Yes, it’s The Lorax, with……a Mazda!

And this is much more than [...]]]> Soooo, you remember when I discussed the “green” marketing for The Lorax? You don’t? It was only last wee…. oh never mind, how about this video below then?

Yes, it’s The Lorax, with……a Mazda!

And this is much more than a commercial, for, according to Autoblog, the CX-5 has a starring role in the upcoming film as well!

So along the lines of my first post; is this appropriate, or even a good idea?

Mazda is claiming the car has “Skyactiv” green credentials, but as one of the commentators points out, that’s really just a marketing name for technologies that are already present in many modern cars.

So the link between the two properties is a weak one, but certainly the pairing of a car company and Dr. Seuss has gone well before, right?

Eh, no.

So we have a film that’s animated, a car company with no real green credentials (we’re still waiting for a true Mazda hybrid) and a story that’s all about environmentalism but has supposedly been altered just enough that that’s not the emphasis.

Hmmm, I have my doubts.

In the meantime, here’s an example of an animation/auto combination that most certainly makes more sense:

Yes, it’s Misato Katsuragi and her Renault Alpine A310; a Porsche 911 for the more independently minded driving enthusiast and that suits her down to a T.

Yes, the original cat and mouse duo are 71 years young today, February 20th. Back in 1940, the short Puss Gets The Boot was released and featured the two characters who would quickly become the characters that are so beloved today.

Below is the video he recently posted detailing how exactly he [...]]]> All-round nice chap Elliot Cowan, known to his legions of fans around the world as the creator of Boxhead and Roundhead, has embarked on the formidable task of creating a feature film featuring the quirk duo.

Below is the video he recently posted detailing how exactly he manages to squeeze making a film into his already hectic day. Besides making us all appear instantly lazy, it’s all done in Elliot’s very affable Australian way.

Don’t forget to stay up do date with the obligatory Facebook page!

Matthew Razak over at Flixist has a great in-depth look at Hayao Miyazaki’s seminal 2001 film, Spirited Away. That article is well worth a few minutes of your time as it discusses many aspects present in that film that are sadly [...]]]>

Matthew Razak over at Flixist has a great in-depth look at Hayao Miyazaki’s seminal 2001 film, Spirited Away. That article is well worth a few minutes of your time as it discusses many aspects present in that film that are sadly lacking in many contemporary American productions.

However, while Razak focuses a lot on the animation, the direction and the over-arching themes of the film, he almost completely neglects to discuss the characters.

Yes, he talks about Chihiro and her transformation from a spoiled little girl into a more mature adolescent and his analysis is quite good in that regard. However, he glosses over the supporting characters that help her in that regard.

Like Haku, the faithful, if resentful, servant of the bath house owner Yubaba who is on a quest for self-redemption and rediscovering his identity, or Lin, the worker at the bath house who teaches Chihiro some of the realities of working life. Not to mention Yubaba herself, show imparts a tough impression of the businesswomen and her strikingly contrasting sister, Zeniba.

If it were not for characters such as these, as well as the multitude of supporting characters, from river gods to no-faces, Spirited Away would be an altogether duller film. Visuals and direction can greatly improve a film, but if the characters themselves aren’t complete, the film will feel stifled and wooden.

That is where Miyazaki excels in his films; the characters are never boring, or repetitive or simple. They are complex, flawed and plentiful; just like real people. Their importance should not be overlooked when analysing a film.

It starts off:

IN PRAISING animation, I’m not asking you to get out of your seat and start dancing [...]]]> To be honest, I’m still trying to figure out if this article by Robert McNeill for the Herald Scotland website is genuine or a piece of deep, deep satire.

It starts off:

I’m using the posh word for “cartoons”. As Pixar – the maker of Toy Story, Finding Nemo and Cars – celebrates its 25th anniversary, we’re reminded that cartoons are better than reality. What isn’t?

OK, so he likes animation and wants to say so. No real surprises there. He’s written this to celebrate Pixar’s 25th anniversary. Again, fair enough. They’re a great studio and have a had a lot of success since 1986, even if the first 9 years weren’t exactly stellar.

