Dracula (Brian Hull) with Mavis (Selena Gomez) in Columbia Pictures and Sony Pictures Animation’s HOTEL TRANSYLVANIA: TRANSFORMANIA.
So, we’re barely two weeks into the new year and you’re ready for a quick getaway? Well, we’ve got the perfect spot, the place you visited three times before. Remember you had lots of fun because it was filled with lots of familiar faces (and voices)? Yes, it’s the place where all the coolest animated monsters go to chill out after being chased by those pesky villagers with pitchforks. Now, the route to this little hot spot is a tad different this time, but the ole’ gruesome gang has a goofy new adventure ready to be enjoyed in HOTEL TRANSYLVANIA: TRANSFORMANIA (okay, might not be a word, but go with it).
And it just so happens that there’s a big anniversary celebration going on at that familiar “vacay” spot. Plus, the whole monster gang is there to toast Drac (voice of Brian Hull) and his “fair lady” Ericka (Kathryn Hahn), Unfortunately, daughter Mavis (Selena Gomez) has left the event in the hands of her clumsy human hubby Jonathan (Andy Samberg). In a lull in the chaos Drac and Ericka discuss his retiring from managing the place and handing it over to Mavis, who overhears this and passes the info on to Jonathan. Unable to control his excitement, he blurts out his thanks to Drac, who panics and tells a tiny “white lie”: he can only give the place to a monster, not a human. A distraught Jonathan runs off to Ericka’s papa, Dr. Van Helsing (Jim Gaffigan), who actually has a solution. His ruby-powered scepter can shoot out a “Monsterfication Ray” that turns humans into monsters, and vice-versa. With one well-aimed blast, Jonathan becomes a massive lumbering dragon. He then meets with a horrified Drac, who grabs the device, but instead of “normalizing ” his son-in-law. he and many of his pals become (gasp) human beings (well Blobby becomes a plate of lime gelatin dessert). Oh-oh, now the ruby’s run out of juice, and the only replacements are deep in the jungles of South America. It’s then a race against the clock (Jonathan is becoming more, well, monstrous to the “point of no return”) to find a new gem, zap everybody, get back to their ole horrific selves.
So, the different route I mentioned earlier is streaming, not in movie theatres as with the previous three entries in the franchise. Oh, and there’s a big vocal cast change in that Adam Sandler’s not speaking for Drac (ditto with Kevin James as Frankie), not that the wee ones will notice as Hull gives the same bouncy Bela-like lilt to his line (same for Brad Abrell as big bolted Frankie). Plus the folks at the helm have changed. Yes, it’s an “s” since artists Derek Dryman and Jennifer Kluska have been handed the reins from Gendy Tartakovsky, who did co-write the screenplay with Amos Vernon and Nunzio Randazzo. To be honest I couldn’t tell the difference from the now ten-year-old original. And yes I skipped two, three, and a stand-alone short, but I’ve always said that a flick should work on its own, as though you’re entering the series “fresh”. Sure the vocal performances are still strong especially Samberg’s big excited doofus “normal” and Gaffingan’s cranky riff on all the late-shot horror scholars as Van Helsing, though Gomez and Hahn are woefully underused. The script tries to strike a balance between the quest of Drac and Jonathan intercut with the monster gang trying to cope with their new human forms. Frankly, the Hotel hubbub has little energy, as the same gags are reused (Frank’s now a vain “poser”, werewolf Wayne can’t cope with his litter of pups, much as with the piglets in SING 2, and the now visible Griffin can’t cover his “modesty”). Luckily the colorful designs and backdrops really pop (the jungle settings are so vibrant), and the characters are “rubbery” without losing their “weight”, though the constant frantic movements can get exhausting. It all comes down to your affection for the franchise, so if you liked them you’ll probably enjoy this. But for those “newbies”, it may feel like another “inter-changeable” celeb-voice-driven CGI fluff that won’t entice you to check in again, despite the capable artisans behind HOTEL TRANSYLVANIA: TRANSFORMANIA.
2 Out of 4
HOTEL TRANSYLVANIA: TRANSFORMANIA streams exclusively on Amazon Prime Video beginning on Friday, January 14, 2022
So, you didn’t think we’d go through the year’s last two big holidays without a brightly-wrapped animated gift from the “Mouse House”? Of course not, because we’ve all been “special good’ in 2021 (well most of us). In case you’re wondering, this is our second film of the past year from the very talented folks at the Walt Disney Animation Studios (after RAYA AND THE LAST DRAGON). Not that the Pixar crew has been idle, as they cooked up that tasty Italian dish LUCA a few months ago, And it would seem that the spirited competition (well friendly might be more applicable) has elevated all their efforts. Oh, and the WDAS artists are teaming up again with one of Broadway’s brightest talents for lots of intoxicating tunes. As a bonus, we’re heading into fairly unexplored territory (hey, SALUDOS AMIGOS and THE THREE CABALLEROS are from the 1940s), way, way south of the border. It’s the perfect family flick to savor after getting together after the big meal, because a big extended family is its focus, along with their home, the extraordinary ENCANTO.
