Tuesday, October 23, 2012

Games Get The Sharp Blade Too

The cold reality of the short-term gig rears its head in the gaming side of the business.

Today is not a great day for many Zynga employees. The social gaming studio has confirmed to Gamasutra that its Austin, Texas-based studio may have closed, with more than 100 staffers losing their jobs in the process.

It is also believed that the company's Chicago and Cambridge branches may have been affected. ...

The announcement of the downsizing came during Apple's much-publicized press event, during which the technology giant announced the long-rumored iPad mini, among other things. ...

There's some question about how deep (and precisely when the cuts will be, but you understand this trend-line, don't you? Short term gigs are now the rule more often than not.

Walt Disney Animation Studios hires and lays off employees as needed. Wreck-it Ralph, ends, and out the door. "If we need you for Frozen we'll call you."

Rhythm and Hues, long a bastion of stability, lays off staff in L.A. and hires staff overseas. Sony Pictures Imageworks downsizes in Culver City and super sizes in Vancouver, B.C. ... until the tax rebates run out.

Last month an angry digital compositor came into my office. He had landed a job at the Louisiana outpost of a Los Angeles effects house, and a month after arriving they laid him off, despite the extra weeks indicated on his deal memo. (It was non-binding, of course.) The guy was out of money, mostly out of hope, and asked if there was a lawsuit he could file against the company. I checked with the union lawyer (we had no contract or jurisdiction, so I was just being a Dutch uncle offering advice) and told him that his prospects were bleak. He didn't have a long tenure on the line, and language in his company employment agreement wasn't strong, so the best he could probably do was file a complaint with the California labor commissioner -- who probably didn't have much pull with the company's Louisiana subsidiary in the first place.

This is the way business goes in the 21st century: lots of leverage on the corporate side, minimal leverage for the employee. If you're one of those lucky duckies who lands in the right corporate structure at the right time with the right skill sets, you're in like Flynn. But if you're some poor schlump who works hard but is always a half-hour late to the party, expect to get hired at crunch time and cut loose the minute the last shot get okayed by the producer and director.

That's the way the fates roll in the second decade of the new millennium. Either get used to it, or train yourself to push back.
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Monday, October 22, 2012

Pink Slip Time in London

As usual, the company keeps lips sealed about how many artists and tech directors will be slipped the axe.

Double Negative Visual Effects, which provided effects for Skyfall and The Dark Knight Rises, confirmed they were getting rid of staff, but refused to reveal the exact number. They said the cuts were due to “a lack of projects”.

The Oscar-winning studio has two London offices, one in Mortimer Street and another in Shaftesbury Avenue, and had employed 1,000 workers until today’s news ...

None of this should be a big surprise.

As talent pools grow wider and deeper, our fine entertainment conglomerates have more visual effects subcontractors to choose from. Also more price points. They're happy to exercise their choices.

And for too many effects employees job chasing, along with shorter employment tenures, have (too often) become the name of the game.
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Goats and Darlings

One feature flies as others sputter.

While "Hotel Transylvania" has become an unlikely hit ($187 million worldwide box office), the Focus Features-distributed "ParaNorman" hasn't done as well as the previous film from Laika Entertainment, "Coraline." The critics loved its dark and semi-scary tone, but since opening on August 17, "ParaNorman" has brought in $55 million domestically and $91 million worldwide. Its budget was unavailable.

[And] Disney and Tim Burton's "Frankenweenie" has turned into a bit of a box-office pumpkin, despite being a critical favorite. ...

This isn't quite as amazing as The Wrap thinks. BeCAUSE:

1) Stop motion animation has never performed at the same level as its CGI cousin.

2) "Dark" movies are seldom the box office winners that zany comedies are. And black-and-white movies are pretty much non-starters.

3) Never under-estimate the power of Adam Sandler (in the right vehicle.)

4) Always respect Genddy Tartakovsky's command over the animated cartoon. (He has an amazing track record.)

