|
2021 Quick Review Recaps
…too heavy or emotional. One of my favorite sources of friction in the film is the triangle between the three young leads. The story takes place in that innocent time… |
|
Dave Metzger’s Wish Comes True…
…the instruments mixed in there was a dulcitone, which is the instrument I ended up using for the globes, the wishes themselves. That was the instrument I continually used as… |
|
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… |
|
“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… |
|
Didier Ghez’s They Drew As They Pleased series goes full circle
…intense when the story is being invented, and when the characters and locales are being designed. So, the closer you get to the designers and the story artists – in… |
|
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… |
|
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… |
|
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… |
|
Pixar’s Paul Abadilla, Sets Art Director on Soul
…involved in the film in the beginning, as an individual contributor. I wasn’t a lead yet on the film. Then I became Sets Art Director. AV: How did you contribute… |
|
Pixar production designer Don Shank in his element with Elemental
…of the box’, ‘blue sky,’ and we loved this inspiration of paper sculptures because the focus was on the form and the way the light and shadow would work across… |
|
Ratatouille: The Adventure at Disneyland Paris: Pixar Creative Director Roger Gould talks about an “animated” attraction
…doing in these kind of immersive lands is plunging the guests fully into the worlds of these films, and so, taking inspiration from these movies, to do what we all… |
|
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… |
|
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… |
|
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
…you said, the two main teams were located in Berlin and in Cape Town. The authors of the source material – Dahl and illustrator Quentin Blake – are very much… |
|
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
…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… |
|
“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… |
|
Pixar Production Designer Harley Jessup “remembers” Coco
…of music in the film, so we tried to be accurate, like in the choice of the costumes in the opening night club scene, but very theatrical at the same… |
|
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… |
|
To Infinity And Beyond with Lightyear Production Designer Tim Evatt
Find out how the look of the Pixar film was influenced through research and the creativity of the crew, in our exclusive interview…. |
|
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… |
|
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… |
|
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… |
|
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… |
|
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… |
|
Production Designer Rona Liu on Turning Red
…I feel like that came into play in kind of different moments in the film. So, I think the baseline of our interest is very much in line, and then… |
|
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… |
|
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… |
|
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… |