Then we move onto this paragraph:

CGI – Computer Geekery Imitation – has led to cartoons becoming better than realistic because everything is bright and clean. Cartoonland is devoid of blood and muck. It’s an ideal world to which we all aspire and I’m increasingly of the view that mankind and cartoonery are coinciding.

I love that phrase “better than realistic”. He goes on to claim that animation is “devoid of blood and muck”. Now is this to say that we don’t see enough gritty realism in Hollywood animation, or that CGI animation focuses too much on making things look “cartoony”?

If he’s looking for gritty realism, there are plenty of anime series out there, and there’s a lot of mature animation to be found from the Western world as well, if one knows where to look.

Then we move onto this:

Some pop stars you see nowadays look like cartoons, with their blemish-free coupons, meticulously drawn hair and unearthly shininess.

Whatever about pictures in magazines being more Photoshop than human; cartoons, and in particular CGI, are supposed to be perfect. There’s a reason for it now just as in the past, it’s called cost. It’s quicker and cheaper to make something smooth and blemish-free, whereas grit, dust, cracks, etc. take a lot of effort to create, and even more to move on screen.

There’s a nod to 3-D too:

At the same time, other cartoon characters are leaping out of the screen at us, living and moving in 3D. Soon, the screen between us will dissolve and we’ll all be living in a cartoon.

And at this point, what was a mildly misguided article becomes either remotely funny in the darkest sense or takes a dive off the deep end:

Our enemies will be the weirdies who play computer games. No-one can have been surprised to hear that crazed Norwegian mass-murderer Anders Breivik spent 12 hours a day on these orgies of simulated violence before he turned real life into the nightmare of his fantasies.

We end this piece with the following:

The next great war will feature Steamboat Willie, Kung Fu Panda and Arsenal against Thorpuke, Skullcuddler and the Dark Laird. You have been warned.

By this point, I’m completely lost, and I’m sure you are too. How did we get from praising animation to discussing the end of civilisation as we know it? What does animation have to do with it either?

I presume that this was written by a respected journalist (unless those really are extinct these days, having been killed off in the great digital purge), so it makes no sense why a) he would even write it, and b) why someone would even publish it?

This, I’m afraid, is what animators and the animation industry in general are up against. It’s not the notion that animation is “for kids”; that has been discredited for quite a while, it’s the problem that people think they “know” animation; where it came from, why it exists and what effects it has on society as a whole.

Joe Public is mostly dependent on the mainstream media for his information on animation, and while we can forgive small mistakes, proving wholly false information is the root of much of the public’s misconceptions about the technique.

Via: ScreenCrave

Illumination/Universal are getting ready to release their latest film The Lorax. the two unusual things about this film are:

Normally film studios will give lip service to the idea of the green agenda. Case in [...]]]>

Via: ScreenCrave

Illumination/Universal are getting ready to release their latest film The Lorax. the two unusual things about this film are:

1. My finacee wants to see it
2. The merchandising/tie-ins are “green”

Normally film studios will give lip service to the idea of the green agenda. Case in point is Captain Planet, which had some decidedly un-environmentally friendly toys.

This time around though, it seems like a genuine effort is being made. From the AP:

The EPA, for instance, is using the Lorax character to help promote low-power appliances that carry the Energy Star label. Hilton’s DoubleTree hotel chain is sponsoring a trip for four to eco-tourism mecca Costa Rica. The Hortus Botanicus in Amsterdam is creating a Lorax-inspired route through its garden, which is home to a number of endangered trees.

Such tie-ins will probably do a good job of raising awareness amongst the public about environmental needs, but will they lead to lasting change? I doubt it. I mean, since when has film merchandise made a significant impact on consumer behaviour?

Normally things go great when the products are on the shelves, but like all tie-ins, their lifespan is limited, and we’ve all seen the products in the bargain bin featuring the film from 6 months ago that now look lost and forlorn. On top of that, we, as humans, are notoriously regimented in our ways. After a few months, most consumers who went green for the Lorax will be right back to their old way of doing things.

