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disneyat34 · 3 years

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Mulan at 34

A review by Adam D. Jaspering

In 1985, Walt Disney Studios closed the original Animation Building. In operation since the Burbank studio’s construction in 1940, it no longer benefited the company. The animated film division had a lengthy period of underperformance and diminishing returns. They were a burden for the company. As such, the animators were moved to an offsite location in neighboring Glendale, California. The vacant Animation Building was repurposed to office space.

Then came the successes of The Little Mermaid, Beauty and the Beast, and Aladdin. At which point, Disney constructed the Roy E. Disney Animation Building. It would be the headquarters of the animation department going forward. It was big, it was modern, and it was a gesture of confidence and faith. The Disney empire was growing beyond its original film division, but animation would remain a cornerstone of the company.

But animation is a time-consuming, labor-intensive medium. It requires many people doing many different things. The majority of work on Disney’s animated films was handled in Burbank. But from the late 80s to late 2000s, Disney also outsourced work to a number of satellite studios.

Satellite studios allowed animators from different regions to work for Disney without relocating to California. They handled inglorious, time-consuming details, such as lip synching, transitions, and crowd scenes. They also handled direct-to-video sequels, theatrical shorts, TV series, and other lesser projects. Doing so allowed the California animation team to focus on characters, scenery and dynamic effects.

Disney operated satellite studios in London, Paris, Sydney, Vancouver, Toronto, Tokyo, and most importantly, Orlando.

The California animators had demonstrated their worth to the company. The animators at Disney’s satellite studios were still neglected. Walt Disney Feature Animation Florida was the only satellite studio who had an opportunity to prove themselves. They produced three films in the Disney canon. The first being a film based on a centuries-old Chinese folk hero.

The legend of Mulan is an apocryphal tale of a female warrior who fought in the Chinese army against invaders. Its exact date of origin is unknown, but believed to originate between third and fifth century AD.

Due to the imperial nature of China and the surrounding areas in this period, the “empire” of China of Mulan’s day doesn’t match the idea of China as we know it. Not one unified country, but several empires laying claim to adjacent regions. Disputes and expansions were often the subject of ongoing wars. The infighting between neighboring empires were also complicated by hostile outside forces.

In the 6th century folk song, The Ballad of Mulan (the oldest surviving written text of Mulan’s legend), Mulan is fighting against simple barbarians. Their nation of origin is unknown, and their intentions are irrelevant. All that’s known is Mulan is a resident of the Northern Wei region, in what is now northeast China.

If she had been fighting an entire army, and not just a band of brigands, she was most likely fighting the empire to the north, the Rouran. The Rouran were predecessors to what would later become Mongolia. According to historical records, Northern Wei’s north border was a common assignment for soldiers. Any soldier from that era and region would expect to serve there. The Northern Wei Dynasty constructed the Great Wall (or more accurately, a significant portion of the Great Wall) to repel these armies.

At any rate, Mulan most certainly wasn’t fighting the “Huns,” as Disney’s film repeatedly insists. For starters, the Hunnic invasions were centralized in eastern Europe and the Caucasus. They were adversaries of the Roman Empire, not China. Second, had the Huns invaded the Northern Wei region, they would have had to traverse all of Asia to arrive.

This assumes the Huns could make the 4,500 mile journey on horseback. This assumes they didn’t invade any other civilizations or empires along the way. This assumes they were prepared for a variety of climates and terrains. They would have to cross tundra, mountains, or deserts, all near the end of their arduous trek when supplies would be exhausted.

Most likely Mulan fought against the Rouran. Disney’s film supports the idea. The movie’s prologue features the villains scaling the Great Wall. Even physically, General Shan Yu and his army bear a striking resemblance to Mongolians in dress, hair, and physical features. Genghis Khan wouldn’t be born for another 600 years, but Shan Yu is easily modeled after him.

But the Rouran are an obscure empire in world history. Their name would just incite confusion, distracting from the plot. The Huns are immediately recognized as a military threat from the first millennium. For simplicity’s sake, Mulan features an army that acted Rouran, looked Mongolian, and were called Huns. It makes no logical or geographical sense, but one shouldn’t expect historical accuracy from a movie featuring a dragon.

Mulan features the titular hero, an ordinary girl in her late teens, living in a small Chinese village. When the men of her village are conscripted into the army, Mulan disguises herself as a man, taking the place of her aging father.

Mulan the character is deliberately underdeveloped. Under normal circumstances, having a character being devoid of personality would be a flaw. Here, it’s an asset. It ties into the first major theme of the movie: identity.

The crux of the film relies on Mulan not fitting in anywhere. She has no defining personality, as she’s never been allowed to be discover one. She’s spent her life forced into a mold, and it doesn’t suit her. As such, she spends much of the film wondering just who she is.

Mulan is introduced preparing to meet the village matchmaker. Like the other girls of the village, Mulan needs to demonstrate her worth as a potential wife. She needs to overtly exhibit her feminine traits. If she’s deemed worthy, she’ll be arranged to be married. Mulan, awkward in her own skin, fails the matchmaker ceremony considerably.

It’s important to understand she fails by accident and bad luck. For all intents and purposes, she genuinely wants to fulfill the ceremony. Mulan did not deliberately sabotage her chances. She doesn’t resent being entered into an arranged marriage. She isn’t repulsed by displays of femininity. She is not naturally boorish and unrefined. Instead, it’s demonstrated that traditional behavior and deportment comes naturally to the other women. To Mulan, it’s a concept so alien, she resorts to crib notes just to remember its tenets.

Mulan is not soured on the idea of marriage or femininity. She willingly participates in the ceremony to the best of her ability. In the end, she fails. She feels embarrassment at her failure and frustration. More than that, she doesn’t understand the source of her shortcomings.

Critics and fans alike point to the song ‘Reflection’ as the film’s emotional center. It’s Mulan’s musical moment of introspection, trying to cope with the fact she doesn’t know who she is.

While this moment is important, many commonly misinterpret the song’s message. Mulan openly opines about why her reflection doesn’t show her true self. As she sings, she removes her heavy make-up, affirming the point visually.

The issue is, Mulan is not wondering why she is forced to cover her true self up. She’s not being forced to act a certain way, or do a certain thing, or carry on a certain tradition. The Disney Princess canon is full of songs where the heroine resents being forced to a live a life she doesn’t want. This is not the case for Mulan.

Mulan loves her home. She loves her family. She loves her village. She has absolutely no qualms about her status. After the film’s events, she happily returns home.

“Reflection” is not the stereotypical “I Want” song (the song where the hero openly espouses their desires for change. The motivation that will drive their actions for the rest of the film.) “Reflection” is instead an examination on a lack of identity and purpose. Mulan is not saying “I Want to Stop Pretending I’m Someone I’m Not” she is asking “Who Am I in the First Place?”