We get the backstory of the magical Madrigal family from their matriarch, Abuela Alma (voice of Maria Cecilla Botero). Long long ago a tiny village was besieged by attackers, causing its residents to flee into the jungle. Unfortunately, the evil forces caught up to them, and only the sacrifice of Alma’s husband (and father of their triplet babies) could ensure their safe escape. But it seems his loss sparked some enchantment as their only candle continued to burn without melting. Then the trees and hills guided them to a new village and a seemingly living, ever-expanding mansion for the Madrigals, called Encanto. One part of its wonders becomes an annual tradition as the children who reach a certain age (looks to be about 8 or 9). It produces a golden glowing door for each, and when opened a special power, a “gift”, is bestowed upon the child. One lad is a “shape-shifter”, a lass is super strong, another can control the weather by her emotions. But then came bespectacled Mirabel (Stephanie Beatriz) whose door gave her…nothing. No powers…nada. But she carries on, and helps for the newest ceremony as her sister Isabela (Diane Guerrero) is being prepped to capture the heart of the handsome villager Mariano (Maluma). Then Mirabel notices cracks in the house’s perfect floor, then slight tremors. Is the magic fading? But can she even convince anyone of this since they think she may be just seeking attention? And could that mysterious figure dashing down the hallways be her long-missing uncle, the “unmentionable” Bruno (John Leguizamo)? Could he be the cause of this impending catastrophe? Oh my, the candle’s flame is sputtering…it’s almost going out….
Such a joyful celebration, this is an explosion of color and music. Speaking of the latter, the witty, top-tappin’ tunes are from that very busy mega-talent Lin-Manuel Miranda (his third feature effort this year), while the bouncy soundtrack comes from Germaine Franco. But back to those songs that reveal so much about the lead characters while advancing the story and never slowing down the flow of the film. Now as for the former, the color palette nearly bursts off the screen (I may need to return for the 3D version), mixing bright pastels with glowing golds and the lush greens of the surrounding jungles and hills. Needless to say that the intricate background settings benefit also, with the house becoming as much of a character as the Madrigal family and the villagers. Speaking of characters, big kudos to the artisans giving them form and features. Each one beams with originality, as we can easily tell then apart merely from the silhouettes. But just seeing the shapes you couldn’t marvel at the distinctive and expressive faces (jumping back to color, this film sidesteps the controversy earlier about the Latinx tones of IN THE HEIGHTS as every skin variance is represented). I must single out a few of my favorite designs: the muscular Luisa, the beefy but graceful dancer Felix, and the frantic Bruno. The last is matched perfectly (what incredible body language) with the energetic comic timing of Leguizamo, while Beatriz is a singing emotional dream as the lead Maribel. She’s a great new addition to the Disney Princess line (those blue glasses are a great visual touch), as she never allows herself to wallow in misery over the lack of getting a “gift” (her attitude and intelligence make up for a “super-power). And she’s proactive, not sitting and waiting to be helped or rescued. That’s all from the delightful script by Jason Hand, Nancy Kruse, Mirando, and the titanic trio of directors, Jared Bush, Byron Howard, Charlie Castro smith (usually I snark about “too many cooks” but the end feast is so delicioso). This is a beautiful tale in every way with an incredible roster of diverse talents working at “the top of their game”. During the holiday rush take time to spend a few (very) minutes exploring the dazzling, exuberant fantasmagorical wonder that is ENCANTO.
4 Out of 4
ENCANTO opens in theatres everywhere on the evening of Tuesday, November 23, 2021
The big upcoming holiday is often referred as “the most magical time” of the year. Well, then it would be a perfect time for a family-oriented film centering on magic. No, we’re not talking about flying reindeer or that “jolly old elf” from the north. Why not explore more ancient mythology full of shapeshifters, mystical spell casters, and animal familiars. Oh, and this tale is animated, also. So, we’ve been on a trip OVER THE MOON and it’s a couple of weeks before our exploration of “the Great Beyond” in Pixar’s SOUL. What better excuse to take a journey back into a past full of myths, legends, and enchanters. Keep your sword and bow at the ready, because this is the era of the WOLFWALKERS.
And the era is in the latter part of the 17th century, in the dark forests of Ireland. We encounter a trio of workers who are felling some thick trees. They suddenly hear a low guttural growl and spot several pairs of glowing red eyes in the dark shrubbery. Wolves! The men scatter, save for one left behind. He’s quickly surrounded by the pack. As he gives up hope a pair of bright yellow eyes shine out from the dark. It’s a young feral human girl of 8 or 9 years who somehow commands the pack to let the man pass. In the nearby village, he tells of his encounter with a real “wolfwalker”. Meanwhile, a girl around the same age, Robin (voice of Honor Kneafsey), engages in pretend battle with her pet bird Merlin, as she waits for her father to return to the cottage they share. And soon he does walk through the door. Bill (Sean Bean) has been brought over from Britain to rid the area of the fearsome wolves. When the woodsman’s tale reaches him, he’s called to duty. Unknown to him, Robin grabs her crossbow and follows from a brief distance. In the forest, Bill spots her and orders her home. But soon she has her own encounter with the same wolfwalker and her pack. After a brief “dust-up” (lots of tumbling, scratches, and bites), Robin learns that the girl is named Mebh (Eva Whittaker), and is told of her unique abilities. She has a mental link with the pack and when she sleeps a wolf spirit exits her body and solidifies with her mind. At dawn that wolf must reunite with her sleeping body. That’s what has happened with Mebh’s mother Moll who remains in a deep sleep waiting for her wolf form to return. Later Robin is shocked to find that she now has that gift due to a bite from Mebh. Can she evade her father, who may be executed by the town’s Lord Protector (Simon McBurney) unless he sees results? Could there be a way for the villagers to live in harmony with the pack and the pair of wolfwalkers?
