General Mills – 50% More Cocoa

With Big G cereal, every day can have a bit of Saturday!
Saatchi & Saatchi
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Justin Roth, Adam Kline
Exit 73 Studios – Animation
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Chris Burns & Bob Fox
BlueTube Productions
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Michael Kohler
Light Iron – Sound
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Carolyn Cury, Megan Marquis

WB’s Histeria! finally coming to DVD!

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Very happy to report that Warner Bros. Histeria! is finally coming to DVD after almost 20 years on the shelves. I was lucky to have directed many episodes of this forgotten gem created by Tom Ruegger, and I can’t wait to revisit the past and see old friends once again!

The Warner Archive Collection today announced that Histeria! – The Complete Series is coming to DVD on July 12th. This MOD (manufacture on demand) set will cost $59.99 SRP, and you can pre-order it from Warner’s online store, WBshop.com, using the button link below. Under that is the front package art. Amazon.com isn’t listing this title yet, but we’re sure they will be soon. We’ll have links to that, too, as soon as we can. TVShowsonDVD.com has more on the release.

Tony Craig

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What is your name?
Tony Craig
What are some of your favorite projects you’re proud to have been a part of?
“The animation project I’m most proud of is the DVD video Bobs Gannaway, Jess Winfield and I did to wrap up the Lilo and Stitch tv series.  I know that it is relatively unknown, and I won’t get into the reasons for why I think the release of it was handled inappropriately, but the name of it is “”Leroy and Stitch””.  The reason I am proudest of it has to do with how it all turned out.  Usually, as a director, you have in your head what you think it should look like, and then when your show comes back from being animated overseas, it is not even close.  Then you get used to what you do have, and start molding it into the final show.  This project was the closest to what I had in my head.  I know that it is not feature quality, but when you consider the time and the budget we were given to do it (1/4 the time the Disneytoons folks got for Stitch has a glitch, and probably 1/8 or less of what they spent), well, I’m proud of what we pulled off.
The storyline is good too.  Bobs and Jess did a great job with the script and the transitions of emotion from scene to scene, action sequence to quiet sequence, musical parts, score…all of it came together.
House of Mouse was another fun one, because we were able to utilize any character from the history of Disney animation.  We were pulling the most obscure characters from old Silly Symphony cartoons and sticking them in the show, just for fun.
A personal project that I enjoyed doing was photographing old country and general stores across the state of North Carolina and compiling them into a book, “”Country Stores in North Carolina”.
How did you become interested in animation?
“I remember an evening at my grandparents’ house with my parents. I was still in a high chair, and I know this memory wasn’t based on photos or anything like that.  We went to see Disney’s “Pinocchio” that evening.  I fell asleep through most of it, but what I saw must have made an impression, or clicked in at that developmental stage of my infant mind. There was a copy of Christopher Finch’s book, “The Art of Walt Disney” in the reference section of our library.  Every family trip to the library, I would be at the end of that row, poring over the artwork.  I worked in the yard, saved my nickels, dimes, and quarters, until I had the $35 to buy my very own copy of that book, and I copied the pictures out of it regularly.

How Pixar creative genius John Lasseter became the next Walt Disney and built a $10 billion empire

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Business Insider has an article up about how Pixar creative genius John Lasseter became the next Walt Disney and built a $10 billion empire.

No studio can match the creativity, heart, and cleverness found in all Pixar films, and it seems those principles can be traced back to Lasseter

“You want the movies to touch people,” Lasseter said in an interview for Pixar’s 30th anniversary this year. “Make ’em funny, make ’em beautiful, make ’em scary, but in the end you want that heart of the movie to be so strong.”

Lasseter’s and Pixar’s success are linked. He cofounded the animation studio that has now made nearly $10 billion worldwide. He championed computer animation at a time when the technology was still quite infantile. He created and directed “Toy Story,” which started it all (more than 250 computer-animated films have been made since). He kept asking questions that resulted in better animation all around and better Pixar films.

Terry Gilliam on the Importance and Power of Storyboarding

No Film School has an old article featuring old yet interesting series of interviews with animator and director Terry Gilliam (Monty Python, Baron Munchausen, The Brothers Grimm, Time Bandits) about storyboarding.

From the article:

Gilliam says something interesting immediately, and that is his use of drawing sometimes duringthe writing phase. Storyboards in a strict sense are traditionally done once a script has reached a certain plateau of finality — meaning it may not be locked outright, but only relatively minor alterations will be made in subsequent drafts. Gilliam here describes his storyboarding process sometimes affecting the script as new visual ideas come out, which is an interesting inversion of convention as I see it. He highlights the benefit of using storyboards as the skeletal basis of a scene’s structure, allowing out-of-sequence shooting to work just as well as shooting in-sequence — with some creative variability for how to achieve each frame still retained by the shooting process itself. On the other hand, Gilliam says that storyboarding improves the worst-case creative-scenario, which is running dry on ideas — because even without the in-the-moment idea on set, adhering to pre-conceived storyboards while shooting will still result in a cohesive, coherent sequence.

Part 1

https://www.youtube.com/watch?v=hj7P1sczHZo

Part 2

https://www.youtube.com/watch?v=KtJ5N93Sw8Q

 

Jez Hall

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What is your name and your current occupation?
I’m Jez Hall and I’m currently series director on Fleabag Monkeyface.

 

What are some of the crazier jobs you had before getting into animation?
I haven’t really had any proper jobs, let alone crazy….. I was an illegal wine waiter once. Illegal as in I was only 16. I wasn’t some kind on Pinot Grigio gangster. Drive by cork popping… I then drew comics before getting in to animation.  Animation is crazier than pouring wine.

 

What are some of your favorite projects you’re proud to have been a part of?
Theres lots. I’ve been doing it over twenty years so it would be a big list. The list of projects I’m not proud of would be way bigger.

 

How did you become interested in animation?
People paid me money. Continue…