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kylesvariouslistsandstuff · 3 months

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Mark Henn, loooong time Disney animator who was still with the studio in the recent years, has spoken recently...

He's pretty much kind of done with Walt Disney Animation Studios, feeling that the minimal 2D work he had been doing lately (alongside veterans Eric Goldberg and Randy Haycock) wasn't very "meaningful". He is open to going back to finish a short of his own, that he was working with producer Clark Spencer on, but that's just about it. As the Brew notes, his full-time career there is over. He started on THE FOX AND THE HOUND, which released in 1981, to give you an idea of how long he's been there.

It's quite telling how many of the greats departed or were laid off under both John Lasseter and Jennifer Lee's leaderships. Glen Keane, Chris Sanders, Nik Ranieri, Ron Clements, John Musker, the list goes on... I know a lot of animation fans desperately want Disney to do 2D features again, but I don't see it happening. I haven't seen it happening in years. Whenever a piece of 2D for a short or a promo or a commercial surfaces, twitter goes gaga and says "See Disney?? You can do 2D! No excuses!"

It's not about excuses, they simply DO NOT WANT TO. For whatever reason, no matter how silly it may seem to us.

Henn said it best:

"Since then, I think it’s just too difficult for the studio to justify essentially creating a second studio within this current studio in order to do 2D, which is what you had when we had Princess and the Frog and Winnie the Pooh. We essentially had literally two smaller studios under one roof, and I just think that that became too much of a financial risk. Right now, we’re barely able to house everybody that we have on staff. So, I mean, there’s all kinds of logistical things from where you’re going to put people to taking that risk."

I've talked about it, exhaustively, myself. It's just, the larger Disney company isn't too interested in being - to quote former Disney storyman Steve Hulett - a "Renaissance art factory". In addition to 2D really not being conducive to editorial and a one-a-year assembly line model, WDAS management are simply making movies that they think the public wants to see. They spend upward $135m+ on them, and they try to get one out every year. They're lucky to even be making movies, since they've been nearly shut down far too many times to name... As recently as 2006, even, because one Steve Jobs felt they didn't need to be a thing anymore now that the company owned Pixar. I see them as a "legacy brand" at this point. Still alive, still kicking, probably by virtue of being the thing that created the whole company in the first place... But that's just it. It's very "Disney, the way you always liked it" these days. I think that's part of why STRANGE WORLD and WISH had trouble theatrically, among many other things. Pixar had one miss with LIGHTYEAR, but a leggy sensation with ELEMENTAL. It remains to be seen how ELIO does a year and a half from now. Universal on the other hand is somehow keeping audiences coming back for both DreamWorks and Illumination's movies. With the rare miss every now and then. (SPIRIT: UNTAMED, RUBY GILLMAN, etc.)

But yeah, I've kind of made peace with it. Disney Animation is currently not in the business of making movies for people who can spot a Milt Kahl head swaggle from a mile away, they're making movies for the folks who put on Disney+, and then put on ENCANTO and such as background noise. It just... Is what is. 2D is still there in some way or another, like in short films and small bits of animated effects and whatnot, but... It's a crapshoot to think that they'll do a full feature like that this decade, I feel. If anything, they'll just keep tinkering with the art style of WISH, which... Didn't work on a lot of folks. So... Do they go back to the tried-and-true TANGLED/FROZEN/MOANA house style? I don't know, I don't have a crystal ball. I don't even know if they'll have a movie by Thanksgiving of this year. That new Disney+ series they made that's coming out next month, IWAJU, looks like a slightly upscaled Disney Junior show.

I still look for something I'll like in the upcoming stuff, because... Well, even though Disney Animation is merely a cog in the massive Disney machine at this point with little of an identity left (much like the live-action/CG tech demo end of things), this studio's output... Decades and decades of it, has been formative for me. At least one WDAS movie was someone's gateway to the wider world of animation, methinks. It was certainly my VHS tapes of BAMBI, THE JUNGLE BOOK, and THE LION KING, among many others in my library at age 8, that's for sure. I even *liked* the recent films, I have yet to see WISH all the way through, but I did enjoy STRANGE WORLD enough, and liked ENCANTO, RAYA, FROZEN II, etc. a good deal. It's just, a lot of it is nothing really special to me in the end. Just fine at best, with some impressive stuff here and there. Like, say, some of the directing in ENCANTO. Just fine, adequate. I don't think that of the Disney animated features made before this decade. Even my least favorite animated Disney work of the '70s, '80s, '90s, and '00s still has something very unique and influential to it. I don't intend for this to be a knock on the crews' hard work, it's only my personal feelings on what I've seen. It's what they seem to want to be making, or what the management is approving of... I can kick and scream, but, that won't do anything. I'll just see what's next and say "Well, let's see... What will I get out of this one?"