Where to start in praising the formidable talents that came together on this stunning achievement? Though I’m not familiar with most of the cast, they aided greatly in bringing the principals to life. Bean may be the most recognizable name, and as papa Bill, he brings gravitas and warmth in equal parts. The two young actresses, Kneafsey as Robin and Whittaker as Mebh, are outstanding scene partners, each conveying the spunk and smarts of this terrific team. They say an adventure tale’s strength rests in its villain, which is proven here by McBurney’s menacing, sneering snarl as the viscous LP. Yes, the audio talents are first-rate, but oh these visuals! The directing duo of Tomm Moore and Ross Stewart has brought together an army of artisans that gives the story a look unlike anything we’ve seen in a great while. At least since 2014’s SONG OF THE SEA and 1009’s THE SECRET OF THE KELLS, which shares much of the style and craftspeople. While most recent features use the “top end” computer tech and software, this work harkens back to the days of 2-D or hand-drawn (on paper and clear “cells”) animation, much like the iconic fairy tale features from Disney. But the design is also inspired by the radical (for the early 50s) simplified designs of the UPA studio and the limited animation used in early TV (thinking of the Jay Ward works like Bullwinkle), along with the experimental shorts of the Canadian Film Board. Many of the characters are defined by thick straight lines, using ovals and triangles, particularly with the townsfolk. While Mebh, Moll, and their pack alternate between softer shapes (human hair) and jagged lines (the rigged look of their fur and fangs). The story’s mood is set by the creative color and textures of the backdrops and sky. The village is comprised of muddy earth tones against a gloomy gray. But the forest is a bright explosion of greens and blues. I would wager that they were aided by new tech to achieve the effect of the shadows of the tree’s leaves on the main figures in the woods. A variation may have been used to convey the enhanced sense of smell when Robin is in her “wolf state”. She can see a glowing, streaming trail made by an individual’s smell. Yes, the CGI feature films are stunning (SOUL is just days away), but a variety of styles raises the level of all animated efforts. These arresting visuals are complemented by the lyrical score by Bruno Coulais). WOLFWALKERS is a dazzling combination of a compelling story matched by art that smoothly blends the best current techniques while recalling classic works that helped shape our childhood.
Summer break is fast approaching so it must be time for another toy “tie-in” feature animated flick. Well, to be honest, the “break’ thing shouldn’t matter since this subject’s “core” audience is probably “pre-pre-K” (guess that’s a thing). Early this year we saw the follow-up to the surprise hit THE LEGO MOVIE from 2014. So, how about another “property” that’s a tad more cuddly than those hard interlocking plastic blocks. We’re a few months away from the fourth visit with Woody, Buzz, and their pals so maybe this is a “softer warm-up” showcasing a toy line that’s been around since 2001 (that long…I am so out of it). And, going by the brand name, we may be in for a lesson or two with the big screen debut of UGLYDOLLS.
This story begins inside a big zany factory, with conveyor belts and robotic big shoes that press down on fabric (you expect to hear Raymond Scott’s “Powerhouse” on the soundtrack). The cheery narrator informs us that this is the place that makes dolls for all the world’s kiddies. Ah, but when a doll doesn’t pass “quality control” standards, it’s sent down a tube that empties into Uglyville, a sunny village on a big hillside next to a beach. The happiest of its residents is Moxy (voice of Kelly Clarkson), who always believes that this is the day that she’ll go to the “Big World” and be a child’s cherished toy. Mayor Ox (Blake Shelton) tries to temper her enthusiasm, but the optimistic miss gets a plan. She and her pals will go up that tube and find the kids that will love them. It isn’t long before she enlists “party master” Uglydog (Pit Bull), chef Wage (Wanda Sykes), hulking Babo (Gabriel Iglesias), and timid Lucky Bat (Leehom Wong). Team Moxy makes it up through the tube/slide, but instead of the Big World, they land in Perfection, where dolls are groomed and tested prior to being assigned kids. They try to blend in, but soon they catch the eye of the guy in charge, the smooth, slick, perfectly coifed Lou (Nick Jonas). Surprisingly he agrees to put the UglyDolls through training tests to prepare them for the final challenge, a mechanical two-story suburban house called “The Gauntlet”. Luckily Moxy and her crew are given a sympathetic guide/coach, the bespectacled Mandy (Jannelle Monae). But secretly Lou sends his “Spy Girls” (Bebe Rexha, Charli XCX, and Lizzo) on a mission to capture Mayor Ox. Just what does Lou have up his perfectly tailored sleeve? Is there any chance that Moxy and her friends will make it to the Big World?
