Franny is an independent, seemingly confident woman with neurotic anxieties that manifest themselves as Gremlin Girl. The webseries by Emily Rifkin and Rebecca Warm is a humourous look at the personification of anxieties and they were kind enough to answer some questions I had about their endeavour.Continue reading “Getting a Grip on Anxiety with Gremlin Girl”
I’m proud to present my animated short, Space Base 8.
This post gives a bit of background on it and how it came to be.
There was a time I was genuinely excited for each new release from major studios and TV networks. Not any more.
Time for my favourite post of the year: the one where I decipher which comics I discovered at the Small Press Expo (SPX) that are worthy of getting animated adaptation 🙂
Everyone can create, but should everyone create? Plenty of great ideas never get off the drawing board, and seemingly terrible ones manage to make it all the way to YouTube. Everybody is different of course, but before they even start creating, here’s six questions every creator needs to ask of themselves.
Yesterday, I was treated to a screening of an independent animated feature film called The Stressful Adventures of Boxhead and Roundhead. Written, directed and animated almost single-handedly by Australian Elliot Cowan, it’s a film that I’m still mulling over in my head the next day; a good sign if ever there was one. I’m not going to comment on the film itself just jet, however, the entire project has prompted some questions of my own on independent animated films in general and especially those done by one man bands or very small studios.
- If Elliot can make a feature, why do so many others either fail or never try?
- Is perseverance the key to finishing an animated feature?
- What’s the general gameplan for what happens after the film is made if there even is one?
- What’s the ‘secret sauce’ to making related merchandise that sells?
- Why is financing so ridiculously complicated, and costly for even small budget films?
- Have characters in general become too complex in animated features?
- Should independent films even worry about targeting an audience?
- Are traditional promotional/marketing channels already dead or merely dying?
- Why are international sales such a formidable barrier in the age of the internet?
- Are 35mm prints dead for technological or cost reasons?
Although the recent Cartoon Network upfront presentation (they still have those?) didn’t reveal any major surprises as far as programming goes. Two new concepts and surfaced. The first is that the network is now ‘Always On’ but given the previous iteration of the idea, my money is that you have to be a cable or satellite subscriber to access. Boo. The second is a bit more interesting and is another attempt by an established network to figure out the teen mindset.
The Simpsons continues to have a massive presence in almost all areas of pop culture despite being 25 years old and having to work a little harder than in the past. One of the latest efforts involves London soccer club Chelsea and is a real head-scratcher.
Around this time last year, I wrote a post about the possibilities that Bitcoin offered as far as animation goes. It’s an introductory post more than anything else, but now that it’s a year later and Bitcoin is very much in the news, it’s a good opportunity to bring it up again.
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Disney’s Frozen has generated a lot of debate but specifically on the topic of whether it is a feminist film or not, the answer is a bit more elusive. On the one side, are people who claim that it is thanks to dual female protagonists, a positive message, and a muted romantic theme compared to other Disney films. On the other side, there are claims that the film is merely masquerading as a feminist film and in reality continues to undermine the feminist ideal through subtle and not-so-subtle marketing. Which side is correct? You can make up your own mind with these sixteen articles published in recent months that discuss the film.
The Secret of Kells is a fantastic film and easily one of the best made in recent times. It’s highly original, dripping with beautiful animation and stands up to countless rewatching. On the surface, it appears to be the perfect animate feature, so why has it been so hard for it to find the same kind of commercial success that say, Frozen can (outside of the obvious reason of throwing hundreds of millions at it)? I call it the Kells Conundrum and it’s a concept we’re going to discuss today.