I've long accepted that the ship sailed on 2D features at WDAS, and most of the other big theatrical studios for that matter. Many of whom never even MADE a 2D feature. Pixar never made one, Illumination didn't, Sony Animation didn't until FIXED, you get the idea. The only other one that's still chugging is DreamWorks, and they made their final 2D feature back in 2003. Twenty-one years ago. I look elsewhere for that kind of thing, and I found just that... KLAUS, WOLFWALKERS, you get the idea. The best you'll get in theaters is an adaptation of a 2D animated show or pre-existing franchise, like THE BOB'S BURGERS MOVIE. I doubt that pending-theatrical release Looney Tunes movie, THE DAY THE EARTH BLEW UP, will be the great decider of the future of 2D animated movies in theaters. Ditto FIXED, *if* that's still aiming for theaters. (It got its rating from the MPA a long while ago. It's done. It's in the can... and there's no release date for it.)

So... Yeah... Is what it is. WDAS seems to refuse to do a 2D feature, and have been refusing for over a decade (I really think PRINCESS AND THE FROG and WINNIE shut the door permanently, like an encore that they fought to make happen), and the kind of movie that they're making now may just not be for me and others for the foreseeable future. We'll see where their next path takes them... As long as they come out whatever happens still making movies...

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screamingforyears · 1 year

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IN A MINUTE: A_NEW_MUSICAL_EXPRESSS… // “HALL OF FAME” is the second single/lead track from @garden_centre_’s forthcoming LP titled ‘Searching For A Stream’ (5/19 @kaninerecords @specialistsubject) & it finds the Brighton-based band inhabiting a hole while sprouting a spritely chaotic slice of ramshackle’d post_punk. @gnawinggg are here w/ “GIMME TINNITUS,” the lead single from their forthcoming LP titled ‘Modern Survival Techniques’ (5/19 @refreshrecs) & it finds the Richmond-based quartet of John Russell, Christian Monroe, Garrett Whitlow & Chris Matz dropping a 3:48 clip of crunchy SlackerRawk. “WEAVE” is the lead single from @lockstepnoise forthcoming debut EP titled ‘Arrival’ (5/19) & it finds the Nashville-based trio of Austin Rolison (vocals/drums) Matt Schumacher (vocals/guitars) & Tanner Ihrie (bass) bringing their quietly loud brand of heavily drowsed NuGaze. “POM” is the closing track on @mtworry’s debut EP titled ‘A Mountain of Fucking Worry’ & it finds the Philly-based quartet of Noah Roth, Rowan Horton, Nick Holdorf & John Galm bringing a sprawled_out bout of dissonantly blissed AltRawk. @superviolet__ are here w/ “BIG SONGBIRDS DON’T CRY,” the latest single from their forthcoming debut LP titled ‘Infinite Spring’ (4/21 @lameorecords) & it finds Steve Ciolek’s Columbus-based project bringing a wordy bout of heartwarming, Emo-tinged & twanged IndieRock. “INDIGO” is the latest single from @sweetdreamsnadine’s forthcoming LP self-titled LP ( 4/14 @dearliferecs) & it finds the Brooklyn-based trio of Nadia Hulett, Carlos Hernandez & Julian Fader bringing some legit McVie vibes across 4+ mins of dreamily warm CosmoPop.

TUNES ARE POSTED DOWN BELOW, GO LISTEN, YOU CAN DO IT...

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raisab332012 · 6 months

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thewaltcrew · 5 years

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First pic: Jeffrey Katzenberg & Michael Eisner; second pic: Ron Clements, Pete Young & Steve Hulett; third pic: Ron Clements, Jodi Benson & John Musker

Jeffrey Katzenberg and Michael Eisner were brought from Paramount to Disney in 1984, and they brought with them the concept of the “Gong Show.” At Paramount, they would hold pitch meetings in which everyone was given the opportunity to give ideas for future movie projects. The first Katzenberg and Eisner Gong Show at Disney was held in 1985. It was at this Gong Show that Ron Clements and John Musker first pitched two ideas that would eventually come to fruition: an adaptation of Hans Christian Andersen’s The Little Mermaid and Robert Louis Stevenson’s Treasure Island in space.