I can’t help but feel that stunts like this are more about the positive publicity than making real changes. What do you think? Is this green promotional campaign a gimmick or do you think it’ll stick with consumers?

Naturally there are some animated films in [...]]]> Not familiar with Film On Paper? Well, it’s the extraordinary website of Eddie Shannon and his (very) extensive film poster collection. Every poster has a description and one or more details to highlight interesting parts of the poster.

Naturally there are some animated films in his collection, so here are five I’ve picked to share. There are many more (including my two favourite ones), so don’t be afraid to click through to view the rest.

The Wall

James and the Giant Peach

Nausicaä in the Valley of the Wind

Persepolis

My Neighbour Totoro

Via

Via: Amazon

So this review is a bit late to the game seeing as this book came out back in 2006; a mere 6 years ago. Happily, Cartoon Modern is the kind of book that doesn’t age and not just because it deals [...]]]>

Via: Amazon

So this review is a bit late to the game seeing as this book came out back in 2006; a mere 6 years ago. Happily, Cartoon Modern is the kind of book that doesn’t age and not just because it deals with a period far in the past!

For the uninitiated, Cartoon Modern is concerned with that period in American animation spanning the late 1940s through till the early 60s, when the new-found prosperity and hope of the postwar era combined with the desire to break the established boundaries of animation, resulting revolution in design that has yet to be matched.

We’re all familiar with the style, after all, it’s only influenced animation for the last 60 years or so, and of course, modern hits like Ren & Stimpy owe a lot to the culture of the era too.

So what is Cartoon Modern? Well, it’s not strictly an art book, although it is brimming with lots of wonderful eye candy and it’s not strictly a written history either, although it does contain lots of detail about the history and provocateurs of the style.

Instead, author Amid Amidi gives a comprehensive overview of the period that combines general information, details of the various studios on both coasts and notes on individual animators highlighting their contributions. Naturally UPA consumes a large chapter, but even that is broken up with many notes on the individual artists that contributed so greatly to that studio’s remarkable success.

Cartoon Modern is an easy read that is greatly aided by the presence of many stunning images from the time that continue to appear fresh today. Admittedly I could have said that I had an interest in 50s animation before this, but having read this book, I can safely say that my interest was shallow at best.

I now have a greater desire to learn about the period and Cartoon Modern has certainly played a part in that.

At 200 gorgeous pages, Cartoon Modern is essential to the bookcase of anyone with even a fledgling interest in animation.

Note: the images above are all from the excellent book review site, Parka Blogs unless noted. Click through to read his review.

I’m very excited to present this special review by talented Irish animator Nichola Kehoe of A Monster in Paris, which she recently saw in Ireland.

It’s 1910 and unlikely duo Emile and Raoul accidentally cause the creation of a giant flea monster in a lab outside Paris. The monster [...]]]>

I’m very excited to present this special review by talented Irish animator Nichola Kehoe of A Monster in Paris, which she recently saw in Ireland.

It’s 1910 and unlikely duo Emile and Raoul accidentally cause the creation of a giant flea monster in a lab outside Paris. The monster escapes the lab and it is up to our two heroes to find the monster and stop it from terrorising the city. Meanwhile, the beautiful singer Lucille befriends this misunderstood creature, who she names Franceour.

Franceour is passionate about music and a gifted guitarist who soon, performing in a disguise, impresses the patrons of Lucille’s club with his talent. Lucille tries to convince Emile and Raoul of Franceour’s gentle nature so they can all work together to protect him from the cruel politician, Victor, who wants to use Franceour’s capture as a publicity stunt to make himself look like a hero for saving the city.

For a children’s film the story, A Monster in Paris is quite complex. It starts off with Emile as the main hero but that quickly changes to Raoul, then Franceour, then back again. The story starts off charming and funny, with great little one-liners, but loses some of its charm in the confusion of characters. The end of the film is a little bit of a mess from a story point of view.

That said, it is a visually stunning film. The character design, the backgrounds, the lighting and the animation are all a pleasure to behold. The design of the city of Paris is unique and interesting, with lots of colour on ground level and very little colour in the higher parts. There is so much variety in the colour palettes and lighting that the film is never ever boring to look at. The music is fun and entertaining.

