow­er­puff Girls. Reach­ing its height with the pio­neer­ing Adven­ture Time, the cul­ture of “awe­some” empha­sizes a clean and bub­bly esthetic, pos­i­tiv­ity, and dis­tinc­tive, ran­dom humor. The screen­ing will be fol­lowed by a panel of Car­toon Net­work artists, includ­ing Pendle­ton Ward (Adven­ture Time) and JG Quin­tel (Reg­u­lar Show). Intro­duced by Rob Sor­cher, chief con­tent offi­cer at Car­toon Net­work, and mod­er­ated by Ani­ma­tion Mag­a­zine editor-in-chief Ramin Zahed.

2:30 p.m.: CalArts: A 40-Year Evo­lu­tion, Pro­gram 1. Screen­ing. A ret­ro­spec­tive of CalArts ani­ma­tion, first pre­sented at Annecy 2012. Two screen­ings of exam­ples from four decades of CalArts’ pro­grams in char­ac­ter and exper­i­men­tal ani­ma­tion, fea­tur­ing stu­dent films by John Las­seter, Henry Selick, Craig McCracken and Steve Hil­len­burg, as well as more recent grad­u­ates, includ­ing Miwa Matreyek and Kirsten Lepore.

5 p.m.: Life After Col­lege. A dis­tin­guished panel that spans sev­eral gen­er­a­tions of CalArts grad­u­ates who have been suc­cess­ful in var­i­ous fields of the indus­try as cre­ators of suc­cess­ful TV series, as stand­out ani­ma­tors on the Web, or as prac­tic­ing inde­pen­dent artists. As they dis­cuss their paths from grad­u­a­tion to artis­tic and pro­fes­sional suc­cess, the pan­elists will offer a range of options as role mod­els for aspir­ing young artists. Pan­elists include Alex Hirsch, cre­ator of Grav­ity Falls; Craig McCracken, cre­ator of Pow­er­puff Girls and Won­der Over Yon­der; Mike Moon, vice-president of cre­ative at Dis­ney TV Ani­ma­tion; Michael Pat­ter­son, exper­i­men­tal film artist, teacher and com­mer­cial film­maker; and Miwa Matreyek, ani­ma­tor, designer and multi-media artist. Mod­er­a­tor: Jerry Beck. With thanks for gen­er­ous sup­port from Dis­ney Tele­vi­sion Animation.

8 p.m.: CalArts: A 40-Year Evo­lu­tion, Pro­gram 2. Screen­ing. A ret­ro­spec­tive of CalArts ani­ma­tion, first pre­sented at Annecy 2012.

The 2012 Plat­form Inter­na­tional Fes­ti­val takes place at the Roy and Edna Disney/CalArts The­ater (REDCAT). REDCAT is located at 631 West Sec­ond Street in down­town Los Ange­les at the cor­ner of Hope Street, inside the Walt Dis­ney Con­cert Hall com­plex. Park­ing is avail­able in the Walt Dis­ney Con­cert Hall park­ing struc­ture and in adja­cent lots.

Tick­ets are $10 for the gen­eral pub­lic, $8 for mem­bers. Dis­counts are avail­able for multi-program pur­chases. Tick­ets may be pur­chased by call­ing (213) 237.2800, at www.redcat.org, or in per­son at the REDCAT Box Office on the cor­ner of West Sec­ond and Hope Streets (30 min­utes free park­ing with val­i­da­tion). Box office hours are noon to 6 p.m. through Sat­ur­day and two hours prior to curtain.

PLATFORM is part of the ongo­ing Jack H. Skir­ball “Film at REDCAT” series of screen­ings and pre­sen­ta­tions by inde­pen­dent film and video mak­ers from around the world. For more infor­ma­tion, visit www.redcat.org/category/redcat-event-type/film-video.

Hotel Transylvania Opens in 1st Place in Russia

Hotel Transylvania

Hotel Tran­syl­va­nia

There were many guests at “Hotel Tran­syl­va­nia” in Rus­sia over the week­end, where the ani­mated film opened at No. 1 with $5 mil­lion from 797 screens.