5) Sony Pictures Animation was due for an out-sized hit.
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Where Cartoons Are Going

This sounds about right.

... We're in this sort of period of transition into a digital world. ...

People are going to pay for what they watch by the inch. ... [E]verything will become available within a very short window after that theatrical experience. ... Take a movie like Madagascar 3. About 150 million people pay us [DreamWorks Animation] about $10 from beginning to end on the movie. Some people go to the movie theater, some buy a DVD, some get it from HBO, some from Netflix, some from Redbox. But you sort of take it through the whole course, whole life of the movie, (it) is about 150 million people, and it's about $10, on an average.

Ten years from now, two and a half billion people are going to pay us, on average, $1.50. ...

I think Katzenberg has his finger on where media is going (assuming our fine entertainment conglomerates can keep the pirates at bay.)

Everybody will choose the platform for how they want to watch movies or tv shows or vintage shorts. Even now, fewer and fewer people watch product as broadcast or cable networks roll them out. They DVR the entertainment. They download it from the cloud. Or go watch it on YouTube at a time of their choosing.

Teenagers and twenty-somethings multi-task viewing experiences, working the smart phone as they watch a Netflix download on the wall-mounted flat-screen. Production companies are all-too-aware that DVDs and Blu-Rays are melting away, that capturing dollars from the internet is where things are going.

When you sit in entertainment industry contract talks, you realize that the Big Four congloms don't have a strong grip on how the various cash flows are going to work out. Are cable networks wobbly? Will anyone be buying the little silver disks five years from now? The companies are insecure and nervous about it, and they do their level best to leverage that insecurity into gains at the bargaining table.

But the changes in the media landscape are real, and Jeffrey Katzenberg is as aware of the new realities as anybody.
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Sunday, October 21, 2012

The Global Competition

Below, the English-language trailer for a new Indian animated feature.



Kamlu ...Happy Happy, a 3D CGI Hollywood-Bollywood co-production directed by Govind Nihalani that will be released on November 2? In India, anyway, in Hindi. Produced by Krayon Pictures, the same studio that made Delhi Safari, in fact.

This English-language trailer shows it to be a children’s fantasy about a young talking camel who wants to fly, who gets mixed up with a human princess, an enigmatic magician, lots of villains, and so on. Will it play in America? I’m sure the Bollywood producers hope so.


The question before the jury: How will this feature perform in the global marketplace?

Based on the trailer, I think Krayon Pictures has a steep hill to climb competing against the likes of Blue Sky, Disney, DreamWorks, and Pixar. But we've seen this playbook before. In the nineties, there were the high-grossing animated features out of the States, and there was every other company on the globe, trying to catch up and failing.

It's not a question of doing your animated movie inexpensively. Because a low budget isn't going to help you much if nobody comes to see your product. A picture can be inexpensive and good, or expensive and good, but what it can't be in inexpensive and lousy.

Audiences aren't interested in the cost, you see, but the final result.
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Overseas Derby in Falltime

Live action features come and go, but it appears that their animated cousins go on forevah.

DreamWorks Animation’s Madagascar 3: Europe’s Most Wanted [drew] a sinewy $9.6 million from 519 U.K. venues. The weekend overall at 2,236 locations in 28 countries provided distributor Paramount $14.9 million, lifting the animation title’s foreign cume to $482.9 million. ...

Hotel Transylvania launched No. 1 in Russia with $5 million elicited from 797 situations. The weekend overall pulled $14.5 million from 4,510 locations in 38 markets, lifting the animation title’s foreign gross total to $68.3 million. ...

Ted pushed its international gross total to $262.6 million (with three territories still to play including India this week) ... [Frankenweenie] drew $4.1 million in its second round overseas playing in 19 territories, raising its foreign cume to $11.9 million. ...

Fox’s Ice Age: Continental Drift, $710.2 million ...