Mulan’s true self is an unknowable. She’s not cursing herself for living a lie. She’s cursing the mirror. Mulan genuinely wants to know who she is, but can’t find answers. What is her purpose? Where does she belong?

In the second act, Mulan joins the army. It’s the same scenario as before, just with another gender. Mulan is expected to act a certain way, dress a certain way, and move a certain way. And just as before, she doesn’t know what she’s doing, it doesn’t come naturally, and she’s ashamed by her shortcomings.

The difference is, Mulan is not expected to know the precepts of masculinity. She, along with the rest of the cadets, are at a training camp. They are being trained on how to be proper soldiers. Mulan takes advantage of the unique situation, masking her lack of masculine traits as generic military inexperience. She learns both at once.

This brings us to the film’s second theme: gender.

Mulan is not shown interacting significantly with the other women of her village. We don’t know whether they treat her well, or whether she’s ostracized. They could be strangers or colleagues or adversaries.

It’s one of the film’s shortcomings that Mulan’s feminine identity is unexplored socially. We don’t know whether her identity crisis is purely internal, or exacerbated by other women. Knowing the difference would help us empathize whether it’s the stress of conforming to gender roles is causing her identity crisis, or if her identity crisis is sabotaging her ability to conform to gender roles. It would also provide a nice benchmark to compare with her experiences at training camp.

To Mulan’s credit, she doesn’t transgress when in any significant way while disguised as “Ping, the soldier.” She’s clumsy, awkward, and accident-prone, but so is everybody else. The difference being, Mulan keeps her awkwardness on full display. The men hide theirs behind aggression, fighting, and other displays of physical might.

Every man at camp is exhibiting something called “performative gender.” They’re all men, and being in a hyper-masculine environment, their manliness is something they want recognized. Everyone tries to assert themselves as men, thus compensating for any perceived shortcomings.

They all want to be the alpha dog. And to be the alpha dog, they need to cut each other down. Either by fighting each other. Or insulting each other. Or undermining each others’ efforts. It’s destructive, but an intense training montage beats the toxic masculinity out of them.

The training montage is set to the original song, “I’ll Make a Man Out of You.“ The song is led by Captain Shang, Mulan’s commanding officer and later love interest. It’s a song of strength, discipline, and confidence. More than that, it’s an anthem of brotherhood and teamwork.

The repeated refrain "Be a man” serves a delicious dual purpose. The ironic purpose, Mulan is learning how to perform and pose as a man. She is becoming indiscernible from the other soldiers. The authentic purpose, manliness is associated with strength, power, might and resilience. To be a man is to exhibit these skills.

Comfortable around each other, Mulan’s fellow soldiers drop their guards. Tensions settle down, and bonds of camaraderie form. They no longer need to best each other or assert their dominance. They’re allowed to be vulnerable and honest.

Mulan’s three soldier friends are Ling, Chien-Po and Yao. All three are introduced as being strange, unlikable, and intimidating to various degrees. But as they all learn to trust each other, they let their true selves be seen. Ling no longer has to mask his shame for his lanky body behind humor. Chien-Po no longer feels ashamed by his enormous size or his gentle sensibilities. Yao learns how to control his Napoleon Complex, no longer raging because of his short stature.

Yao is voiced by Harvey Fierstein. It’s is an odd casting choice, as Fierstein is playing wildly against type. Yao is one of the few roles in his career where his rough, gravely voice is in service of an actual tough guy. Normally, he plays flamboyant or eccentric characters.

Perhaps it was a deliberate choice. In a film boasting the moral that one has a right to choose their own identity, that moral carries over into casting. A man who has played some of the most effeminate men on stage and screen can also play a military grunt if he so desires.

It should be noted that while Mulan focuses on themes of gender and identity, it doesn’t focus on gender identity, a separate concept. The idea that Mulan is transgender or exhibits trans characteristics is false. She is a woman, identifies as a woman, and adopts a male persona only for desperate purposes. At the end of the film, she abandons her male persona, returning to life as a woman.

Even when Mulan is disguised as Ping, she is only impersonating a man. This is constantly reinforced throughout her tenure in the army. Often times, she’s disgusted by the ruse. She’s eager for any opportunity to distance herself from masculine ideals and performances. An evening bathing alone is a welcome vacation back to femininity.

While Mulan is not herself a trans figure, she is regarded as a trans icon. Transgendered men and women, as well as intersex and non-binary individuals have championed Mulan for its accidental representation. Mulan isn’t a story about a person’s struggle with gender identity, but it is tangentially related. Her struggle parallels the three main obstacles of trans and genderqueer people.

First, the lack of certainty when one’s identity is not immediately obvious to one’s self. Some people are extremely frustrated and uncomfortable in their own body. They don’t know why, or how to fix it. Often times, they’re forced to carve their own path, finding their identity beyond what is considered acceptable and normal by society.

Second, the futility and frustration of a gender binary imposed by society. Neither traditional male nor female roles seem authentic or fulfilling. One should be free to pick and choose traits and behaviors regardless if they’re seen as masculine or feminine. One should be free to experiment with one’s identity. One should be free to present themselves in a way that feels comfortable.

Third, intolerance for deviating from one’s gender roles. Society is often cruel to those who are trying to find their true self. In some cases, violently hostile. People may be forced to hide for survival purposes. Even close friends and colleagues may betray you once they learn your secret. It’s intimidating to walk this path alone. It’s terrifying when others find out.

Mulan broaches very serious topics. It does so with genuine exploration and rumination. It’s easy to forget the story is centered on a societal farce. While the original myth was played straight, the movie recognizes the inherent absurdity of Mulan’s gender-bending situation. She is in disguise, and affecting a persona. The situation is already improbable, and the stakes keep getting stranger as the story progresses.

There is a great balance of humor and drama throughout the film, striking the proper beats with precision. For a film centered on war, Mulan is unexpectedly one of the funniest films in the Disney catalogue. Characters are funny. Events are funny. The dialogue is funny. The slapstick is funny. And what’s more, unlike The Hunchback of Notre Dame and Hercules, every joke is appropriate and relevant to the film’s setting.

The humor is bolstered by the character Mushu, a diminutive dragon serving as Mulan’s ersatz guardian. Mushu is voiced by comedian Eddie Murphy. Murphy injects quick wit and high energy into scenes using Mulan as a straight man. It was the same strategy that made Genie in Aladdin such an appealing figure. While Murphy wasn’t given the opportunity to improvise his dialogue like Robin Williams did, it doesn’t matter. The performance is so natural and so fun, the legacy and effect of the two characters are inexorably tied.

The third theme explored by the film is purpose. Where does one find acceptance and meaning?

