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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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The Puppetoon Movie Volume 3
…on a dual-layer disc has certainly allowed them proper room, and the mastering has them looking totally authentic to the film sources. Scratch Tracks: The mono tracks sound generally quite… |
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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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New TV trailer for Alice Through the Looking Glass
A new extended TV spot for Alice Through the Looking Glass was shown last night on ABC during the Disneyland 60th Anniversary Special, and you can now view it online… |
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New Alice Through the Looking Glass TV spot
A new TV spot for Alice Through the Looking Glass has just landed online. The sequel to the Tim Burton mega-blockbuster opens this Memorial Day…. |
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Watch the new trailer for Alice Through the Looking Glass
The full trailer for Alice Through the Looking Glass is now online for your viewing pleasure. The anticipated sequel opens everywhere this Memorial Day…. |
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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
…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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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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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 production designer Don Shank in his element with Elemental
…Fire characters. The rest of the city has dedicated districts for Water, Air and Earth—though since those elements have been there for generations, the areas are more diversified. Since the… |
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Ratatouille: The Adventure at Disneyland Paris: Pixar Creative Director Roger Gould talks about an “animated” attraction
…the interior but also on the exterior of the attraction as we were trying to capture the caricatured feeling of Paris that they had created for the film that Harley… |
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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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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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“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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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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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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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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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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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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Pixar Production Designer Harley Jessup “remembers” Coco
…really the most important thing that we did. We kinda shadowed them from morning to night throughout the holiday, first as they were decorating their home for the holiday creating… |
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Pixar Character Art Director Deanna Marsigliese plunges into the art of Luca
…When I was looking at sea monsters throughout history, they were always used decoratively, again in the mosaics, the fountains, the frescos. So, when I was designing the sea monsters,… |
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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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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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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… |
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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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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… |