Over­all, the movie col­lected $14.5 mil­lion from 4,510 venues in 38 coun­tries. So far, it’s had a $68.3 mil­lion over­seas gross.

In the United King­dom, Dream­Works Animation’s Mada­gas­car 3: Europe’s Most Wanted made just $9.6 mil­lion in 519 the­atres. This past week­end, the three­quel was seen at 2,236 spot in 28 for­eign coun­tries for $14.9 mil­lion. Dis­trib­uted over­seas by Para­mount, Mada­gas­car 3 has made a cumu­la­tive $482.9 mil­lion overseas.

Franken­wee­nie brought in $4.1 mil­lion from 19 coun­tries dur­ing its sec­ond over­seas week­end for a cumu­la­tive for­eign total of $11.9 million.

New Walt Disney Bio Pic a Fake

Walt fake poster

Walt fake poster

There is a new poster mak­ing the rounds on the Inter­nets fea­tur­ing Ryan Gosling in a new Ron Howard film called Walt. The poster fea­tures Gosling as Walt busy scrib­bling away in a train car, with Mickey in the clouds out­side the win­dow. Looks like a good film, but there is only one prob­lem– it is a fake.

French graphic artist Pas­cal Witaszek released the poster of a fic­tional Walt Dis­ney biopic on the web over the week­end. The idea of the film– and the cast­ing– has excited fans of Dis­ney, Howard and Gosling. And the cast­ing makes some sense– Gosling got his start on The New Mickey Mouse Club.

But the film– and the poster– are fake. There is no (as yet!) Walt Dis­ney biog­ra­phy film in the owkrs, by Ron Howard or any­one else.

Oscar Sets Animation Feature Film Deadline

Oscar Statuette, Academy Awards

Oscar Stat­uette, Acad­emy Awards

Want to be in the run­ning for best ani­mated film this year? The Acad­emy of Motion Pic­ture Arts & Sci­ence– the peo­ple behind the Oscars– have set a dead­line for when your film needs to be to them.… and the dead­line is just around the corner.

You must sub­mit your film and appli­ca­tion to the Acad­emy by next week– Novem­ber 1st to be exact– to be in con­sid­er­a­tion for the best ani­mated film. The announce­ment comes on the heels of a more sweep­ing announce­ment from the Screen Actors Guild Awards. The SAG awards have set their own dead­line of this Thurs­day (Octo­ber 25) for nom­i­na­tions for con­sid­er­a­tion — across all cat­e­gories — ahead of its own awards cer­e­mony in January.

What do you need to be con­sid­ered for the Oscar? It must be “a motion pic­ture with a run­ning time of more than 40 min­utes, in which move­ment and char­ac­ters’ per­for­mances are cre­ated using a frame-by-frame tech­nique.” Addi­tion­ally, a sig­nif­i­cant num­ber of the major char­ac­ters must be ani­mated, and ani­ma­tion must fig­ure in no less than 75 per­cent of the picture’s run­ning time. Sorry, no motion cap­ture films are eli­gi­ble. Full rules and sub­mis­sion pack­ets are avail­able here.

The Annual Screen Actors Guild Awards will be held on Jan­u­ary 27, 2013.

The 85th Acad­emy Awards nom­i­na­tions will be announced on Jan­u­ary 10. “Fam­ily Guy” artist Seth Mac­Far­lane set to host the 2013 awards cer­e­mony, which will air on Feb­ru­ary 24.

Oh, and just so you know, a max­i­mum of two stat­uettes will be awarded to win­ners in this category.

Award-winning “Rabbit” Director Run Wrake Dies, 47

Run Wrake

Run Wrake

British ani­ma­tor and illus­tra­tor Run Wrake, whose Rab­bit was nom­i­nated for a BAFTA Award for Best Ani­mated Short, died at 5 a.m. Sun­day due to can­cer. He was 47.

