|
Composer Philip Klein on Wish Dragon
…on their own. AV: The choice of the “pipa god” as one of the main characters shows the importance of music in the movie. PK: He was in the script… |
|
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… |
|
“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… |
|
Disney historian Didier Ghez takes us for a “Grand Tour” with Walt
…the French Disney subsidiary in the tremendously bureaucratic Archives Of Paris, I was able for the first time to establish the date of the foundation of the Disney office in… |
|
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… |
|
Pixar’s Paul Abadilla, Sets Art Director on Soul
…with the exception of a few of them, like the Aloof Pavilion. We made it feel like a nose pointing up in the air, because that shape language kind of… |
|
A kind interview with the creators of The Boy, The Mole, The Fox And The Horse
…Animation Director for C4’s Emmy award-winning The Tiger Who Came For Tea. After directing The Boy, The Mole, The Fox And The Horse, he’s now in the early stages of… |
|
Ratatouille: The Adventure at Disneyland Paris: Pixar Creative Director Roger Gould talks about an “animated” attraction
…original creators of the film? RG: Brad Bird, the director of the film, and John Lasseter came and we brainstormed the storyboard with them because of course Brad created this… |
|
Pixar production designer Don Shank in his element with Elemental
…resource-wise, Fire Town got most of our time because most of the film would take place there. These are the type of things I just love. I grew up watching… |
|
Twenty Questions with the AV Staff
…of CG, from the cartooniness of the Cloudy films to the quasi-tradigital look of Mitchells and the Spider-Verses. The films haven’t always been the strongest, but I suppose Sony is… |
|
Composer Germaine Franco on her enchanting score for Encanto
…of the casita. It’s not necessarily tied to the house, but it’s kind of the magic of the house. I varied this theme in many different ways. For example, when… |
|
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
…side, where all design work, storyboarding, editing, most of the modeling, a lot of the key shading and rigging, and about 50% of the animation was done. The other half… |
|
A Duet with Glen Keane
…an inspired duet. The unique, interactive nature of the story allows the viewer to seamlessly follow the journey of either of the two characters from birth to adulthood. We were… |
|
Disney historian Didier Ghez reveals the hidden art of Disney’s late golden age
…models, the artists in this division forged a new path. In the third volume of the critically acclaimed and groundbreaking series They Drew As They Pleased: The Hidden Art Of… |
|
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… |
|
“With a smile and a song” with music historian James Bohn
…wrote of the Disney composers of the time are some of the most detailed ever published. Can you tell me about how you worked on them? What was the most… |
|
The Legend of Vox Machina
…crowdfunding campaigns, that dream has come to fruition with The Legend of Vox Machina. The Legend of Vox Machina is a retelling of the adventuring party from the first campaign… |
|
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?… |
|
To Infinity And Beyond with Lightyear Production Designer Tim Evatt
…we had to rely on color of hair or positions of the bodies. The growth of the population of the base was a way to measure that progress, and then… |
|
Animation visionary Glen Keane talks about Nephtali
…the side, and suddenly the line that I drew turned in perfect perspective and then I could draw the dancer in profile. I realized this was the fulfilment of the… |
|
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… |
|
Pixar Character Art Director Deanna Marsigliese plunges into the art of Luca
…with him. I would say the most challenging part of Luca’s design was finding the balance of the features and the shapes. There’s a lot of nuance with him as… |
|
An interview with author Emily Zemler on Disney Princess: Beyond The Tiara
…been true of all of them: they all do embrace their own narrative. Moana or Tiana are really putting themselves out there and taking charge of their destiny. They’re not… |
|
Production Designer Rona Liu on Turning Red
…was still believable, and didn’t look like a toy and a miniature stadium making the audience start to question the look, and taking them out of the emotion of the… |
|
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… |
|
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… |
|
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!
…One gathered by Opetaia, made of family and friends. We recorded in Los Angeles at the end of the process. The other one was the Pacifika Voices. We recorded them… |
|
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… |