Well, they all can’t be Pixar. Or Disney Animation. Or Sony (the ones that did the Spidey-Verse). Or…etc. One thing we can thank director Kelly Asbury for…it clocks in under 90 minutes. Still, it feels padded and streeeetched! The film seems to be aiming for the bubbly bouncing fun of 2016’s TROLLS, along with its everything’s pretty vibe, but it stumbles and tumbles almost straight “out of the gate”. Most of the main core of characters are nearly interchangeable, with only the main colors and a few voices (notably Sykes’ sarcastic screech and Shelton’s soulful drawl being the only stand-outs). The same could be said (though it’s intended) of the denizens of Perfection, particularly the Spy Girls who are aligned with Lou, one of the weakest animated villains ever (the listless line readings from Jonas don’t help). Perhaps this plays best with the toddler set, but the tendency to end nearly every sequence with the dolls faces nearly pressed against the (imagined) camera lens (either in a wide-mouthed grin or an overused smirk from Lou) quickly becomes grating. Ditto for the repetitive pop ballads that literally stop the story dead “in its tracks”. These are generally used to “sledgehammer” home the message of self-esteem and acceptance that sink the turgid script from Alison Peck (based on the characters created by David Horvath and Sun-min Kim). The wall to wall chatter from the “stunt” celebrity cast mixed with a cloying score will add to the overall irritation to adult (and more sophisticated kids) senses. This all may be a fine “cinema sitter” for the very youngest of movie audiences (maybe a first film for many), but why subject any older viewers to this drivel. UGLYDOLLS is a not so pretty multiplex mess.
Peter Doctor and Jonas Rivera, the directors of last year’s Oscar-winner Inside Out, were the perfect choice to host the Animated Feature nominees at The Academy’s Samuel Goldwyn Theater last night. Their charming personalities and insightful questions made the event very funny and entertaining. This years nominees are “Kubo and the Two Strings,” “Moana,” “My Life as a Zucchini,” “The Red Turtle” and “Zootopia.” With the Cesar Awards taking place this week, the directors of “The Red Turtle” and “My Life as a Zucchini” couldn’t attend but Studio Ghibli, a partner on “The Red Turtle” was represented by producer Toshio Suzuki.
Animation branch governor Bill Kroyer talked about what is considered an animated feature in this age of technical innovation. He said it’s not determined by how it looks – the 2016 version of “The Jungle Book” qualifies – because the Academy defines an animated feature as: “over 40 minutes in length, in which most of the principal characters’ performances have been created with frame-by-frame animation techniques.” The evening covered every time period from 1911 to the upcoming “Wreck-It Ralph 2” and every animation style including hand drawn, CGI and stop-motion plus insider scoops about Walt Disney Animation and their corporate sibling, Pixar. If you like animation, you’ll definitely enjoy the video of the first live-streamed Oscar Week event…
The 89th Oscars will be held on Sunday, February 26, 2017, at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will be televised live on the ABC Television Network at 7 p.m. ET/4 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.
A record 27 features have been submitted for consideration in the Animated Feature Film category for the 89th Academy Awards.
The submitted features, listed in alphabetical order, are:
“The Angry Birds Movie”
“April and the Extraordinary World”
“Bilal”
“Finding Dory”
“Ice Age: Collision Course”
“Kingsglaive Final Fantasy XV”
“Kubo and the Two Strings”
“Kung Fu Panda 3”
“The Little Prince”
“Long Way North”
“Miss Hokusai”
“Moana”
“Monkey King: Hero Is Back”
“Mune”
“Mustafa & the Magician”
“My Life as a Zucchini”
“Phantom Boy”
“The Red Turtle”
“Sausage Party”
“The Secret Life of Pets”
“Sing”
“Snowtime!”
“Storks”
“Trolls”
“25 April”
“Your Name.”
“Zootopia”
Several of the films have not yet had their required Los Angeles qualifying run. Submitted features must fulfill the theatrical release requirements and comply with all of the category’s other qualifying rules before they can advance in the voting process. Depending on the number of films that qualify, two to five nominees may be voted. Sixteen or more films must qualify for the maximum of five nominees to be voted.
Films submitted in the Animated Feature Film category also may qualify for Academy Awards in other categories, including Best Picture, provided they meet the requirements for those categories.
Nominations for the 89th Oscars® will be announced on Tuesday, January 24, 2017.
The 89th Oscars will be held on Sunday, February 26, 2017, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 7 p.m. ET/4 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.
One of movie fans favorite events of Oscar Week was held Thursday evening at the Samuel Goldwyn Theatre, as the Academy held the eighth annual event celebrating the nominees for Best Animated Feature Film.
The evening featured clips from each film, followed by an onstage discussion with each group of nominated filmmakers.
This year’s eclectic mix – Anomalisa, Boy and the World, Inside Out, Shaun the Sheep Movie and When Marnie Was There – are as international as they are distinct.