Mulan has experienced firsthand the rigidly enforced roles for both men and women. As a woman, she participates in a matchmaker ceremony. She’s dolled up, sent to etiquette and deportment lessons, with the hopes she’ll be presented with a husband. She’s ultimately rejected after a series of accidents and blunders. She doesn’t belong there.

As a man, Mulan survives boot camp. She gets a crash course in both military rigor and the male psyche. Her quick thinking and observational skills lead her to save the day. She eliminates a hostile army by firing a rocket at a mountain, causing an avalanche, wiping out the approaching battalion. She stops the invasion and saves the lives of her platoon. But it was all predicated on fraud. Despite proving herself, she doesn’t belong there, either.

Mulan learns her identity isn’t something she can force or adopt. Trying to be a woman for the matchmaker didn’t fulfill her. Being a man for Shang brought the same levels of shame and dishonor. It’s not until the film’s third act where Mulan finally feels like herself. Here, Mulan is free to pick and choose elements from her feminine upbringing and her masculine portrayal.

In the film’s third act, several members of Shan Yu’s forces survived Mulan’s avalanche. They’re descending on the emperor’s palace for an assassination attempt. Mulan rushes to the emperor’s palace to warn Shang and the troops. She’s the only one with knowledge of the impending trouble. Although she’s unwelcome, she absolutely belongs.

Shang has a similar crisis of conscience. When he’s appointed captain, he doubts whether he earned the position, or if he was the recipient of nepotism. Is he really ready to lead an army, or just coasting on his general father’s legacy? Regardless, when his platoon of rookie troops are all that remains of the Chinese army, he rises to the occasion.

When Shang leads his army in a celebratory victory parade, his sense of belonging is questioned again. He knows the victory and his survival is exclusively because of Mulan. Were it not for her, he would have nothing. Instead, Mulan is discharged, and he’s being fraudulently lauded as the hero. He won’t admit it, but he knows it, weighing heavy on his soul.

Even Mushu embraces this theme. Little more than a page for the spirit world, he has aspirations of being a guardian spirit. Then, an accident forces him to suddenly embrace the position of Mulan’s guardian. He has to grapple with being a fraud, a pretender, and being woefully unprepared just to achieve a modicum of respect. But he embraces the ‘go big or go home’ mentality, refusing to abandon Mulan until she’s a hero. If he can’t be respected by somebody, then there’s no point.

As Mulan races to save the emperor, she finds her true self for the first time. While the Chinese army tries futilely to break down a barricade, Mulan intervenes. She knows the Chinese are outmatched in a straightforward attack. She knows they have the high ground, and are holding the emperor hostage. This is not the scenario for a charge. This is the situation for tactics. And Mulan has the perfect one planned.

Desperate, and knowing Mulan is a great warrior and brilliant strategist, they forgive her previous deceptions. They trust her. They trust her, no matter how ridiculous her plan may seem.

Mulan convinces her colleagues to disguise themselves as concubines. When Shan Yu’s colleagues are distracted, they are promptly dispatched. It’s a genius play of espionage that could only come from someone in Mulan’s unique position. It also demonstrates how unprepared the Hun army is, if they thought Ling, Chien-Po, and Yao made convincing women.

The exploration and deconstruction of gender norms is one of the strongest assets of the film. At the film’s inception, women are depicted one way, men another. Women are depicted as graceful, polite, and refined. The men are depicted as being strong, reliable, and loyal. And none of these are bad traits. They’re positive attributes. What the film demonstrates is, they shouldn’t be definitive of, or exclusive to, one gender.

Mulan began the film belonging in no real place, forced to make one up. As such, she embarks on an adventure of military strength and strategy. Cleverness and wit. Poise and grace. Friendship and trust. She smashed the glass ceiling and saved a nation, when all she wanted was a sense of fulfillment.

Mulan demonstrates strengths are found when a wide array of backgrounds are explored. Unique perspectives and unique experiences beget unique achievements. By pigeonholing people into established identities, you only create a monotone line of thought in all areas. Freedom of expression is necessary to achieve in every field, be it science, art, design, law, or military tactics. When something like gender and identities are treated like restrictions, you only limit collective greatness.

While Mulan is an excellent film in regards to its themes, it does fall short in other areas. Primary among them is the indecision of where and when it addresses its themes. Mulan faces adversity, but it’s not always clear why. Is she suffering because of systemic misogyny, or for her lack of confidence? Mulan succeeds, but it’s not always clear why. Is she accomplished because of her military training, or an innate intuition and resourcefulness? Mulan has allies in the military, even after her identity is revealed. They rely on her to save the emperor. Have they really forgiven her, or do they rely on her out of desperation?

Another strike against the film is the soundtrack. While the score is fine, the inclusion of songs is a questionable choice. While “Reflection” and “I’ll Make a Man Out of You” are beloved, they hide a hidden problem.

A film can’t have just two musical numbers. It wouldn’t make sense. It would undercut the dramatic stakes. A film needs to either be a musical, or not have musical numbers. But Disney has always had a string of good fortune with their soundtracks, especially in the 1990s. They weren’t stopping here. Mulan has a soundtrack not because it helps the film, but because Disney wanted it to have one.

Even the movie acknowledges how unhelpful its soundtrack is. When Mulan’s platoon witnesses the burnt remains of a village, razed by Shan Yu’s army, they stop singing mid-song. They’re in shock and horror. A silly little song about finding love seems completely tone deaf. Barely past the movie’s halfway point, the film doesn’t feature another number for the entirety of its runtime.

Two other songs are forced into the narrative that add little over all. “Honor to us All” and “A Girl Worth Fighting For” simply move the movie along from one scene to the next. Had the characters been speaking instead of singing, nothing would change. These musical numbers feel like wastes of time, stalling the film. Given the choice between Mulan having two good songs and two bad songs, or no soundtrack at all, I’d choose the latter.

It’s made even worse when the credits begin rolling. “True to Your Heart,” an upbeat pop ballad, asserts itself unwelcomingly. It’s present nowhere else in the film. It’s musical stylings are present nowhere else in the film. It matches nothing in the film. It could play during the credits of any movie released in 1998. It’s a pop number commissioned to sell the soundtrack. A soundtrack which is trying in vain to justify its existence.

Problems aside, Mulan is an excellent character piece. Gender as a topic is rarely explored in media in general, much less family animation. It examines a conflict that’s recognizable and universal, transcending culture and era. What’s more, the film blends its drama with humor in proper proportions, shifting effortlessly between both. The concepts are deep, but approachable. Neither suffers by the other’s inclusion. Ideas are sometime undercut by competing themes, but it all culminates in a grand picture.

Mulan proves that, given opportunity and incentive, anybody can achieve anything. A humble farm girl can become a military legend. An ordinary person can choose a gender identity not assigned to them at birth. And a studio full of B-string animators in Orlando can complete a masterwork of a film.