But the belle of the ball in this meeting was Pete Young, who pitched the idea of Charles Dickens’ Oliver Twist except instead of human orphans, they would be cats and dogs. Back at Paramount, Katzenberg had wanted to do a contemporary version of the musical Oliver! (based on the same novel). Oliver & Company would go on to the be the first film from Walt Disney Animation Studios under the new management of Katzenberg and Eisner. Young worked on the story, but unfortunately, he passed away in October of that year at the age of 37.

photo sources [x] [x] [x] research sources [x] [x]

for @ellensenergyadventure

#disneyedit #pete young #oliver and company #jeffrey katzenberg #michael eisner #ron clements #steve hulett #jodi benson #john musker #the little mermaid #treasure planet #artist #director #executive #the last of the 1k request posts!#I'M SO SORRY IT TOOK THIS LONG FOR ME TO GET TO ALL OF THEM

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art-ofprydain · 6 years

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the animation guild's interview with Disney animator David Block David Block: I Came off of Fox and the Hound, and there were two movies getting ready to go. One was The Black Cauldron, which everyone was so excited about, Steve Hulett: yeah, yeah David Block: and the other one was Mickey's Christmas Carol So in those days if you wanted to lobby for yourself, you did a personal test on your own time. working nights and weekends just you wern't established yet you wern't the ron clements or john polmeroys or that ilk You had a sort of win them over that you could do something. Steve Hulett: sure David Block: so i did a test of the hero from black cauldron and I went in to show the director, one of the directors who remain nameless and he looked at that and said "Oh thats thats much broader then anything we're going to be doing, we're going to go very realistic." Steve Hulett: it was the sleeping beauty snydrum David Block: So I came out of there and went" I gotta get off this movie, I gotta get on Mickey's Christmas Carol" so I did get on Mickey's Christmas Carol. and that was phonominial. aah god what a blast. and I was among really great animators. Glenn was on it. ed gombert, randy cartwright, mark henn, dale bear I was in a very select group of animators, and we had a great time, the picture came out great. and became kind of an anual event when the thing would show up on tv and more importantly kept us off of black cauldron for two years Steve Hulett: yeah David Block: That was fa fantasitic because that thing was going into the toilet real quick Steve Hulett: yeah David Block: so mark and I finished Blac uhh Mickey's Christmas Carol together and went on to black cauldron together and we even went on to the same sequence together Steve Hulett: yeah, David Block: and... Steve Hulett you end up you still got it David Block: we still got it but we gotta see some characters by Black Cauldron standards. we ende up doing this character Fflewder Fflam Steve Hulett: he was good David Block: he was a comic relief Steve Hulett: creeper was too that were comic relief David Block: right and Gurgi was also comic relief. but anyway we got htis character. so we got this character we worked on him and we got off early to work on basil of baker street. Steve Hulett: yeah David Block: which became great mouse detective we got on to that early here is the link to the interview both audio and video: https://animationguild.o...ral_history/david-block/

#the black cauldron #Disney #disney history #animation history #animation guild #david block #steve hulett #hand drawn animation #traditional animation #2d animation #mickey's christmas carol #disney film history #prydain film history

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j4gm · 5 years

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Everything we know about "Rumble Jaw": A new Adventure Time Special?

Recently a few posts have been going around regarding a possible Adventure Time special that may be in the works at Cartoon Network. I've decided to try and collect everything we know in one place.

First of all, Rumble Jaw is not the actual name of the episode/special/whatever this turns out to be. It's a codename being used at Cartoon Network. We first learned about Rumble Jaw's possible connection to Adventure Time from the comments section of a blog belonging to Steve Hulett, a veteran of the animation industry. These comments were posted back in July, but it wasn't until Tumblr user Digamma-F-Wau posted a screenshot of the conversation to their own blog in early September that people began to take notice. It was quickly reposted to Reddit and rumours have been circulating ever since then.

In the comments section, Steve Hulett claims the following:

"From my spies and stoolies... "Rumble Jaw" is a Special. It's based on the characters from Adventure Time."