Employing a stunning variety of animation techniques, the nominees explored a wide range of topics, including existential despair, devastation of natural resources, learning to handle emotion, the value of friendship and surviving the difficulties of adolescence.
This year, members were able to stream the movies and voting came from all over the world.
The evening’s hosts were Don Hall, Chris Williams, Roy Conli, last year’s Oscar winning team from BIG HERO 6. Conli said the five nominees are “beautiful silent moments filled with poetry.”
Hosts Don Hall, Roy Conli and Chris Williams
From left: Animated Feature Film nominees Hiromasa Yonebayashi and Yoshiaki Nishimura, “When Marnie Was There”, Jonas Rivera, “Inside Out”, Rosa Tran, “Anomalisa, Richard Starzak, “Shaun the Sheep Movie”, Pete Docter, “Inside Out”, Duke Johnson, “Anomalisa”, Alê Abreu, “Boy and the World”, Mark Burton, “Shaun the Sheep Movie” and Charlie Kaufman, “Anomalisa” prior to the Academy of Motion Picture Arts and Sciences’ Oscar Week: Animated Features event
From left: Animated Feature Film nominees Alê Abreu, “Boy and the World”, Richard Starzak, “Shaun the Sheep Movie”, Rosa Tran and Duke Johnson, “Anomalisa”, and Pete Docter and Jonas Rivera, “Inside Out”, prior to the Academy of Motion Picture Arts and Sciences’ Oscar Week: Animated Features event
“Anomalisa” – Charlie Kaufman, Duke Johnson and Rosa Tran
Michael Stone, a middle-aged motivational speaker who is grappling with an existential crisis, attends a customer service convention in Cincinnati to give a speech. At the hotel, he meets and falls for Lisa, a seemingly ordinary woman who sparks his imagination and energizes him to reexamine his life.
ANOMALISA was a staged radio play in Los Angeles in 2005. Filming on the stop-motion animated feature began in 2011. “Puppetry is a perfect medium for this story. It was a good way to explore the adult themes and the emotional story,” said Johnson. On working together, Kaufman said, “co-directing was easy. There was no real division of labor.” The director also talked about the one actor’s voice (Tom Noonan) playing so many characters and the realization for the audience. “It comes to people at different times. I didn’t want to guide the audience. Some never figure it out. There is no right or wrong time.” Over 300 face plates were used on the film while one character was a composite of 20 people. The three filmmakers were going for a natural look and not necessarily a stop-motion feel.
On the choice to use Cyndi Lauper’s ‘Girls Just Want to Have Fun’ for one the best scenes of the film, Tran told the audience, “at first we wanted to use ‘My Heart Will Go On’ but we couldn’t get the clearance to the rights to use it. It took two years to clear Lauper’s song.” Johnson laughed, “Rosa had us thinking we had the rights all along. She didn’t share it with us that we didn’t. We only got them at the end. And we only just discovered that at a recent Q&A session.”
“Boy and the World” – Alê Abreu
Despite his family’s poverty, young Cuca lives a satisfying life, full of wonder at his rural surroundings, until his father goes on a train trip and disappears. While searching for his father, Cuca meets a wide variety of people as he journeys from a farming camp to the ocean and a large factory and then back to the big city.
“Making my film was a special moment for animation in Brazil,” said Abreu. The first time nominee said he tried to listen for the character’s voice and to see the story through the boy’s eyes. “I wanted to convey that through colors. It was an exercise in freedom to draw the character as a child without the critical voice of an adult. The animation style was created for the film. It’s a lyrical film as well as epic.” Music is a huge part of this special film. Abreu added, “it’s a lyrical film as well as epic. The score, by Gustavo Kurlat and Ruben Feffer, is its own special character. It’s a huge part and special.”
“Inside Out” – Pete Docter and Jonas Rivera
When 11-year-old Riley and her parents move to a new city, it’s up to Riley’s five main emotions — Joy, Sadness, Fear, Anger and Disgust — to help her adjust. Joy and Sadness are accidentally launched on a journey through Riley’s brain to preserve her core memories, and as the duo races back to Headquarters, Fear, Anger and Disgust must figure out how to guide Riley.
Inside Out is the ninth animated feature to receive a Writing nomination. To date, none has won. With his fourth Writing nomination this year, Pete Docter has tied Andrew Stanton for the most writing nominations for animated films. The filmmakers said the images were created first and they wrote the dialogue to fit it. It was important to both Docter and Rivera that children and adults could relate to the important themes of the film. Rivera remarked, “kids got it immediately when we first started screening it. We had to simplify it for the studio execs.”
“Shaun the Sheep Movie” – Mark Burton and Richard Starzak
Shaun and his fellow sheep are disgruntled with the Farmer’s adherence to his rigid schedule, which leaves no room for spontaneous fun, but when he goes missing in the Big City, the flock and sheepdog Bitzer leave their rural home to hunt for their pal, all the while eluding a power-mad animal containment officer.