Beauty and the Beast Fantasia The Lion King Snow White and the Seven Dwarfs Cinderella Alice in Wonderland Sleeping Beauty Mulan The Little Mermaid Aladdin The Many Adventures of Winnie the Pooh Pinocchio The Jungle Book Robin Hood The Sword in the Stone Bambi The Hunchback of Notre Dame The Great Mouse Detective 101 Dalmatians The Three Caballeros Lady and the Tramp The Rescuers Down Under The Fox and the Hound Peter Pan Dumbo Hercules The Black Cauldron Melody Time Oliver & Company The Rescuers Pocahontas Saludos Amigos The Adventures of Ichabod and Mr. Toad The Aristocats Fun and Fancy Free Make Mine Music

#Mulan #1998 #Disney #walt disney #Walt Disney Animation Studios #disney studios #Disney Canon #Film Criticism #film analysis #movie review

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wikipediaredoengl199fa20 · 3 years

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John Lasseter: Hannah Chestnut’s Wiki Redo! Assignment

TW: SEXUAL ASSUALT, SEXISM

Hannah Chestnut

Wiki! Redo Revisions: Sexual Assault Allegations against John Lasseter

In January of 2019, John Lasseter stepped down from his position as Chief Creative Officer over both Pixar and Disney’s animation studios. As I read through the article at that time, I found Lasseter’s statements extremely underwhelming. He claimed he had taken “missteps” and that he was sorry “to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form,” and I found my eyes stuck on that phrase, “unwanted hug or any other gesture.” I was thinking to myself that there must be more to the story for a man, who had a net worth of $100 million dollars and was in charge of two of the most successful and prominent animation studios in the world, to voluntarily step down from a company he played a pivotal role in creating. As someone who had extensive knowledge of animation history and the history of both studios, I was extremely confused as to why John Lasseter, one of the most influential advocates for computer animation, would step down from the company and technology he pioneered, to go and work for another studio because of a few “unwanted hugs.”

John Lasseter had been one of the most influential individuals in animation history. He had pioneered computer animation and was a driving force behind bringing that technology to Disney. His influence was not inconsequential, he was one of the most powerful people in animation. So, when I read through all of this, it just didn’t add up to me. It didn’t add up, I was so sure there had to be more to the story. I had forgotten about it until now, and once I found the Wikipedia article for this assignment, I read through it. When I found the section about the allegations, I found one quote detailing the unwanted “grabbing, kissing, making comments about physical attributes.” While this was more than what Lasseter himself had described, it still felt like it must be an understatement. So I decided to do some more investigation into the matter, and thanks to the bravery of a former Pixar employee, I found a full account of the sexist workplace environment Lasseter had created and more details of the allegations against him. Most of the statements and quotes from victims were anonymous, in order to protect their careers within the tightly knit animation community, however Cassandra Smolcic came forward after working at Pixar for 7 years. Her detailed account of how difficult it was to speak out against these microaggressions shed more light onto Lasseter’s discreet departure.

The first revision I made was fixing the language of the first sentence. The original statement was as follows: “In November 2017, Lasseter took a six-month leave of absence after acknowledging allegations of workplace sexual misconduct that he described as "missteps" with employees in a memo to staff.” I changed it to “In November 2017, Lasseter took a six-month leave of absence after allegations of workplace sexual misconduct.” I made this revision in order to take out Lasseter’s underwhelming characterization of his behavior from the first sentence regarding these allegations. I find the inclusion of said quotation to undermine the reality of his harmful actions and to also exclude the voices of women from the account of this problem. This is an example of implicit bias in favor of a powerful man who had abused his power to objectify women in the workplace. The next revision I made was to write an additional paragraph, citing Smolcic’s account of his behaviors at work. Originally there had been no additional information regarding what exactly he had been accused of, and it included no quotations or citations of the women Lasseter assaulted. I felt the exclusion of these quotations failed to give voice to the victims, another example of how the exclusion of information is a form of implicit bias.

Lastly I added more information in the second section about Lasseter’s departure from Pixar and his new position at Skydance Studios. This section only quoted Lasseter, painting himself as someone who “deeply” regretted his actions, and felt acknowledging this behavior would “make him a better leader,” further undermining the unsafe environment Lasseter created at Pixar Studios. In order to remain as neutral as possible, I left this quotation in this section in order to allow Lasseter to speak for himself and to keep record of Lasseter’s statement. But in order to challenge the implicit bias of only quoting Lasseter and Skydance, I added an additional paragraph about how Skydance’s decision to hire Lasseter was not unanimously supported by Skydance employees. In fact, both the actress Emma Thompson and director Alessandro Carloni left the production of the 2021 film “Luck,” after Lasseter’s hiring. Since Emma Thompson made a public statement claiming the reason she left was because of Lasseter joining the production team, I felt giving her a voice as a woman in the entertainment industry would be much better than silence. This was another example of how omitting a certain perspective is indicative of implicit bias.

Sources

Amidi, Amid. “Is Skydance Endangering Its Female Employees? Here Is A List Of Accusations Against John Lasseter.” Cartoon Brew, Toggle Navigation Sign in Membership Film TV Shorts Awards Tech VFX CG Animation VR Tools Biz Business Box Office Report Artist Rights Studios Cities Bay Area London Los Angeles Montreal New York City Vancouver Paris Toronto Charts & Data 2021 Animated Features 2021 New Animated TV Series For Broadcast, Streaming & Cable Most-Viewed Indie Youtube Shorts Streaming Animation Guide Search: Film TV Shorts Interviews Business VFX/Tech Artist Rights Box Office Festivals, 10 Jan. 2019, www.cartoonbrew.com/artist-rights/is-skydance-endangering-its-female-employees-here-is-a-list-of-accusations-against-john-lasseter-168942.html.

Masters, Kim. “John Lasseter Taking Leave of Absence From Pixar Amid ‘Missteps.’” The Hollywood Reporter, 22 Nov. 2017, www.hollywoodreporter.com/news/john-lasseter-taking-leave-absence-pixar-missteps-1057113?utm_source=twitter.

Masters, Kim. “John Lasseter's Pattern of Alleged Misconduct Detailed by Disney/Pixar Insiders.” The Hollywood Reporter, 22 Nov. 2017, www.hollywoodreporter.com/news/john-lasseters-pattern-alleged-misconduct-detailed-by-disney-pixar-insiders-1059594.

North, Anna. “John Lasseter, CEO of Pixar and Walt Disney Animation Studios, Sexual Misconduct Allegations.” Vox.com, Vox, 9 Jan. 2019, www.vox.com/a/sexual-harassment-assault-allegations-list/john-lasseter.

