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Composer Philip Klein on Wish Dragon
…The same with the bad guys, the bad goons as they are referred to. They kind of chase Din throughout the movie, and they’re very modern, they look like they’re… |
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Dave Metzger’s Wish Comes True…
…the instruments mixed in there was a dulcitone, which is the instrument I ended up using for the globes, the wishes themselves. That was the instrument I continually used as… |
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Didier Ghez’s They Drew As They Pleased series goes full circle
In 2015, historian Didier Ghez authored They Drew As They Pleased Volume 1: The Hidden Art Of Disney’s Golden Age, focusing on the studio’s first decade in the 1930s. It… |
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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… |
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“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… |
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Production Designer Carlos Zaragoza puts a smile on The Emoji Movie
…CZ: The stories of the main characters, Gene (the emoji) and Alex (the human), run in parallel. They are influencing each other and at the same time they belong to… |
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Pixar’s Paul Abadilla, Sets Art Director on Soul
…also reflected the way that the souls, when they exit, have their nose up in the air. So, just for clarity sake, there were certain ones that we wanted to… |
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Pixar production designer Don Shank in his element with Elemental
…They really fit the world. You’re not aware how unrealistic it is just to make it feel like they all belong together. It seems normal, because we’re giving all the… |
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Ratatouille: The Adventure at Disneyland Paris: Pixar Creative Director Roger Gould talks about an “animated” attraction
…by which the attraction is inspired is actually Disney•Pixar’s most Français movie of all time. It is also the studio’s fourth film to inspire an attraction experience in the Walt… |
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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… |
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Twenty Questions with the AV Staff
…its unbeaten virtuosity; later Peter Pan for its heart and entertainment value, One Hundred And One Dalmatians (not 101!) for its jump to modernism, and Aladdin from the Renaissance era…. |
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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… |
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Revolving around Revolting Rhymes with directors Jakob Schuh and Jan Lachauer
…you said, the two main teams were located in Berlin and in Cape Town. The authors of the source material – Dahl and illustrator Quentin Blake – are very much… |
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Glen Keane’s Over the Moon: Meet Fei-Fei and her creators
…its headquarters in Shanghai, China, at the invitation of Producer Peilin Chou, and it was during this inaugural gathering that one of its attendees, Executive Producer Janet Yang (The Joy… |
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A Duet with Glen Keane
…that, in animation, there’s the idea or the story first, and then is created the technology to turn it into reality. Here, with Duet, it seems that it was technology… |
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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… |
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“With a smile and a song” with music historian James Bohn
…films. The book includes research done at the Walt Disney Archives as well as materials gathered from numerous other facilities. In his research of the Studios’ notable composers, Bohn includes… |
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Pixar Production Designer Harley Jessup “remembers” Coco
…film. It was really useful. It was inspired by the colors we saw in Mexico, especially in the textiles and the embroidery, but even in the colors that we would… |
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Production Designer Rona Liu on Turning Red
…I feel like that came into play in kind of different moments in the film. So, I think the baseline of our interest is very much in line, and then… |
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To Infinity And Beyond with Lightyear Production Designer Tim Evatt
…when creating the character for Toy Story (1995). And it’s in the same spirit that director Angus McLane envisioned – 21 years later – Lightyear, the movie that inspired Andy… |
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Pixar Character Art Director Deanna Marsigliese plunges into the art of Luca
Is Luca the freshest Pixar film in years? If so, it’s partially due to its unique characters. Discover how they come into being in our exclusive interview!… |
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Robert Kondo & Dice Tsutsumi talk about “rising” Moom
…industry and blend it with the sensibilities of the Japanese animation industry. Understanding how we connect to the emotional core of the story drives our telling of the story including… |
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Animation visionary Glen Keane talks about Nephtali
…just can’t see it, but I know it’s there. You put on the goggles and suddenly there it is! It’s almost like The Lion, The Witch And The Wardrobe. You… |
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An interview with author Emily Zemler on Disney Princess: Beyond The Tiara
…reality of the time. It’s not a judgement of the time; it’s the truth of the time. And it’s why we see Snow White cleaning the house so beautifully and… |
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The Legend of Vox Machina
…the look of the characters to move gracefully in animation while managing to maintain much of the features fans have adored over the years. Applying the same approach to the… |
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Around the world with Mila: Producer Andrea Emmes
…it and invite you to share that incredible adventure from the most recent release of the trailer to the release of the very film (and, who knows, maybe to the… |
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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… |
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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… |
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Arcane
…evoke the precise emotion of the scene and the viewer is able to feel it. To call the animation beautiful would be an understatement. It’s actually hard to describe in… |
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Disney Historian Christian Renaut on The Best Of Disney’s Animated Features
…there almost as long as I wanted! As I explain in my introduction, it was a time of transition between the so-called Morgue and the Animation Research Library. It means… |