The stop motion animation came easy to the duo. Based on the 140 episodes from the TV show, which ran 7 minutes each, there were many stories to tell with a full-length film. “The emotional core prompted us to make the movie. It’s a story about a family. We used no dialogue throughout the movie and told the story physically. We used sound as a device.” said Starzak. Both agreed Buster Keaton was a big influence in telling the story of SHAUN THE SHEEP more like a silent film. From the beginning the themes never changed. Burton added, “we adapted as we went along – adjusting the storyboards to see what was working, but the heart of the story remained the same.” Burton added that the song “Home” from the Foo-Fighters could only be used in the film once they had the rights. “It happened when we sent a photo of Shaun pleading for the rights.”
Prior to the Q&A event, when I asked the filmmakers about their next project, Starzak said they were working on SHAUN THE SHEEP 2.
“When Marnie Was Here” – Hiromasa Yonebayashi and Yoshiaki Nishimura
After lonely young Anna is sent to live in Hokkaido with her relatives, she spends her time drawing and exploring her rural home. Anna is befriended by a mysterious blonde girl named Marnie who lives in an isolated mansion, and as their bond grows, Anna becomes obsessed with uncovering the secret of Marnie’s life.
During the Q&A part of the program, director Hiromasa Yonebayashi spoke of the adapting the original British story. Through a translator, Yonebayashi said, “we didn’t know at first how to tell the story of Anna and Marnie and their journey. It was difficult at first to depict how they felt and then turn it into a film, but eventually it worked.” He continued, “It’s a fine line to show a flawed at empathetic character. Most of Studio Ghibli fans know that our films conatin bright sunny characters. We wanted to convey a character who is short in stature, but large in issues.” The greatest personal achievement for the filmmaker was the depiction of water in the movie. “Showing water is very difficult. When we first showed it to Mr. Miyazaki, he remarked on how the water looked very real. I felt very relieved!”
Producer Yoshiaki Nishimura mentioned Studio Ghibli is no longer making feature films, only shorts. However the company’s name will remain the same.
The 88th Oscars will be held on Sunday, February 28, 2016, at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will be televised live by the ABC Television Network at 7 p.m. ET/4 p.m. PT. The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.
Sixteen features have been submitted for consideration in the Animated Feature Film category for the 88th Academy Awards.
The submitted features, listed in alphabetical order, are:
“Anomalisa” “The Boy and the Beast” “Boy and the World” “The Good Dinosaur” “Home” “Hotel Transylvania 2” “Inside Out” “Kahlil Gibran’s The Prophet” “The Laws of the Universe – Part 0” “Minions” “Moomins on the Riviera” “The Peanuts Movie” “Regular Show: The Movie” “Shaun the Sheep Movie” “The SpongeBob Movie: Sponge out of Water” “When Marnie Was There”
Several of the films have not yet had their required Los Angeles qualifying run. Submitted features must fulfill the theatrical release requirements and comply with all of the category’s other qualifying rules before they can advance in the voting process. At least eight eligible animated features must be theatrically released in Los Angeles County within the calendar year for this category to be activated. In any year in which 16 or more animated feature films are eligible, a maximum of five motion pictures may be nominated.
Films submitted in the Animated Feature Film category also may qualify for Academy Awards in other categories, including Best Picture, provided they meet the requirements for those categories.
The 88th Academy Awards nominations will be announced live on Thursday, January 14, 2016, at 5:30 a.m. PT at the Academy’s Samuel Goldwyn Theater in Beverly Hills.
The 88th Oscars will be held on Sunday, February 28, 2016, at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will be televised live on ABC.
This year there are 30 nominees in the animated category, between the Short and Features. “Don’t we love these people who bring us the magic?,” said Academy Governor Bill Kroyer as The Academy celebrated the Feature Animated films on Thursday.
The Academy presented their seventh annual event celebrating the nominees for Best Animated Feature Film.
Chris Buck and Jennifer Lee, who won last year’s Animated Feature Film Oscar for FROZEN, moderated the discussion with all the nominated filmmakers from BIG HERO 6, THE BOXTROLLS, HOW TO TRAIN YOUR DRAGON 2, SONG OF THE SEA and THE TALE OF THE PRINCESS KAGUYA. This year’s nominated films come from around the world and encompass traditional animation, computer animation and stop-motion, and the evening also featured clips from each film.
Prior to the panel discussion, a few of the nominees spoke with WAMG.
Nominees Dean DeBlois and Bonnie Arnold, HOW TO TRAIN YOUR DRAGON 2
On her first nomination, Arnold said, “I feel like Cinderella at the ball. It’s so amazing because it’s a whirlwind of great activity and you get to meet so many people. So many great filmmakers. It’s fun and super special.”
On what’s in store for HOW TO TRAIN YOUR DRAGON 3, DeBlois gave us details on the third installment of the beloved series. “The story takes on a little more balance between Hiccup and Toothless because they are now chiefs of their respective tribes. It’s a story of carrying Hiccup through to the fulfillment of his character’s growth and arc, but also seeing where Toothless goes with all of this new responsibilities.”