Smolcic, Cassandra. “Pixar's Sexist Boys Club.” Medium, Be Yourself, 24 Sept. 2019, byrslf.co/pixars-sexist-boys-club-9d621567fdc9

Statt, Nick. “Pixar's John Lasseter to Leave Disney Following Sexual Harassment Complaints.” The Verge, The Verge, 8 June 2018, www.theverge.com/2018/6/8/17443370/pixar-walt-disney-animation-john-lasseter-leaving-company-sexual-harassment.

Wit, Alex Dudok de. “Skydance Animation's 'Luck' Loses Director Alessandro Carloni Over 'Creative Differences'.” Cartoon Brew, Toggle Navigation Sign in Membership Film TV Shorts Awards Tech VFX CG Animation VR Tools Biz Business Box Office Report Artist Rights Studios Cities Bay Area London Los Angeles Montreal New York City Vancouver Paris Toronto Charts & Data 2021 Animated Features 2021 New Animated TV Series For Broadcast, Streaming & Cable Most-Viewed Indie Youtube Shorts Streaming Animation Guide Search: Film TV Shorts Interviews Business VFX/Tech Artist Rights Box Office Festivals, 16 Jan. 2020, www.cartoonbrew.com/feature-film/skydance-animations-luck-loses-director-alessandro-carloni-over-creative-differences-184832.html.

Aguilar, Carlos. “Read Emma Thompson's Scorching Resignation Letter To Skydance Over John Lasseter Hiring.” Cartoon Brew, Toggle Navigation Sign in Membership Film TV Shorts Awards Tech VFX CG Animation VR Tools Biz Business Box Office Report Artist Rights Studios Cities Bay Area London Los Angeles Montreal New York City Vancouver Paris Toronto Charts & Data 2021 Animated Features 2021 New Animated TV Series For Broadcast, Streaming & Cable Most-Viewed Indie Youtube Shorts Streaming Animation Guide Search: Film TV Shorts Interviews Business VFX/Tech Artist Rights Box Office Festivals, 26 Feb. 2019, www.cartoonbrew.com/artist-rights/read-emma-thompsons-scorching-resignation-letter-to-skydance-over-john-lasseter-hiring-170742.html.

Allegations of sexual misconduct and exit from Disney/Pixar

See also: Weinstein effect

In November 2017, Lasseter took a six-month leave of absence after allegations of workplace sexual misconduct.[45] The alleged misconduct towards employees included "grabbing, kissing, [and] making comments about physical attributes".[8][9] The alleged conduct became so well known that, according to Variety, at various times, Pixar had "minders who were tasked with reining in his impulses.”

Additionally, former Pixar employee, Cassandra Smolcic, wrote an essay in order to share her experiences of sexism and harassment while working at Pixar. She was told that it had been decided that was “best if you don’t attend art reviews on this production. John has a hard time controlling himself around young pretty girls, so it will be better if we just keep you out of sight.” She also provided details about how John Lasseter behaved at social events outside of work, claiming that “Quite a few of my female friends refused, year after year, to enter the costume contest — even if they’d worked for hours on a prize-worthy outfit — because of how infamously uncomfortable the costume parade became.” All other sources on John Lasseter’s behavior remain anonymous, with one anonymous source asserting that he witnessed Lasseter place “his hand on her knee, though, moving around." This male Pixar employee later asked the woman about this occurrence and reported that, "She said it was unfortunate for her to wear a skirt that day and if she didn't have her hand on her own right leg, his hand would have traveled."

In June 2018, Disney announced that Lasseter was leaving the company at the end of the year, taking a consulting role until then.

Skydance Animation

On January 9, 2019, Lasseter was hired to head Skydance Animation, which will produce animated films with Paramount Animation and Ilion Animation Studios.[1] In a statement, Lasseter expressed his gratitude for the opportunity, adding "I have spent the last year away from the industry in deep reflection, learning how my actions unintentionally made colleagues uncomfortable, which I deeply regret and apologize for. It has been humbling, but I believe it will make me a better leader."[1]

During a meeting at Skydance that same month, Lasseter expressed regret over his actions at Disney and Pixar. Lasseter said that ,"[he] will continue to work every day for the rest of [his] life to prove [...] that [he has] grown and learned".[47] An investigation conducted prior to his hiring found that no previous claims of sexual assault, propositioning or harassment had been filed against Lasseter,[47] and "[...] there were no findings of secret settlements by Disney or Lasseter to any parties asking for a settlement.”

However, Skydance’s decision to hire Lasseter was met with internal controversies. Both Emma Thompson and director Alessandro Carloni left the production of the upcoming 2021 film, “Luck,” Thompson, leaving with a publicly published letter to the studio, questioned why the studio “would consider hiring someone with Mr. Lasseter’s pattern of misconduct given the present climate in which people with the kind of power that you have can reasonably be expected to step up to the plate.” She also asked the studio if the women working at Skydance were “supposed to feel comforted that women who feel that their careers were derailed by working for Lasseter DIDN’T receive money?”

According to The Hollywood Reporter, inside sources have said that Alessandro Carloni left the project after this letter was published, citing “creative differences” as the explanation behind Carloni’s departure. (387 words)

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hitellshowbutbetter · 5 years

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websites:

Animation World Network

Animation Backgrounds

Animation Magazine

Animation & CGI

Animator Island

Anime News Network

Cartoon Brew

Character Design References

On Animation

Reference! Reference! (free database for animation)

11 Second Club (monthly character animation competition)

tumblr blogs:

animationart

animationforce

animationtidbits

aspiretoanimate

calartscharacteranimation

disney-moments-sketches (Allen Ostergar’s blog, animator at Walt Disney)

drawingforsuckas

fuckyeahconceptart

storyboardresources

theanimationarchive

theartofanimation

wannabeanimator

resources/tips:

Animation schools: 1 / 2 (Top 50 USA) / 3 (Top 100 international)

Which animation school is right for you? (Ringling vs. CalArts)

Don’t want to/ can’t afford art school? you’ve got other options.

Animation Mentor: The online animation school

Art school exercises!!

51 Great Animation exercises

20 things you can expect as a traditional (2D) animation student that they never tell you

A Survivor’s Guide to Life Inside an Animation Studio

Animation basics: The art of timing and spacing

Animation Notes From Ollie Johnston

Animated chart of the basic principles of animation

10 Second tip: Always Anticipate

book: Animation: Learn How to Draw Animated Cartoons by Preston Blair

book: A System for Planning and Timing Animation by Glen Keane

book: Timing for animation by Harold Whitaker and John Halas

book: Gesture Drawing for animation by Walt Stanchfield

Basic 3D Animation Terminology

Digital pencil test!!

Keys to Emotion in Animation

Lessons from Disney’s Zootopia

Model Sheets central

The importance of Acting in Animation by Segio Pablos

Printable exposure/dope sheet

Phoneme Chart

Recommended reading for animation students and enthusiasts

The 5 Types of Animation

The Know-How of Cartooning

The Unofficial Truth about The Animation Industry

Why Disney Sends Its Animators To Life Drawing Classes

Walk/Run Cycles reference

What is Pixar looking for in Animators? (scroll down)

Portfolio Advice for The Disney Animation Internship

What is Rigging?

