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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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Didier Ghez’s They Drew As They Pleased series goes full circle
…of the highlights was the fact that I had the opportunity to select artwork to illustrate the chapter about Mike Gabriel in the presence of Mike Gabriel himself. He was… |
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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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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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Disney historian Didier Ghez takes us for a “Grand Tour” with Walt
…in which access to online archives proved to be a game-changer: from the Open Library, to Gallica.bnf.fr, to the online archives of the Daily Mirror and The New York Times…. |
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Pixar’s Paul Abadilla, Sets Art Director on Soul
…distracting with all these details put together, and 2 – there were versions where we tried architectural-type designs, but they didn’t feel too soul world-like. It was too specific to… |
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A kind interview with the creators of The Boy, The Mole, The Fox And The Horse
…like people to feel after watching The Boy, The Mole, The Fox and the Horse? CM: I hope they’ll feel better. Or more hopeful. Or lighter. I hope they’ll feel…… |
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Pixar production designer Don Shank in his element with Elemental
…to the audience. We didn’t want to say that elements were separate; we wanted to say that Element City was a place where elements could live together. That was the… |
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Ratatouille: The Adventure at Disneyland Paris: Pixar Creative Director Roger Gould talks about an “animated” attraction
…was an absolutely wonderful and immersive way to bring you into the world of Toy Story and Tom was thinking about how to keep going, to keep enhancing, bringing more… |
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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
…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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The Croods: A New Age
…Of The Croods is more of the same style but focuses more on the approach to the sequel and how director Crawford didn’t want to particularly go the traditional sequel… |
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Revolving around Revolting Rhymes with directors Jakob Schuh and Jan Lachauer
…(Room On The Broom), co-directed by Bin Han To and produced by Magic Light Pictures’ Martin Pope and Michael Rose (The Gruffalo, Room On The Broom, Chico And Rita). The… |
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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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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
…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… |
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Pixar Production Designer Harley Jessup “remembers” Coco
…was spectacular! Then we went to Oaxaca, to the cemeteries there. Then we visited a farm family near a town called Hierve el Agua. The visits with the families were… |
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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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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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Robert Kondo & Dice Tsutsumi talk about “rising” Moom
…story reel representative of the story we wanted to tell. Zach and Matteo are filmmakers themselves, their music for the film inspires the way we tell our story. Often, the… |
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Animation visionary Glen Keane talks about Nephtali
…asking me to come into their world and be me. They didn’t care to tell me what to do. They just wanted me to push myself creatively. They would benefit… |
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Pixar Character Art Director Deanna Marsigliese plunges into the art of Luca
…to draw over the shots, if needed, to bring the characters on model, to make sure that they look their best and that they are the most appealing. I strengthen… |
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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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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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Production Designer Rona Liu on Turning Red
…but let’s go for believability.’ It needs to feel like Toronto, it needs to feel like a human character, it needs to feel like four friends. We need to make… |
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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
…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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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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Welcome…to Moana orchestrator and song arranger Dave Metzger!
…to Warner Bros. and recorded some ethnic percussion. Mark then took some audio files from this recording session and fit them into the song. So the answer to our question… |
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Disney Historian Christian Renaut on The Best Of Disney’s Animated Features
…to turn Walt into Satan and the Studio into Hell. They resorted to laid off artists, frustrated ones, to draw quick conclusions that responded to their wishes with mountains of… |
