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Disney historian Didier Ghez takes us for a “Grand Tour” with Walt

…helped tremendously. One of them is the autobiography of the Disney concept artist, Mel Shaw, who was active at the Studio in the 1930s and then again in the 1970s…

“It’s been Dave Metzger all along” – the art of arranging WandaVision theme songs

…And then there’s “We Got Something Cooking”, the theme song for the third episode. DM: To me, it was always The Partridge Family, and also The Brady Bunch. It’s a…

Production Designer Carlos Zaragoza puts a smile on The Emoji Movie

…but we wanted them to be appealing and relatable to the audience. AV: The film takes places in two worlds: the “real” one and the one within the Smartphone. They’re…

Pixar’s Paul Abadilla, Sets Art Director on Soul

…time I wanted to honor and carry through on the vision that the Director and the Production Designer had. Because they are the ones that are leading the visual language…

The Puppetoon Movie Volume 3

the lead of the menus, oddly listing all films as “Puppetoons”, even the hand-drawn ones. A glance near the bottom of the back cover shows numerous logos, showing how many…

A kind interview with the creators of The Boy, The Mole, The Fox And The Horse

…private collections, galleries, and public spaces around the world. His internationally bestselling book, The Boy, The Mole, The Fox And The Horse, was published in October 2019 and holds the

Didier Ghez’s They Drew As They Pleased series goes full circle

…have been able to tell this story, in depth and the way I wanted to tell it from the start: through the testimonies of the artists themselves and of the

Pixar production designer Don Shank in his element with Elemental

…Fire characters. The rest of the city has dedicated districts for Water, Air and Earth—though since those elements have been there for generations, the areas are more diversified. Since the

Ratatouille: The Adventure at Disneyland Paris: Pixar Creative Director Roger Gould talks about an “animated” attraction

the interior but also on the exterior of the attraction as we were trying to capture the caricatured feeling of Paris that they had created for the film that Harley…

Composer Germaine Franco on her enchanting score for Encanto

…to her. It’s very simple, in 3/4. And then, when the brothers and sisters are getting their magic, it starts to expand and becomes the Encanto theme, the overall theme…

Twenty Questions with the AV Staff

the moment Superman dons the costume and flies towards the camera for the first time! BEN: The Rescuers, at the Studio 70 cinema, opposite Elstree Studios, in 1977, while my…

A Duet with Glen Keane

the Production Designer for the show, and I told him how I was feeling; and he said, “Well, Dad, when was the last time you just animated just for the

The Croods: A New Age

…what they did in the first one. And the filmmakers know there isn’t much story in all this, because they resort to papering over the cracks with the barrage of…

Revolving around Revolting Rhymes with directors Jakob Schuh and Jan Lachauer

…by a different, hopefully able, artist. AV: How did you create the visual style of the film? JS&JL: There’s two worlds in that film, with slightly different design approaches. The

To Infinity And Beyond with Lightyear Production Designer Tim Evatt

…talk about what are the stakes in the ground of the visual of the film, and how do you tie together some of these moments. I used blue with relation…

Robert Kondo & Dice Tsutsumi talk about “rising” Moom

the heart, and a wonder for the eye. With the most up-to-date medium, Robert Kondo and Dice Tsutsumi prove once more their mastery and genius, through their love for the

“With a smile and a song” with music historian James Bohn

…Silly Symphonies. How’s that? How influential were they to the features? JB: Studying Steamboat Willie through the early Mickeys, and into the Silly Symphonies, one can follow the growing importance…

Animation visionary Glen Keane talks about Nephtali

…started to study ballet, I realized that’s exactly what they’re doing. I mean, they’re constantly moving, but they hit these Golden Poses as the ballerina leaps in the air and…

Glen Keane’s Over the Moon: Meet Fei-Fei and her creators

…very important in the development of the film, and not only for the notes themselves. The album cover for Pink Floyd’s The Dark Side of the Moon was among the

An interview with author Emily Zemler on Disney Princess: Beyond The Tiara

…happening in culture that impacted how they were created? And then how did they impact the culture in which we live? That’s the difference. Other books were maybe looking at…

Disney historian Didier Ghez reveals the hidden art of Disney’s late golden age

the animated features. The first one helped the animators better visualize the characters in three dimensions and therefore portray them and animate them more realistically. The second one tried to…

Pixar Production Designer Harley Jessup “remembers” Coco

…– when the world is a true reflection of the people. AV: How do you see the differences between the world of the living and the world of the dead?…

Pixar Character Art Director Deanna Marsigliese plunges into the art of Luca

the modeler massaging the character, me with my drawings, then with the computer. And you’re building the character together. And then, the animators come in. AV: Indeed, on Luca, you…

Production Designer Rona Liu on Turning Red

…and we couldn’t have made the characters without the environment. Constantly, we had to move them at the same pace so that we could keep comparing them in terms of…

The Legend of Vox Machina

…Master serves as a guide and the players roll dice to determine how affective their actions are with the results impacting how the story goes. Thus the success of Critical…

Star Trek – Lower Decks: Season 1

the ensigns of the lower decks, the ones who actually make the ship run, the ones who do all the menial but vitally important stuff, similar to the ship they…

Disney Historian Christian Renaut on The Best Of Disney’s Animated Features

the concept of your book and how did you come to it? CR: The point is above all to decipher and analyze the making of a selected list of those…

Around the world with Mila: Producer Andrea Emmes

the status of shots, assets, etc. any time that works for them and be able to adjust on the fly, have the supervisors update their tabs for their departments so…

Showrunner Rob David and Co-Executive Producer Jeff Matsuda on He-Man

…be their He-Man, their Masters Of The Universe, that speak to their world. Our aim was to be absolutely true to the spirit and intention of the original, to the

Welcome…to Moana orchestrator and song arranger Dave Metzger!

…is a famous studio guitar player, and then I did the mock-up for the orchestra. And then, two years later, we went in to record the song with live musicians….