3D Rigging Terminology

3D Modeling Terminology

tutorials:

Animation for Beginners: Where do I start

Animation Physics (Video tutorials on physics for animation artists)

Animation tutorial part. 1 AKA “the secret of animation”

Appealing Poses in Animation

Background & Movement in TV

Blinking tips

Breakdown tutorial (middle frame between to keys)

Drawing & Composition for visual storytelling

Drawing for Animation

Drawing a Likeness

Animation fundamentals + tutorials

Filmmaking: Composition and Framing

Getting Shape Change

How to animate using photoshop

How to animate Characters in Perspective

How to Animate Head Turns

How to Draw Gesture

OpeenToonz tutorials masterpost

Overlapping Action and Drag

Portfolio tips / Making A Successful Portfolio

Lyp Sync tutorial

Line of action

Basics of good cartooning 1-12 by Sherm Cohen

Squash & Stretch tutorial

Squash and Stretch 2

Storyboarding tutorials by Sherm Cohen

The Illusion of Life: 12 Principles of Animation

Tilt, Flow & Rhythm

Underlying Structure When Animating Expressions

TVPaint tutorial: Uploading and Coloring Scanned Animation

supplies (traditional animation):

10 Essential Art Supplies for the Traditional Animator

How to Use a Light Table for Animation

Making a Simple Animation Lightbox

Peg bars, Animation Disk & Desk

softwares:

free

Blender (3D creation suite. It supports the entirety of the 3D pipeline: modeling, rigging, animation,etc)

Emofuri (animate using .psd files)

Google Sketchup (

Live2D ( animation/drawing software

OpenToonz (Studio Ghibli’s open source animation software)

Pencil2D (create traditional hand-drawn animation (cartoon) using both bitmap and vector graphics)

Renderman (Pixar’s free 3D rendering software)

Sculptris (Free digital sculpting tool by the makers of Zbrush

SculptGL (Online modelling program)

Synfig (2d animation using a vector and bitmap artwork)

paid

Zbrush (digital sculpting sw by Pixologic)

Mudbox (digital sculpting sw by Autodesk)

Cinema 4D (digital sculpting sw by Maxon)

TVPaint (2d animation)

animation studios:

Aardman (Bristol, UK)

Blue Sky Studios (Greenwich, USA)

Dreamworks (Glendale, USA)

Fox Animation (USA)

Imagination Studios/CN (Burbank, USA)

Industrial Light & Magic (San Francisco, USA)

Laika (Hillsboro, USA)

Luma Pictures (USA / Melbourne, Australia)

Nickelodeon Animation (Burbank, USA)

Pixar (Emeryville, CA)

Rise FX (Berlin, Germany)

Studio Ghibli (Tokyo, Japan)

Sony Picture Imageworks (Vancouver, Canada)

Sony Pictures Animation (Culver City, CA)

Walt Disney Animation (Burbank, CA)

Weta Digital (Wellington, New Zealand)

inspiration: worth watching short films

Coda by and maps and plans

Contre Temps by the Contre Temps Team

Duet by Glen Keane

DOG ENVY by Olivia Huynh

Fallin Floyd by il Luster

French Roast

Gravity by Ailin Liu

In Between by Gobelins

Jinxy Jenkins and Lucky Lou by Michael Bidinger and Michelle Kwon

My Big Brother by Jason Rayner

Night Light by Qing Han

Nephtali by Glen Keane

Nocturne by Kari Casady

Historia de un Oso by Gabriel Osorio

Home Sweet Home by home sweet home the film

One Bright Dot by Clément Morin

Stickboy by Giant Ant

SOAR by Alyce Tzue

Tsunami by The Animation Workshop

Thought of You by Ryan Woodward

Vagabond by The Animation Workshop

5 Gobelins Shorts That Pay Tribute To Women Animation Pioneers

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ghostofpastlovers · 5 years

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20 Questions Tag

Lol I don’t usually do these but I also never get tagged in them so I figured why not

Rules: answer 20 questions and tag 20 people you want to know better.

Tagged by: @imperfect-postures

1. Nickname: Anna or Bleuu

2. Zodiac: Pisces babyyyy

3. Hogwarts house: I haven’t touched HP, but like anyone I took the house quiz and I’m a Hufflepuff!

4. Height: 5’11

5. Last thing you googled: “how much money do women soccer players make”

6. Favorite musician: Marianas Trench, duh

7. Song stuck in your head: A few minutes ago it was Echoes Of You by MT but now it’s Bad Guy by Billie Eilish.

8: Followers: 51

9: Following: 171

10: Do you get asks: Nope, though my ask box is always open ;)

11: Amount of sleep: I usually get 6-8 hours a night

12: Lucky number: 16!

13: What are you wearing: A P!ATD shirt and some shorts

14: Dream job: Story artist/revisionist at Walt Disney Animation Studios!

15: Instruments: I have a ukulele and a keyboard, though I barely play

16: Languages: Just English, I’m going to learn ASL next year though.

17: Favorite song: Way too many

18: Random fact: I never drink enough water and last night a passed out at in the hallway at 5am because I was so dehydrated and sick :)) Drink water kiddos

19: Aesthetic: Moon and stars, the sky, anything blue, white fluffy animals, clouds

20: Dream trip: I really want to visit Astoria Oregon, Seattle, Vancouver, and New York!

I’m tagging: I hate tagging people in these so I’m not tagging anyone but if you want to do it then go for it. Drink some water first kids!

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vfsalumni · 5 years

Link

Where do we begin with Lino DiSalvo? Thankfully that’s a question I don’t need to answer as IMDB has done a great job summarizing his career since graduating from VFS long ago. Allow them the honour below!

“Lino DiSalvo is an American animator, film director, writer and voice actor. Born in Brooklyn, New York and raised in Franklin Square, Long Island. As a child, DiSalvo was a fan of the early animated feature films from Disney and then, as a teenager, became inspired to pursue animation after seeing The Lion King in 1994. With the encouragement of his parents, he left for Vancouver, Canada. After graduating from Vancouver Film School he joined Walt Disney Animation Studios. DiSalvo spent almost 17 years at Disney and served as Head of Animation on Frozen. His other credits include supervising animator on Tangled and Bolt; and animator on Meet the Robinsons, Chicken Little, 102 Dalmatians and Reign of Fire. He served as Creative Director for Paramount Animation before joining Paris-based, ON Animation Studios (producers of 2016's The Little Prince) as Head of Creative. His directorial debut, Playmobil: The Movie, based on an original story of his, is set for release on August, 2019. DiSalvo has also voiced the characters of "Vinnie the Pigeon" in Bolt, "Gristletoe Joe" in Prep & Landing: Naughty vs. Nice, and "Robotitron" in the upcoming Playmobil: The Movie. DiSalvo is currently developing his next animated feature, The Badalisc, which is inspired by Italian folklore and draws heavily from his cultural heritage.”