In January, DreamWorks Animation appointed Bonnie Arnold & Mireille Soria as co-presidents of Feature Animation. When asked about her new position, Arnold told us, “there are so many great filmmakers at DreamWorks and a lot of projects, and I’m getting to spend time with the other filmmakers. There’s not a house style, so each of them are very unique and I’m having a lot of fun getting to know more about them and what they’re doing and helping them get the best version of their movies on the screen. It’s very exciting, until I start having to focus back on DRAGON 3.”
Nominees Roy Conli, Don Hall and Chris Williams, BIG HERO 6
The film is filled with a rousing score by composer Henry Jackman. On the choice to go with Jackman, Don Hall said, “He’s awesome. I worked with him on WINNIE THE POOH. I think he’s the best. I love working with Henry. He’s so collaborative. For those who don’t know music, he’s really good at breaking down what he’s thinking and very clear with his thoughts. He’s also a very fun, entertaining person who knows story. There was never any doubt that he was the guy.”
Chris Williams added, “the music covers a lot of ground tonally. He was able to hit all of those tones and bring a cohesion to the film, so he was fantastic.”
Roy Conli said Jackman, “saw early clips and had an idea where we going thematically. From those early themes, he was crafting ideas and as the film kept evolving, he would bring more. During our weekly meetings, for over a three month period, we would talk about the film, listen to music and he’s the most collaborative composer I’ve ever worked with.”
On how they put together the look and dialogue for Baymax. “It’s based on a real concept called soft robotics and I discovered it at Carnegie-Mellon University,” said Chris Williams. “I did a real trip and this is real stuff – vinyl robots that are inflatable for use in the health care industry. The entire personality of Baymax and his character design came from that research trip. We can’t say enough about the voice of Baymax, Scott Adsit.”
Adsit looked at many drawings of Baymax before deciding on the voice. “We wanted him to have a calm soothing voice and Scott himself came up with the idea of having the weird pauses between words. It was like the computer was trying to think of the things to say. It was great to have an amazing actor to work with,” said Roy Conli.
Between the filmmakers, the three mentioned their favorite animated films were PINOCCHIO and BAMBI.
Nominees Anthony Stacchi and Graham Annable, THE BOXTROLLS
The film’s charming score is from Dario Marianelli. “He’s a genius. We listed to a bunch of different composers and something unique as far as the instrumentation from Dario really stood out,” said Stacchi on their choice to go with the Oscar-winning composer (ANNA KARENINA).
Annable added, “He’s never done animation. I didn’t even know if he was going to be interested. We were nervous to meet him and it turned out he was just as nervous to meet us. He has his own children and he really wanted to do an animated feature.”
“Plus, a composer usually comes in at the end of the process, when the film is cut. Dario worked with us all the way through the process, so he did the music for our story reels. Sometimes we went to him for sequences where “Fish” and “Eggs” are playing with the music machine and he had to write the music before we would storyboard it. The dance sequence, he wrote that whole waltz while we were still storyboarding. It’s not only a waltz, it has to be a score, it has to be an emotional bed under the romantic moments. We worked with him for the entire 18 months of production,” concluded Stacchi.
Nominees Isao Takahata and Yoshiaki Nishimura, THE TALE OF THE PRINCESS KAGUYA
Nominee Tomm Moore, SONG OF THE SEA
While waiting for the Q&A to begin, the song “Let It Go” was piped into the theater. We noticed co-hosts and Oscar-winners Jennifer Lee and Chris Buck sitting in the row ahead. Both turned and said, “not this song again.” With a sense of humor, Lee went onto say, “my new phrase is ‘it’s not my fault.’ ” Buck said he is a fan of the latest video to come online where one N.C. mom records her frustration with FROZEN on the third snow day as well as the Oscar nominated song.
The nominees discussed how their films were developed, their creative processes and presented clips illustrating their technique. The five nominated films all deal with young characters who had lost someone and invokes the conversation no matter the age of the viewer.
“Sometimes an animated movie is the first film a child will see,” said HOW TO TRAIN YOUR DRAGON 2 producer Bonnie Arnold.
For all the filmmakers, the process is still very organic. SONG OF THE SEA director Tomm Moore said, “It’s a way to tell the story so we don’t lose the folklore.” (trailer)
From drawings to movies, the panel discussed what originally drew them all to animation. “Comics was a way into animation,” said BIG HERO 6 director Don Hall.
THE BOXTROLLS nominee Anthony Stacchi said, “I’d love to see the people who do the behind the scenes work acknowledged with nominations in the main categories like Best Costume and Best Visual Effects.”
Nominees Isao Takahata and Yoshiaki Nishimura (THE TALE OF THE PRINCESS KAGUYA), via a translator, said they brought their film to life with a process of flat plane effects for animating. “It’s all about the simplicity of the line work.”
Watch the Oscars this Sunday, February 22nd on ABC.
Cavemen, Minions, Sisters – All were part of Friday night’s Animated Feature symposium at AMPAS where the nominees discussed how their films were developed, talked about their creative processes and presented clips illustrating their techniques.
The evening was hosted by Oscar nominated actor John C. Reilly, star of last year’s lovable WRECK-IT RALPH, who affably led the packed house at the Samuel Goldwyn Theater through the many interesting and often hilarious moments of the night.