While there may have been too many main characters, each character did have their own clear personality which was really enjoyable. Emile is shy but brave, whereas Raoul is seemingly over-confident and vain. Even little things like Lucille constantly changing her outfit, add to the visual charm of the film. The character animation is stunning, and really on a level with any major studio. There is a great mix of fun animation and sombre moments. When the script started to falter, it was the animation that kept the movie captivating.

Overall A Monster In Paris is charming, fun and entertaining. It is definitely worth a trip to the big screen.

Produced [...]]]> If you haven’t seen any of them by now, you are really doing yourself a disservice. The Rauch Brothers (Mike and Tim) continue to impress with their short films as part of the Storycorps series that focus on personal and inspiring stories from around the United States.

Produced with the usual high standards they also have an incredible knack for creating animation that connects the viewer and character. Below is the latest one, but you really will want to check out all the past videos as well.

It’s pretty common these days for movie and television stars to voice characters [...]]]> Today, I’m pleased to feature a guest post by Sarah Stockton. Sarah is an Outreach Coordinator for Voices.com, a site connects businesses with professional voice talents where she enjoys helping potential voice talent find their start in the voice industry.

It’s pretty common these days for movie and television stars to voice characters in animated films. Movie studios even make this part of their promotions, and for good reason. Many people are more likely to want to see a film if one of their favorite stars like Tom Hanks or Angelina Jolie is performing a voice in it. You may also hear celebrities performing voice-overs in television and radio commercials, which is usually side work they take on because, to be frank, it requires little work and they get paid well to do it.

But some actors have moved from regular acting into voice acting on a regular basis. Sometimes an actor whose career in front of the camera may be waning can still find good work as a voice actor. In some cases, though, actors just find they have a knack for voice acting, and they enjoy it. Here are four actors whose characters and voices you may recognize, who got their start in front of the camera.

Julie Kavner

You may know Julie Kavner as the voice of Marge Simpson on The Simpsons. But because that show is completing its 23rd season in 2012, you may not know that Kavner had a thriving acting career before The Simpsons ever aired. After a few bit parts on television shows in the mid ’70s, Kavner landed the role of Brenda Morgenstern, sister to title character Rhoda, one of three spinoffs of The Mary Tyler Moore Show (Phyllis and Lou Grant being the other two). Kavner played Brenda through the entire run of the series, after which she went on to appear as a guest star in a handful of other shows.

She also landed roles in two Woody Allen films, Hannah and Her Sisters, and Radio Days. In 1987, she joined the cast of the sketch comedy vehicle, The Tracey Ullman Show. That show included quirky short cartoons about a yellow-skinned, bug-eyed family, for which Kavner voiced the mother. When Ullman’s show was canceled, the cartoons were developed into The Simpsons. The rest is history.

Cree Summer

After starting her career as a voice actor, Cree Summer gained recognition as a traditional actor with a role in the highly successful and popular A Different World in the late ’80s. The show had success built in, being a spin-off of The Cosby Show, and starring Lisa Bonet. Even after Bonet left the show, after just the first season, A Different World continued for five more seasons, making many of the actors household names, including Summer.

After that show ended, she took on a few other acting roles in shows such as Living Single and The Fresh Prince of Bel Air. But then in 1994, she returned to voice acting, and hasn’t looked back since. Summer’s pliable voice has allowed her to win parts in dozens of cartoon series such as Tiny Toon Adventures, The Wild Thornberrys, Rugrats, and Batman Beyond. She remains an active and sought after voice actor.

Bill Fagerbakke

This isn’t a name that’s easy to forget, if you ever knew it in the first place. Before embarking on his voice acting career, Bill Fagerbakke took on roles in a couple of made-for-TV movies, a few TV shows, and had a small part in the Michael J. Fox hit movie The Secret of My Success. He hit the big time when he landed a regular role on the popular sitcom Coach, playing dumb but lovable Dauber Dybinski.