[Source]

Hulett is very well respected in the industry for his leadership position in the Animation Guild, so I don't think he would consciously lie about this. However, leaks often turn out to be the result of miscommunications so this should not be taken as irrefutable proof of an Adventure Time special. Additionally, the specific wording "based on the characters from Adventure Time" leaves it open to interpretation whether this will be an actual canon Adventure Time story or instead some kind of crossover event or non-canon instalment to the franchise.

So far we know of two people confirmed to be working on Rumble Jaw; Jennifer Goldberg and Iggy Craig.

Jennifer Goldberg has previously worked as a character designer for several cartoons including Pendleton Ward's Bravest Warriors, and more recently was employed as art director of Enter the Florpus, the new Invader Zim movie. Her LinkedIn profile now lists her as art director on Rumble Jaw.

[Source]

Incidentally, this is also how we know that "Rumble Jaw" is a codename.

Iggy Craig was a storyboard artist on OK K.O.; a show which as you probably know was created by Adventure Time alumnus Ian Jones-Quartey. Craig states on their website's about page that they are currently working as a storyboard artist on Rumble Jaw.

[Source]

There have also been some vague hints from the show's cast regarding new Adventure Time content.

John DiMaggio, the voice of Jake the Dog, mentioned on the 2 May episode of the podcast Thick Skin with Jeff Ross that "they were thinking about doing something with Adventure Time again", but it didn't sound as though he had actually done any voicework at that point. Additionally, this could have been referring to the Brawlhalla crossover which hadn't yet been announced at that time.

[Source]

More recently Tom Kenny, the voice of Simon/Ice King, allegedly revealed to an attendee at a fan meeting on 14 September that he was recording lines for an "Adventure Time hour long special". However, the only source for this claim is a single Reddit post with no audio evidence, and as always this could have been a miscommunication.

[Source]

There has been much speculation about what this new special, if it exists, will be about. Some are speculating it could be aired to coincide with the tenth anniversary of Adventure Time, in April 2020. With NYCC starting in a couple of weeks, we might expect some kind of announcement there. However, I am going to manage my expectations until we have some official news. I believe that's all we know at this time. If anything else comes up I'll try to post about it.

TL;DR: We know for sure that a project codenamed "Rumble Jaw" is currently in the works at Cartoon Network. It may or may not be an Adventure Time special. Hopefully we will have an official announcement soon.

#adventure time #atimers #at #rumble jaw

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maomaosmother · 4 years

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What's with the #SaveMaoMao on Twitter?

Long story short, a guy named Steve Hulett claims that he visited CN Studios recently and got status updates on certain shows. He told one of his commenters that he heard "CN would not be picking up any new episodes" for Mao Mao.

Nothing is confirmed, so nobody knows if that is true or not. But it seems to have the community stirring up a bit, which I understand. But at the same time, we shouldn't panic immediately. Anything could be true or false. We also should not harass Parker or the production team, tell others to give up on the show, or blame anybody for this possible news ; I've seen all of that already. I haven't spoken too much of my thoughts on it yet, simply because it could be a hoax ; but the best thing to do is play the waiting game. I know it's difficult, but we don't know what's the truth or not.

#mao mao heroes of pure heart #mao mao #mmhoph #asks #anything can be hearsay so i wouldnt blame this guy either for this ruckus #we just have to keep up the positive vibes and when we do get new episodes we need to spread word on upping the ratings even more

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goalhofer · 5 years

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Every Ichiro Suzuki Teammate

Orix BlueWave

Ebisu Noboyuki (1992-2000)

Yasuo Fujii (1992-2000)

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Ogawa Hirofumi (1992-2000)

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Don Schulze (1992)

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Taguchi So (1992-2000)

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Nishimoto Takashi (1993)

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80smovies · 2 years

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#The Great Mouse Detective #Disney #Ron Clements #Burny Mattinson #John Musker #David Michener #Dave Michener #Peter Young #Vance Gerry #Steve Hulett #Bruce Morris #Matthew O'Callaghan #Mel Shaw #Eve Titus #Paul Galdone #Arthur Conan Doyle #80s

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kylesvariouslistsandstuff · 7 months

Text

2D Purists, Cut It Out

Once again, I'm seeing people get all ornery over the latest look at WISH, the new feature from Walt Disney Animation Studios that marries their post-TANGLED house style and aesthetic to a more watercolor-based look. Once again, people are grousing that it doesn't look as good as the 2012 short PAPERMAN, and others are grousing that it just isn't 2D, period. I feel like the artists and film crew behind WISH are getting a lot of flack, especially on the heels of the recent Writer's Strike coming to an end. Not a good look, if you ask me.

