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Ratatouille: The Adventure at Disneyland Paris: Pixar Creative Director Roger Gould talks about an “animated” attraction
…artists love the theme parks and wish they could be designing parks, and Imagineers love the movies and wish they could make movies. So we all love working together. This… |
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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…
…I reintroduce it. There are other examples throughout the film. And as far as my own themes for the score, there’s The Kingdom Of Rosas, which is the theme at… |
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Pixar production designer Don Shank in his element with Elemental
…like two beginnings on the movie. The first one was six years ago, when the director was just developing the movie – it was even before Luca. He brought me… |
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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… |
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“It’s been Dave Metzger all along” – the art of arranging WandaVision theme songs
…they sang in their demo. For the recording, we appealed to other singers, but as they’re used to singing in most of their movies, they blended in with these singers… |
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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… |
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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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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… |
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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… |
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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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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
…the simple logic of those old puppet theatre stages, the flat set elements with their volumes just painted-on, all that became a big influence when we started imagining the look… |
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To Infinity And Beyond with Lightyear Production Designer Tim Evatt
…to beg for the space ranger toy that would change the lives of Woody and the other toys of the boy’s bedroom forever! Both a sci-fi action-adventure and the definitive… |
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A Duet with Glen Keane
…was animated first, then CG, and then they used hand-drawn lines around the edges to give Paperman that look. But, to me, the ultimate goal is to have the computer… |
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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… |
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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
…The Studios built on the expertise they gained with the Mickeys and Silly Symphonies when they started work on Snow White And The Seven Dwarfs. When you consider the importance… |
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Pixar Production Designer Harley Jessup “remembers” Coco
…the ofrendas, really elaborate altars in their living room, honoring their ancestors, and then to the cemeteries during the day where there was literally all generations working together, usually led… |
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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… |
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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… |
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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… |
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An interview with author Emily Zemler on Disney Princess: Beyond The Tiara
…curious and wanting to go out into the world and find themselves, and then you go do that. That’s really important to them. The way they’re presenting the Disney Princess… |
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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… |
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Welcome…to Moana orchestrator and song arranger Dave Metzger!
…the massive Disney hit Frozen. The movie won the Academy Award for best Animated Feature Film, and the song “Let It Go” (performed by Idina Menzel) won for Best Song…. |
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The Legend of Vox Machina
…heartbreaking backstory plays through the majority of the first season, though some of the others manage to receive enough of the spotlight for them to flourish with their own personal… |
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Pinocchio In Outer Space
…appreciate this next feature the most. In the film, the movie’s opening credits run over a sequence showing the shelves in Geppetto’s workshop. The Little Toy Shop Sequence Without Credits… |
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Director Mike Rianda on The Mitchells vs. The Machines
…who worked on the movie, and they all brought their own experiences into the movie. And I wanted to reflect that in the end credits. It isn’t just a movie… |
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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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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… |