When the show finally went off the air after nine successful seasons, Fagerbakke began alternating between traditional acting roles on TV and in movies, and some cartoon voice-overs, including the role he’s become best known for, dumb but lovable Patrick Star on the hit show Spongebob Squarepants. Fagerbakke has now played Patrick for ten seasons, and the show is still going strong. He’s continued to take traditional acting roles here and there, but made a memorable return to television in 2005 as Marshall’s dad on the popular sitcom, How I Met Your Mother. Sadly, his character was killed off on that show, but you can still enjoy his acting talents as Spongebob’s sidekick.

Mark Hamill

Yes, that Mark Hamill. Before he was, is, and forever will be Luke Skywalker, Mark Hamill dipped his toe into voice acting with a couple of stints on Scooby Doo and Flintstones cartoons, all while taking on traditional acting roles. Then came the Star Wars explosion, but as popular as those movies were, Hamill’s acting career never quite took off the way Harrison Ford’s did. He continued to act steadily, both in traditional and animated voice roles. He even did a voice for a video game. Then another. Then a few more, until now when he is a much sought after video game voice actor.

But he didn’t stop there. Hamill has also created a niche for himself in superhero cartoons. He’s done voices in Spider-Man and Superman cartoons, but the one voice for which he’s best known in comic book circles is that of the Joker in the animated series Batman, Batman Beyond, Superman, Justice League, and a few other spinoffs and specials. In fact, he’s such a fantastic Joker he’s gone on to play the role in several Batman and other superhero video games, bringing both his voice acting pursuits together in one endeavor. If you’ve never heard Mark Hamill’s Joker, you’re not only missing out, but will be astounded that the guy who played hero Jedi Luke Skywalker can sound so convincingly maniacal.

These are just four of the many celebrities and traditional actors who have either abandoned their lives in front of the camera for lives in front of a microphone, or have successfully combined both to create lucrative and high profile careers. Next time you watch a cartoon with your kids—or without—listen closely to the voices. You may be surprised by whom you recognize.

It’s that time of the year yet again, when New York City hosts their International Children’s Film Festival, a fantastic event that brings a decent amount of otherwise obscure animation to the big screen on American shores.

This year’s lineup is quite impressive with the US [...]]]>

It’s that time of the year yet again, when New York City hosts their International Children’s Film Festival, a fantastic event that brings a decent amount of otherwise obscure animation to the big screen on American shores.

This year’s lineup is quite impressive with the US premiere of A Monster In Paris and a sneak peek at Aardman’s latest, The Pirates!Besides that, there is the usual mix of live-action and animation from around the world, including an impressive shorts schedule. As an added bonus, they will also be screening the Beatle’s Yellow Submarine!

The festival runs from the 2nd to the 25th of March on the weekends, so you really don’t have many excuses for not making it to at least something.

Tickets, showtimes and locations, can all be found on their website.

If you’re ever wanted to feast your eyes on some [...]]]> I found the Bad Rave Flyers blog through a comment on Reddit, and although it would be something more suited to typography students, after just a few pages, I noticed it contained its fair share of animation-related stuff as well.

If you’re ever wanted to feast your eyes on some truly horrific crimes against graphic design and copyright infringement, look no further!

Back at the Barnyard

The Nightmare Before Christmas

The End of Evangelion

Unknown anime

The Care Bears

Ikki Tausen

Aladdin

Chuckie Finster is the most instantly recognizable character from the original Rugrats. Wild, untamed red hair, glasses and a distinct, congested nasal voice single him out amongst the others. However it is much more than looks that sets Chuckie apart.

On a character level, he is also the most [...]]]>

Chuckie Finster is the most instantly recognizable character from the original Rugrats. Wild, untamed red hair, glasses and a distinct, congested nasal voice single him out amongst the others. However it is much more than looks that sets Chuckie apart.

On a character level, he is also the most nervous, the most risk-averse and the most timid; traits that Angelica is only too eager to exploit throughout the series.

Chuckie is a complex character in the greatest sense. In other words, we don’t really know why he is the way he is, he just is. That’s what makes hims rather likeable, he comes across as quite a “real” character.