And a quick overview of worldwide grosses brings us:

Global Accumulations

Brave -- $531,521,000 (foreign = 55.8%)
Frankenweenie -- $40,243,000 (foreign = 29.6%)
Hotel Transylvania -- $187,300,000 (foreign = 36.5%)
Ice Age -- $867,095,000 (foreign = 81.5%)
Madagascar 3 -- $699,282,258 (foreign = 69.1%)
Ted -- $481,229,800 (foreign = 54.6%)

Cooking right along.
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Saturday, October 20, 2012

Hiring Preferences

Per Ms. Chapman:

... I was hired because I was a woman.

I’m not making assumptions. I was simply told that by the executive at Disney Animation with the cold blue eyes who sat behind his desk. It was 1987. They were getting some flack because they didn’t have enough women in creative positions–especially their story department – their current count: 0.

“We need a woman. And you’re the right price.” His exact words – I kid you not. ...

It's good to be in the right place at the right time with the right skill sets. But Brenda has talent in abundance, so it's not surprising that the Mouse gave her the nod.

Funny thing, but when a twenty-something punk I knew got hired into the Disney Feature training program eleven years prior to Brenda Chapman, there was another story trainee, a young woman, who got hired at the same time.

But after three months of writing never-to-be-used story treatments and scripts (and sweating bullets) the woman was let go and the punk retained. A few weeks later, story artist Pete Young told the punk:

I'm kind of sorry they kept you, Hulett. That girl had a spark that I liked. ...

Right place. Right time. I wouldn't have lasted in 1987. I would very likely never have been hired in the first place.
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October Box Office Gallop

Two animated features hang onto their Top Ten rankings, one more strongly than the other.

1. Paranormal Activity 4 (Paramount) NEW [3,412 Runs] R Friday $15.0M, Weekend $34.0M

2. Argo (Warner Bros) Week 2 [3,247 Runs] R Friday $5.5M (-8%), Weekend $19.0M, Cume $45.5M

3. Alex Cross (Summit/Lionsgate) NEW [2,539 Runs] PG13 Friday $4.5M, Weekend $13.0M

4. Taken 2 (Fox) Week 3 [3,489 Runs] PG13 Friday $4.3M, Weekend $13.5M, Cume $106.1M

5. Hotel Transylvania (Sony) Week 4 [3,384 Runs] PG Friday $3.8M, Weekend $15.5M, Cume $123.0M

6. Sinister (Summit/Lionsgate) Week 2 [2,542 Runs] R Friday $3.1M (-58%), Weekend $8.7M, Cume $31.6M

7. Here Comes The Boom (Sony) Week 2 [3,014 Runs] PG Friday $2.8M (-22%), Weekend $9.5M, Cume $24.2M

8. Pitch Perfect (Universal) Week 4 [2,660 Runs] PG13 Friday $2.3M, Weekend $7.0M, Cume $45.8M

9. Frankenweenie (Disney) Week 3 [2,362 Runs] PG Friday $1.4M, Weekend $5.5M, Cume $29.4M

10. Looper (FilmDistrict/Sony) Week 4 [2,223 Runs] R Friday $1.2M, Weekend $4.2M, Cume $57.8M

Wreck=It Ralph, the next major animated release, will roll onto the scene November 2. Expect HT to take a hit at that time.






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Friday, October 19, 2012

New Woman at Pixar

Brenda's gone, but Marti's* arriving.

Today at the Austin Film Festival during a panel on Pixar (and writing), Mary Coleman, a senior development executive at the company, announced that Marti Noxon, a former writer for “Buffy the Vampire Slayer” and “Mad Men,” had joined the company on an unspecified project. This is a major development for the notoriously close-knit company, and should at least calm the jangled nerves of animation fans who were surprised and upset by a recent high-profile dismissal. ...

The hiring of Noxon, a true creative visionary who is able to oscillate between fantastical material like ‘Buffy’ and more grounded hour-longs like “Grey’s Anatomy,” should, at least temporarily, shutter the outcry against Pixar’s detractors about the studio’s supposed glass ceiling ...