He had spent a beau­ti­ful Sat­ur­day with his two chil­dren Flo­rence and Joe, his sis­ter Fiona and myself,” his wife Lisa posted on his Face­book page. “We left him at 7 p.m. doing what he loved best — draw­ing and ani­mat­ing with peg bar and paper. I was with him for his last moments.”

Rab­bit (2005) won a host of awards at film fes­ti­vals across the world, includ­ing Best Film at the 2006 British Ani­ma­tion Awards and the McLaren Award for Ani­ma­tion at the Edin­burgh Film Fes­ti­val. Wrake was devel­op­ing an ani­mated fea­ture, The Way to a Whole New You, with writer Neil Jaworski for BBC Films.

Born John Wrake in Yemen in 1965, he stud­ied graphic design at the Chelsea School of Art and then com­pleted an MA at the Royal Col­lege of Art.

As well as mak­ing films, he worked on com­mer­cials and live visu­als for bands includ­ing U2 and Oasis, and worked exten­sively with Howie B, ini­tially on a short film to accom­pany the release of his album Music for Babies and then on a series of pro­mos. In 2010, he devel­oped visu­als for U2’s 360 world­wide tour.

Newest Disney Cartoon Princess Upsetting Hispanics

Sofia The First

Sofia The First

Disney’s newest princess is set to pre­miere in three short weeks in Sofia the First: Once Upon a Princess. Despite Sofia the First being Disney’s first Latino princess– and Disney’s youngest– Sofia has not endeared her­self to many activists in the His­panic population.

Pre­vi­ous Dis­ney princesses has bro­ken impor­tant ground with Native Amer­i­can (Poc­a­hon­tas), Asian (Mulan), and African-American (The Princess and the Frog) role mod­els. Sophia’s mother is Span­ish and her birth father from a king­dom inspired by Scan­di­navia. Thus not wholly His­panic, Sofia her­self was born and raised in Enchancia, a “make-believe ‘melt­ing pot’ king­dom” pat­terned after the British Isles. Sofia is voiced by Ariel Win­ter (a Cau­casian), and her mother by Sara Ramirez (a Hispanic).

Sofia The First

Sofia The First

Where the prob­lems seem to come from is the char­ac­ter design for Sofia. His­panic groups ques­tion whether a fair-skinned, blue-eyed young princess should be con­sid­ered an accu­rate rep­re­sen­ta­tion of a young girl of Span­ish heritage.

Sofia con­sid­ers her­self a nor­mal Enchancian girl like any other,” said Craig Ger­ber, co-executive pro­ducer of “Sofia the First”. “Her mixed her­itage and blended fam­ily are a reflec­tion of what many chil­dren today experience.”

The series is also crit­i­cized by those within the Latino com­mu­nity because Sofia is not get­ting the same style and depth of pro­mo­tion as at the intro­duc­tion of pre­vi­ous princesses of eth­nic­ity. “They’ve done such a good job in the past when they’ve intro­duced Native Amer­i­can, African-American and Asian princesses,” said Lisa Navar­rete, of the National Coun­cil of La Raza. “They made a big deal out of it, and there was a lot of fan­fare, but now they’re sort of scram­bling. It’s unusual because Dis­ney has been very good about Latino diversity.”

Lit­tle girls look to these char­ac­ters to see them­selves rep­re­sented,” Navar­rete con­tin­ued. “If they don’t see them­selves, it makes a dif­fer­ence. It would be nice to see Dis­ney make a full-out push for a Latina princess, whether it’s ‘Sofia the First’ or not.”

Inez Gon­za­lez, exec­u­tive vice pres­i­dent of the National His­panic Media Coali­tion, said Mon­day that the orga­ni­za­tion wanted to meet with Dis­ney to dis­cuss “Sofia the First.”

The TV spe­cial “Sofia the First: Once Upon a Princess” will air Novem­ber 18 on the Dis­ney Chan­nel and Dis­ney Junior, and the full series will begin air­ing early next year.