While the nature of the Rugrats’ adventures isn’t overly complex (it is a kid’s show afterall), Chuckie is almost always present to provide the necessary depth and voice of reason. Although this could easily be written off as the unnecessary inclusion of a timid character, the show does utilise the fact quite often; with many storylines involving Chuckie overcoming one of his many fears or succeeding despite his doubts.

Don’t forget to By way of Debbie Staab, the French website Fubiz, which focuses on design matters, has decided to hold some awards this year. Surpurise surprise, there’s an animated category. There are 8 films in the running altogether and here’s a quick flavour of what’s on offer.

Don’t forget to check out the website to see the others.

The other week, Cartoon Brew featured a post about a competition then being held over at online clothing site, Threadless. The gist of it is that people were asked to submit their design [...]]]> Via: Threadless

The other week, Cartoon Brew featured a post about a competition then being held over at online clothing site, Threadless. The gist of it is that people were asked to submit their design for a new Donald Duck T-shirt with the winners having their design made into an actual article of fashion.

This is a great idea, but there seems to have been little discussion about the significance of such a competition. Beyond simply crowdsourcing a design.

Professional designers may decry the blatant use of free labour in order to obtain a design but that is overlooking the many benefits there are to be gained by both sides.

First of all, it’s proof that Donald still has many, many fans, and that they’re willing to use their talents for his benefit. Through 12 pages of designs, there are a few bad apples, but the vast majority are something that I would love to wear (see the three examples, this post)

Secondly, the official sanction from Disney is good in that the winner is (or rather ought to be) guaranteed a fair deal for their work. OK, so it’s not like they were commissioned in the traditional way, but the winner should be adequately compensated for their work. While everyone else is out of luck, they at least have used an opportunity to stretch their skills and can still use their design in another place.

Via: ThreadlessHow many times do we see smaller (or even larger) studios encouraging and cajoling us into buying merchandise that they think we, as fans, want? Why not let use tell them what we want and let them sell it to us? (It’s a bit crazy I know, but right now that’s essentially what Hollywood does with its films).

Competitions like the Threadless one build good relationships between the studio and the fans by giving them a hand in the game and making them feel as if they are valued; a tactic that Adventure Time has done since it’s beginning to great success.

While care must naturally be taken, there is no reason why studios can’t interact more with their fans in this way, especially since the rise and ubiquitous use of the internet has broken down so many barriers to communication.

Fans have and will continue to be, the lifeblood of studios large and small, and the sooner we see closer collaboration between the two, the quicker both sides stand to benefit.

I'm sorry, but I find this one simply hilarious.

Via: Threadless

What’s the most interesting thing about this graph? Why it’s the slump in the teenage years of course!

What’s really interesting though, is [...]]]> The impetus for this post is this chart, which I found over on 9Gag the other day (just for a few minutes as I needed a quick wind-down from work!).

What’s the most interesting thing about this graph? Why it’s the slump in the teenage years of course!

What’s really interesting though, is that as far as the studios are concerned, once someone goes over that cliff at the age of 12-13, they never come back. The truth is a bit different though, and it’s perhaps something that studios could do better to market.

We’ve seen the likes of some Nicktoons getting onto DVD/Netflix, but Disney and Cartoon Network are hopelessly behind. We’ve got the PowerPuff Girls and a few single discers from the latter and nothing at all from the former (where’s Kim Possible?).

Some marketer somewhere should be able to come up with the ideal formula for when to re-release older cartoons and cash in on the nostalgia kick.

Much debate has taken place over the last few days in regards to the current status as future of Joe Murray’s Kaboing TV project. The site’s apparent failures include:

So it was quite amusing as I stumbled across this video. Created by Japanese animation studio Gainax, for a Japanese comic convention, DAICON IV, and blending a whole host of eastern and western [...]]]> Mashups are often seen as being the internet generation’s creation, but the fact is, the concept has been around forever.

So it was quite amusing as I stumbled across this video. Created by Japanese animation studio Gainax, for a Japanese comic convention, DAICON IV, and blending a whole host of eastern and western influences (including ELO) into 5 minutes of animation.