#vancouverfilmschool #vfs #animation #3danimation #2danimation #classicalanimation #frozen #tangled #bolt #meet the robinsons #chicken little #102 dalmations #reign of fire #disney #paramount animation #ON animation studios #playmobil #the badalisc #lino disalvo

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disneytva · 1 year

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Disney has delayed the TIANA series once again, this time like Moana The Series, Disney has dropped the 2024 listing on the Walt Disney Animation Studios site.

As opposed to other series based on movies mostly provided by Disney TVA, Tiana and Moana The Series will be done at Walt Disney Animation Studios under the Vancouver division of the studio with a higher budget.

#Tiana #The Princess and the Frog #Stella Meghie #Walt Disney Animation Studios #WDAS #Walt Disney Animation Studios Vancouver #WDAS VC #Disney+#Disney Plus #Disney+ Originals #Disney Plus Originals #Disney+ Original Series #Disney Plus Original Series #Disney+ Original Animated Series #Disney Plus Original Animated Series

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kylesvariouslistsandstuff · 4 months

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More Pixar layoffs, because of upper Disney management blundering. 20% of their staff, though not imminent.

Apparently it's a lot of staff that were hired specifically for Disney+ projects, like DUG DAYS and the upcoming WIN OR LOSE. Pixar's scaling down again, and are probably just focusing on features and a handful of shorts. Like they always did.

The Walt Disney Company definitely went all-in on the Disney+ thing, like all these companies did. Streaming was the future be-all end-all, everything else is IRRELEVANT. Best Buy phasing out selling physical media in stores, David Zaslav erasing things, Disney initially withholding Marvel and Star Wars limited series from being shown *anywhere* else, the models for these shows clearly not working... It's like COVID-19 and the streaming blitz accelerated two entirely separate problems in movie-dom, and now we're seeing a sorry fallout of it all.

This is not dissimilar to Pixar opening a Vancouver unit in 2010, which would've handled shorts and specials, only for them to be closed down three years later and their entire staff (around 50-100 people) laid off. And it really sucks, because finding another job isn't all that easy, and being put in that position is stressful and anxiety-stoking to begin with...

It appears history kinda repeated itself in 2024, a little over four years after Disney+ launched. I liked the idea of more Pixar short-form stuff, it's a good way to revisit characters/worlds without having to do more sequels, but streaming can only go so far and it's clearly not making the revenue Disney and shareholders want. And who gets hit the hardest? The creatives, the crews, the people who actually do all the hard work, while the execs - who could probably float to another gig unscathed - fuck around at the top. There were layoffs last year, too, among them Angus MacLane, Galyn Susman, and Steve Purcell. Some real heavy-hitters there...

Of course, the less-educated will immediately see "layoffs" and whine that Pixar should go back to letting only five nerdy white dads direct movies. And that one of those dads, a toxic misogynist who rightfully got Me Too'd, should be their leader again. What kind of animation fan are you? Even if I didn't like the latest movies made at that studio, even hated them... I wouldn't want the people who have to work hard to keep a roof over their heads to get laid off, nor blame their misfortunes on how much you didn't like the teen panda movie. And wanting someone who made many women uncomfortable to be their boss again. The hell is he running another animation studio for? The hell is wrong with ya??

Anyways... I hope those who will be affected find work without struggle.

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ptbf2002 · 5 months

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Cupheads Meet Pucca

Have You Guys Heard That Pucca Is Officially Member Of King Features Syndicate. And It's Parent Company Hearst Communications. Yeah That's Right! King Features Syndicate. And It's Parent Company Hearst Communications, Which The Company Who Produced The Cuphead Show For Netflix. Along With Other Franchises Like Popeye, Betty Boop, Cuphead, The Phantom, Flash Gordon, Archie Comics and recent IP additions, Moomin, Tulipop and PURENorway, has reached an agreement with CJ ENM to represent Pucca, the popular Korean animated character and her captivating world, as the brand’s exclusive licensing agent for North America.

Pucca Belongs To Boo Kyoung Kim, Calvin Kim, VOOZ Co., Ltd. King Features Syndicate, Inc. Hearst Communications, Inc. CJ ENM Entertainment Division, CJ ENM Co., Ltd. And CJ Corporation

Pucca (TV Series) (2006-2008) Belongs To Boo Kyoung Kim, Calvin Kim, VOOZ Co., Ltd. Studio B Productions, Inc. DHX Media Vancouver, WildBrain Studios, DHX Media, Ltd. WildBrain Ltd. MBC TV (South Korean TV channel), Munhwa Broadcasting Corporation, Toon Disney, Jetix, Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Pucca: Love Recipe (2018) Belongs To Boo Kyoung Kim, Calvin Kim, VOOZ Co., Ltd. DeAPlaneta Kids And Family, DeAPlaneta Entertainment, Planeta Corporación, S.R.L. BAZOOKA Studio, Tooniverse, CJ ENM Entertainment Division, CJ ENM Co., Ltd. CJ Corporation, MBC TV (South Korean TV channel), Munhwa Broadcasting Corporation (MBC), Discovery Kids (Latin American TV channel), Discovery Latin America, Discovery Networks International, Discovery, Inc. Warner Bros. Discovery, Inc. Disney Channel Japan, The Walt Disney Company (Japan) Ltd. Disney Channel (Southeast Asia), Disney Networks Group Asia Pacific, The Walt Disney Company (Southeast Asia) Pte. Ltd. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, The Walt Disney Company, Amazon Prime Video, Amazon.com, Inc. And Netflix, Inc.

The Cuphead Show! Belongs To Dave Wasson, Mercury Filmworks, Lighthouse Studios, Screen Novelties, Studio MDHR Entertainment Inc. King Features Syndicate, Inc. Hearst Communications, Inc. Netflix Animation Studios, Netflix Worldwide Entertainment, LLC, And Netflix, Inc.

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frederator-studios · 6 years

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Adrian Thatcher: The Frederator Interview

From Nelvana’s studio in Toronto, Adrian Thatcher has been expertly steering the Bravest Warriors Space Whale from the Director’s chair. We here at Frederator have had as much fun watching Adrian’s work, as he's had creating it! Here, Adrian discusses his windy path toward directing animated TV, and the many awesome shows and films he’s contributed to along the way. I’ve gotta echo Adrian on one BIG point: bring Clone High back!!

Did you go to school to study animation, or anything else?

I went to Sheridan College in Ontario. I applied for almost every artistic course I could think of: Illustration, Graphic Design, Industrial Design, and of course Classical Animation. I ended up taking one year of Illustration before switching to Classical Animation.

