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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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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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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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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… |
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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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2021 Quick Review Recaps
…that will allow the two secret merman to buy a Vespa and explore the rest of the above-water world. The story is sweet and fun, and the conflicts are not… |
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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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To Infinity And Beyond with Lightyear Production Designer Tim Evatt
…draw for a film. And I was doing it the Pixar style ways. I mean, they go to a location and research with photos, and then they put all these… |
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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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Ratatouille: The Adventure at Disneyland Paris: Pixar Creative Director Roger Gould talks about an “animated” attraction
…when you’re coming to the load area, you find yourself on the rooftops of Paris, and there are giant rooftops, and giant chimneys, and giant windows and balconies, and you… |
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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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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
…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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A Duet with Glen Keane
…and then Patrick used the rig and model that we had designed and stretched it and pushed it so it’d fit the drawing. Then I went back in on top… |
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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… |
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The Puppetoon Movie Volume 3
…with just the Puppetoons in chronological order, and kept the hand-drawn ones to the bonus features; but as each film is individually selectable, the viewer can watch them in whatever… |
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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… |
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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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“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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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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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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Revolving around Revolting Rhymes with directors Jakob Schuh and Jan Lachauer
…as well take a little tour. Some of the marionettes and hand-puppets in that collection, their simple shapes and their carved and painted surfaces, and – just as importantly –… |
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Showrunner Rob David and Co-Executive Producer Jeff Matsuda on He-Man
…toys and having them play with them, but also about giving them their toys – and hopefully they’ll let us play with them, too! Rob David and Melanie Shannon’s He-Man… |
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Disney Historian Christian Renaut on The Best Of Disney’s Animated Features
…Ollie, Glen Keane, and this time Andreas Deja for my books. My expectations are that readers feel they are inside the Studio and realize the amount of work that was… |
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Pixar Production Designer Harley Jessup “remembers” Coco
…the Land of the Dead. The Land of the Living is very flat and based in realism, but always with a touch of caricature, while the world of the dead… |
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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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Composer Dan Romer dives into the music of Luca and Ciao Alberto
…of covid, we weren’t able to record the whole orchestra at once. We recorded the strings, and then the brass, then the woodwinds, and then we did the percussion. Then… |
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Nimona‘s production designer Aidan Sugano: creating a future medieval world
…then translate them into this big, cinematic 3D universe – one that obviously had to perform and emote. And the biggest expression of these, and reflection of our theme, was… |
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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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Production Designer Bill Cone feels at “Eze” in the world of Cars 3
…craft. On every film, we get to try out ideas and see them to their birth. Then they go into the film, and then the film is done. Each time,… |
