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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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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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The Puppetoon Movie Volume 3
…attractive 20-page booklet with extensive liner notes about the films and their restoration sources, accompanied by many images. Ink And Paint: The source for these films were all either 35mm… |
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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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“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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“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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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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Revolving around Revolting Rhymes with directors Jakob Schuh and Jan Lachauer
…version of those stories that is its own thing, but doesn’t visually contradict the books. The basic rule was: When you go back to the book after seeing the film,… |
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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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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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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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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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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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An interview with author Emily Zemler on Disney Princess: Beyond The Tiara
…shelves. You had to stay in your seat and then they would bring you the books. They have quite a lot of the older books, the ones that are harder… |
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Disney Historian Christian Renaut on The Best Of Disney’s Animated Features
…my determination to be honest. There was a time in the 1970s when the very few books written about either Walt or the Studio were so polished you could hardly… |
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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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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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Pixar Production Designer Harley Jessup “remembers” Coco
…the ofrendas, really elaborate altars in their living room, honoring their ancestors, and then to the cemeteries during the day where there was literally all generations working together, usually led… |
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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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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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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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Otto Messmer And Felix The Cat
…1959 Felix The Cat Felix The Cat Creations was dissolved in 1971, while Oriolo became a director of Felix The Cat Productions, Inc., and later became its President when Pat… |
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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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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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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… |
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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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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… |