I've gone over it many times before, I'm farggin' exhausted. Walt Disney Animation Studios, as they stand, are likely lucky to even be making films, let alone make it to 100 years of existence. It's the bedrock of the entire company: No Disney Brothers Cartoon Studio, no Walt Disney Company. It seems as if it's alive by virtue of that alone... They were on the chopping block multiple times in the post-Walt span of 67 years, as recent as 2006, believe it or not! Each movie has to do well in some way in order to justify to the heads that they're a building worth investing hundreds of millions of $$$ into. When reliable hitmaker Pixar is right next door, too. Remember, Disney purged a long list of animation studios/partners: Blue Sky Studios, Disneytoon Studios, several arms of the animation studio, Skellington Productions, etc. etc. So, I'm just going to take what I can get. I'm sure I'll find something of merit, both visually and storytelling-wise, in WISH. The recent trailer, I thought, was a bit of alright. Nothing too fancy to me, but it looks like it'll be a fun time nonetheless. I haven't been wowed upside-and-down by a WDAS feature in ages, but that's a me thing. WDAS is doing THEIR thing, and I guess it's not entirely for me. That's OK! Clearly it's working on someone else... Note ENCANTO, RAYA, and even STRANGE WORLD's sheer success as streaming titles, ditto slightly older movies like the FROZENs and MOANA.

But I think some people should understand that in animation, on one half of the playing field, it's not about the art unfortunately. It's called the animation INDUSTRY for a reason.

I get it. We miss the halcyon days of Disney making a new, gorgeous, splendorifously animated feature using pencil and paper, and post-1989, a lot of digital aid. I get that. I'm a 1992 baby, that era was my era, my jam. THE LION KING alone is one of my **formative** films. It's why I write stories and make comics and would LOOOOVE to turn them into animated movies. I was a preteen during the BROTHER BEAR/HOME ON THE RANGE days when it was all fading away, and I watched - as a late teen/young adult - the studio try to make it a thing again, only to blow it.

It's because it was never about the method, the technique, or anything.

To the artists and filmmakers, it absolutely was! No denying that.

To the bean counters? NO. It's product to them, builds the bottom line, fills the pockets, etc.

That's how it's been in the post-Walt age, post-Golden Age, whatever. Steve Hulett, who worked at Disney Animation circa 1976-86, summed it up once: "These are studios. Not Renaissance art factories."

It makes me think of how a lot of classical art was commissioned by merchants, it was largely glorified fanart of Biblical scenes, but the artists who made those works put their ALL into them. Much in the same way the filmmakers put their all into [name any Disney/big studio 2D animated movie made from 1990 to 2004].

In order words, they more than understood the assignment, no matter how flawed the picture might've been on a writing level. (Like say, POCAHONTAS, an utterly gorgeous movie that the filmmakers clearly went HARD during its production.)

There are so many 2D movies made around the world or independently. I recently saw Disney and Pixar veteran Jim Capobianco's THE INVENTOR, a half Rankin/Bass-style stop-motion half European-like 2D film, in a theater! All by myself, may I add. 10 years in the making, a personal labor of love of his own.

Are these complainers *ever* there for those types of films? I thought so.

Where am I going with this? Ah yeah, that's a big reason why 2D was shuffled out of the question by executives. CGI was huge in the early 2000s, and it seemed that even the least-liked features (note SHARK TALE and CHICKEN LITTLE's critical reception) could outgross or out-success the most beloved 2D features of that period. Both of those movies outgrossed LILO & STITCH, for context...

Now, couple that with CGI being less of a hassle in certain ways. Suppose a big change is made to a movie well into production, and scenes have already been animated. Shaded and lit, even. Well, the sets and character models are still there, so the worst they have to do is shoot a scene from a different angle and reanimate their digital puppets. In 2D? New background to draw and paint, gotta redraw and reanimate the characters AGAIN and keep them ON MODEL- ahhhhh! You can see why CG is preferred in this instance. Perfect for a pipeline of movies that can't be disrupted.