When did you know you wanted to work in cartoons, and what inspired that choice?

Like a lot of people in animation, I didn’t even realize that working in cartoons could be an actual career. Drawing was pretty much the only thing I did as a child, so I knew that I’d have a career in something creative. But animation probably would have been very far down the list—I really enjoyed graphic design and advertising in high school. I didn’t make a conscious choice to pursue animation professionally until about halfway through my first year of college. The industry was booming and it was in the news a lot. Jurassic Park, Toy Story, The Mask. It didn’t take long to discover that many Sheridan graduates were key players in some of these films. These were people that went to the exact same school I did; I thought, “I can do that!”

So that was my first concrete inspiration, from a career perspective. But I had early brushes with animation as a kid. My big brother showed me how to make flip books. The subject of which mainly consisted of a little stick-man skateboarder doing tricks before falling off of cliffs, smashing into walls or onto a bed of spikes. Inspiring stuff as a kid, seeing your drawings move, but not exactly something that I thought I could turn into a career.

What shape did your path through animation take, position to position?

Great question! Let’s see, a walk down memory lane. My first job was at Walt Disney Animation Canada. Yes, they had a Canadian studio. Two actually: one in Vancouver, one in Toronto. I was hired onto the pre-production crew for Hercules II after my second year at Sheridan. The first job I did was inbetweening for Sylvain Chomet (The Triplets of Belleville) on development animation for a new Hercules villain. I enjoyed that but also wanted to explore my options, and pre-production was great for that. I did a little character, location, and prop design, as well as storyboarding. After Hercules II, we began Peter Pan: Return to Neverland; by then I’d narrowed my focus to location/prop design. I learned a ton from lead designers Ted Collyer and Dermot Walshe. From there I moved into production layout on Little Mermaid II, Lady and the Tramp II, Jungle Book II and a few smaller projects. For those films, I moved to Walt Disney Animation Australia for two years. Sydney was awesome and I learned a lot from the people down there, even if I didn’t know it at the time.

When I returned to Toronto, I started my 16+ year career with Nelvana as a location/prop designer on Clone High. A couple production layout gigs at Nelvana followed and then I was given my first art direction job on a show called 6teen after doing the development location designs in full colour. I loved the job even though I’d never planned on being an Art Director. I don’t think I even knew what an Art Director did until I started! I remember going home after being offered the job and searching the Internet for information about being an Art Director. I must have found the right stuff, because after that, I art directed Ruby Gloom, Willa’s Wild Life, and Scaredy Squirrel before getting my first directing job on The Adventures of Chuck and Friends. I even managed to win an Emmy award for Outstanding Individual Achievement in Art Direction on Willa’s Wild Life. After Chuck and Friends I went on to direct Oh No! It’s an Alien Invasion, Ranger Rob and then….wait for it... BRAVEST WARRIORS!

Ahh ye-ah! Since you've done everything from layout to design to art directing, do you have a favorite role? Was directing your goal?

I think that my favorite job has to be directing - it’s definitely where I’m happiest. At times it almost feels like that first week on the job at Disney, where I could choose what I wanted to do. Directing allows me to have a hand in many areas of the production. I still design some characters and locations, like the Slumber Sisters (BW, “Chained to Your Side”) and the Techno-Cavern (BW, “Whispers in the Morning”). I’ve even storyboarded a little! Ted Collyer and I teamed up to board the new Bravest opening. My favorite part of directing is working closely with, and having the support of, so many great people. People like my Assistant Director Campbell Bryer, who can step in and handle production details when my schedule gets crazy—and it often does. Marc Sevier, who keeps an eagle eye on the animation; Davian Bobrowska’s amazing art direction. Everyone on the team, really. I never chased directing: I just focused on learning as much as I could in the role I was in. Once I felt I’d learned enough in the role I was doing, I wanted to learn more, and that’s what really led me to directing. I’m still learning more every day.

What qualities are most important for a Director in animation to have?

Wow, there are so many and they all feel of equal importance. But a few in no particular order: I think that you need to remain humble. Having a big head as a Director will not serve you well. The ability to listen to the ideas of others and to collaborate is paramount. And having a sense of humor, of course!

If you weren't a Director of animated TV, what would you be?

That’s easy. I’d be a general contractor. For some reason I really like mudding and taping and I can cut in with a paint brush like a pro… I kinda wish I was kidding. Either that or a very low paid singer/songwriter. Yeah, I play a little guitar. No, not a ukulele. I mean I play guitar a little.

Do you have a favorite project ever, and why?

I’d have to say that I’m currently experiencing it! Directing Bravest Warriors here at Nelvana and getting to know all the great people at Frederator over the last year and a half has me in a permanent state of happy.

Aww, yay! What do you like best about the show?

Making Bravest is a blast. I get the biggest pleasure from the writing and humor. It has a great balance of weirdness and intellect. Benjamin Townsend (Story Editor) has done a fantastic job of guiding the writers through the Bravest Multiverse. He’s very well read and a student of culture - it shows through in every script. We’re lucky to have him on the team.

Who is your favorite character on Bravest, and why? Do you have a favorite episode of the current season, so far?

My favorite character changes every day. I think it might be Danny…or Wallow…but then there’s Beth. Arrgh, this is tough. I think I have to say Danny. John (Omohundro) brings so much to the role. He’s a super funny dude! And my favorite episode? That’s even tougher. So far, I’d have to say it’s episode 416 “Nothin’ Stays the Same” by Ryan North. It’s a great Beth episode with a Groundhog Day theme. I really like the fast pace of that one.

How was it to work on Clone High - do people still tell you how much they love it? (I love it, so that counts as one).

HA! Clone High. I still love it. Yes, I still drop that name and get great reactions. Even now we quote Clone High on a daily basis here at Nelvana. Interesting fact: when I got the Bravest Warriors job, the very first person I contacted was Ted Collyer (Director of Clone High) to be part of the Bravest storyboard team. Lucky for us, Ted was just finishing up another series and accepted. Ted has been a huge part of Bravest; he was my teammate in boarding the opening. Clone High definitely deserves a reboot! Bring it back! Bring it back!

What were your favorite cartoons growing up, and what are your favorite animated shows or movies?

My absolute favorite cartoon growing up was the Bugs Bunny Road Runner Show. Sooo many iconic characters, and I loved the short formats. I think a show of the same format and structure would do well today. Of course The Simpsons. For animated movies, I’m a bit of a Disneyphile. My favorite of all is Aladdin. Toy Story II is right up there too. And, even though it’s not animated: Back to the Future. I’ve watched that movie too many times to count.

Thank you for the interview Adrian, and the awesome work on Bravest Warriors! Which everybody can catch up on riiiiiiight here :)

- Cooper

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