Turns out, it was a great year for animated films. More people saw the five animated movies than saw all nine Best Picture nominees combined. This was also the first year that both directors and producers could be nominated in the category. In year’s past, the only nominees were the people who helmed the movie.
The Animation Branch of the Academy instituted a special rule for the Animated Feature Film Award.
The award recipient(s) shall be designated by those responsible for the production of the film. The designated recipient(s) must be the KEY CREATIVE INDIVIDUALS most clearly responsible for the overall achievement. A maximum of two person may be designated as nominees, one of whom must be the credited director and the other of whom must have a producer credit (“producer” or “produced by”.) The Short Films and Feature Animation Branch Executive Committee has the right to name a third nominee only in the case of a TWO-PERSON TEAM with shared and equal director credit. In that rare circumstance, a third statuette may be awarded.
Animated filmmakers Pierre Coffin of the Oscar-nominated Animated Feature “Despicable Me 2”, Kirk DeMicco of the Oscar-nominated Animated Feature “The Croods”, Chris Renaud of the Oscar-nominated Animated Feature “Despicable Me 2”, Chris Sanders of the Oscar-nominated Animated Feature “The Croods”, Benjamin Renner of the Oscar-nominated Animated Feature “Ernest & Celestine”, Kristine Belson of the Oscar-nominated Animated Feature “The Croods”, Toshio Suzuki, of the Oscar-nominated Animated Feature “The Wind Rises”, Chris Buck, Jennifer Lee and Peter Del Vecho of the Oscar-nominated Animated Feature “Frozen”, Didier Brunner of the Oscar-nominated Animated Feature “Ernest & Celestine and Chris Meledandri of the Oscar-nominated Animated Feature “Despicable Me 2”.
The nominees for Best Animated Feature Film are:
The Crood family lives in a prehistoric world filled with dangerous animals and unsettling changes. When they encounter a young man named Guy, a member of a more evolved group of humans, only teenage daughter Eep is willing to listen to his warnings that the world as they know it is ending and the Croods will need to alter their way of living if they are to survive.
Originally to be voiced by John Cleese of Monty Python and a stop motion, animated movie, the Croods went from Fox to DreamWorks Animation.
With the formerly villainous Gru now a doting father to his three adopted daughters, the talents he once employed for evil are largely wasted in his new role as a jam and jelly maker. When he is approached by Lucy Wilde, a secret agent from the Anti-Villain League, Gru finds not only a new focus for his abilities but a possible romantic interest as well.
Reilly and the filmmakers joked on how the Minions were really an homage to animators who are similarly working for slave wages. Also mentioned was that the little guys were getting their own film in 2015 called The Minions starring the voices of Jon Hamm and Sandra Bullock.
Beneath a village inhabited by bears lies a subterranean community of mice who steal from their ursine neighbors and particularly value their teeth. When Celestine, an orphaned mouse studying dentistry but dreaming of art, meets a sensitive, talented bear named Ernest, the interests they share lead to a bond between them that challenges the traditional enmity between their species.
Producer Didier Brunner spoke about the years it took to acquire the rights to the book. Author, Stéphane Aubier, was concerned that making it into an animated movie would cheapen the integrity of the story.
Director Benjamin Renner broke down while talking about not being allowed to see Japanese animation as a child, but when he finally did at the age of 18, it became a passion. He became choked up when talking about being in the same category as his hero, “the great Hayao Miyazaki.”
Sisters Elsa and Anna enjoy an idyllic life in the enchanted kingdom ruled by their parents until Elsa’s magical ability to create ice and snow around her proves a threat to those she loves. Emerging for her own coronation after several years of self-imposed isolation, Elsa flees her home in distress when her uncontrollable powers transform the kingdom into a frozen realm.
The filmmakers discussed how the nominated song, “Let It Go,” from the husband and wife team of Kristen Anderson-Lopez and Robert Lopez made them totally revise this movie from the original premise to one about sisters, love and sacrifice.
As a boy, Jiro Horikoshi dreams of someday building the planes that his poor eyesight will never allow him to fly. After training as an engineer, Jiro puts his talents to work for Mitsubishi and becomes a leading innovator in aviation design, while Japan moves through the turbulent events of the 1920s and ’30s that will carry it closer to the Second World War.
Producer Toshio Suzuki was there from Studio Ghibli. Through a translator, he spoke on how director Hayao Miyazaki’s film was born out of his fascination with war movies and war machines.
Academy President Cheryl Boone Isaacs and animated filmmaker Toshio Suzuki, of the Oscar®-nominated Animated Feature “The Wind Rises”
Leading up to Oscar Sunday, the Academy has been presenting a slate of public events celebrating this year’s nominees. This year’s activities in Los Angeles included Thursday evening’s live concert at UCLA’s Royce Hall highlighting the nominated musical scores and songs. Check that out HERE.
Events at the Academy’s Samuel Goldwyn Theater in Beverly Hills have focused on the films nominated for Animated Feature Film, Documentary Feature, Documentary Short Subject, Foreign Language Film, and the Short Film categories. The week concluded on Saturday with the Makeup and Hairstyling program.