So to bean counters and execs, it was only about getting movies made and them making money. In the early 1990s, CG wasn't at a place where it could sustain a feature-length film, so big-time animated movies were done in 2D almost exclusively. And it just so happens... The animators at studios like Disney, like DreamWorks, like Fox Animation, like Kroyer Films, like Warner Animation, etc... The makers of all your faves from HUNCHBACK OF NOTRE DAME to THE IRON GIANT to THE ROAD TO EL DORADO to ATLANTIS, etc. The filmmakers got the assignment. That assignment being "Make big family film that's sure to be big franchise and McDonald's Happy Meal hit". They took that assignment, and WENT HARD. They didn't have to, but they did anyways. They gave us the coolest damn 2D animation we could've asked for, no matter the writing or the finished movie and how it would fare with critics/audiences. And even the writing, it's like, they did what they felt was right - even if it didn't register for critics nor get audiences interested.

So, again, it was all assignments, and 2D was pretty much the only method they could use. Stop-motion was reserved for the likes of NIGHTMARE BEFORE CHRISTMAS and CHICKEN RUN, more off-beat projects. There was never a stop-mo wave. LAIKA literally runs off of commercials and shoe money, the exploits of a nepo baby. So, it was mainly 2D til TOY STORY came along. TOY STORY came out in fall 1995, and once you started seeing films like ANTZ, A BUG'S LIFE, TOY STORY 2, SHREK, etc. That was it. And these developments coincided with audiences choosing the 2D animated movies they wanted to see, and avoiding the rest... And also them getting so wowed by CGI, while seeing 2D as same-old same-old. Capitalism then cemented 2D features' fate, unless it's based on a TV show, like SPONGEBOB or MY LITTLE PONY. It didn't matter that the CGI wow factor was a fad, and that by the end of the 2000s, audiences didn't flock to see *every* CG movie on the block. CGI was the way, and that was that about that. Because it's about getting the thing made and released without the special challenges a 2D movie presents.

Only FIXED is the anomaly right now, which Sony Animation was willing to take a chance on. It is still unknown if it hits theaters or streaming. If it's the former, this is... I think the first 2D animated **theatrical** movie from a mainstream animation studio that's *not* based on a TV show in ages. Like, since... What? WINNIE THE POOH? (Which is based more on the classic Disney shorts/feature than any of the TV show iterations of the character.) THE PRINCESS AND THE FROG?

You can never guess what audiences will flock to see. If you randomly threw a solid 2D feature out in, say, 2027... It could be big, it could flop hard. But the studios, the industry, they're unwilling to chance that. Thus they aren't, and will not. Quality doesn't matter, because you could throw a **great** 2D movie out, and it could still flop just because... If FIXED does well, I don't know what it means. Could move a needle, maybe not. I kinda don't care, because capitalism is an unmovable object. I don't have a crystal ball, and I can't say for sure what could happen. I guess you could say I'm "Will 2D Come Back" Agnostic. I don't deny it, but I don't think it'll for sure happen. I DO NOT KNOW, haha.

The mass refusal to make 2D animated features in mainstream theatrical feature animation (not streaming, mind you, as we did get KLAUS, WOLFWALKERS, and MY FATHER'S DRAGON from some of the high-end services) was so firm, so absolute, that the idea of traditional animation might as well been tax write-off'ed and Men In Black-erased from our minds. That's how FIRM these companies were in getting rid of it, that's how FIRM they are in NOT wanting to utilize it for a feature film.

So instead, we get stylized CG films like the SPIDER-VERSEs and PUSS IN BOOTS 2 and MITCHELLS VS. THE MACHINES and NIMONA and such. We get maybe a brief 2D scene in a larger CG movie, or some small 2D elements. That mix has got the advantages and the 3D immersiveness of CGI, mixed with that special sauce people love about 2D... And even then, for some people, it just isn't enough. Some will insult the artists and their work, which is not cool. But I'm sorry, either take what you can get or continue to be unsatisfied... Or, seek out 2D stuff that's regularly being made. That's just not by studios as big as Disney and DreamWorks, and not being made in America at that. Broaden your horizons, they're EVERYWHERE.

Anyways, had to vent. Sorry. WISH looks cool, will be seeing.

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