Now, the question I have is: Will Marti (and perhaps others?) be signing representation cards for the WGAw?

* Sloppiness is its own punishment. This should have been Marti from the beginning, and not "Mary" as is noted below.
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Contract Ratification

Not the TAG 839 agreement, that was ratified by the guild membership a month and a half ago. We're talking here about the Disney-IA "TSL" agreement.

The TSL contract covers animation employees at Walt Disney Animation Studios and Disney Toon Studios. It's been in existence for a dozen years and mirrors the regular Animation Guild collective bargaining agreement. (The biggest single difference between the TSL agreement -- "The Secret Lab" -- and Animation Guild contract is the TSL agreement has fewer job categories, therefore fewer wage rates.)

Today's contract vote was conducted on site at WDAS and DTS. (9:30 a.m. to 12:00 noon at Diz Animation; 2:00-4:00 p.m. at Toon.) No mail ballots, just ballots and information sheets, then a stroll down the hall to mark your sheet of paper and drop it in the white box with the slot on top.

Democratic Unionism! ...

Doing the vote on site garnered a higher participation rate than the mail-in version we did for the 839 contract in August. (That one had a particpation rate of 24%.)

The percentage totals, however, were almost exactly what they were for the 839 agreement.

Disney-IA TSL Agreement

Yes -- 87%

No -- 13%

Congratulations to the employees of Disney, also congrats to the IATSE and the Mouse for doing a deal that got such a positive reception.
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... and where are those members working?


Yesterday we showed you our progress to the point where we're at. Today we show you where the 2,741 employed members are working. (Click on the chart for a larger image.)


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Thursday, October 18, 2012

Thank God! Superman is Safe!

Late to the party with this:

In a crucial legal victory for [Warner Bros.], a federal judge in Los Angeles on Wednesday denied an effort by the heirs of Superman co-creator Joseph Shuster to reclaim their 50% interest in the world’s most famous superhero.

Superman is one of Warner's most valuable characters, having generated more than $500 million at the domestic box office with five films and billions of dollars more from television series such as “Smallville,” toys and games, and 74 years’ worth of comic books.

Had Warner and its DC Comics subsidiary lost the case, they would have soon been unable to continue using certain key elements of the Superman mythos -- including his super strength and speed, secret identity as Clark Kent and girlfriend Lois Lane --without reaching a costly new agreement with the estates of Shuster and co-creator Jerry Siegel.

Just imagine. One of our fine entertainment conglomerates having to pay cash money to the heirs of the guys who created the character. The mind reels. I get the vapors just thinking about it. ...

Praise the long green! New and exciting cash flows can be developed.

... The studio is [now] expected to accelerate development of a planned "Justice League" movie that would join Superman, Wonder Woman, Batman and other characters, according to a knowledgeable person not authorized to discuss the matter publicly.

Warner hopes to shoot the film next year and release it in the summer of 2015. The studio already has a "Justice League" script in the works. Next it needs to attach a director and then cast the lead roles.

Corporatism now! Corporatism forEVAH!
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How many members are working ...



We have more members working at union shops (2,714) than at any time in the history of the Animation Guild. Here's the stats for the last twelve years. (Click on the chart for a larger image.)

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CTN Animation Expo 2012 - See, Hear, Engage and Discover



This year's CTN Animation Expo is just a month away. The Guild has secured its spot on the exhibition floor and we are excited to participate and see all the animation experts and aficionados again this year.

We'd love it if you stopped by and said hello at table T-80, which is highlighted in the image below.


*click for larger image

See you then!

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Search?

We get all kinds of e-mail. Like this from a couple of days ago:

Hi, Steve. I've been researching strenuously to find any information about the history of the cancelled "Search for Mickey Mouse" movie. Some former Disney directors say they've never heard of it. However, I'm 100 percent certain the project was indeed once at Disney.

Silly me. I didn't know the project named above had been cancelled. I didn't know the project had been started. Or existed. But I get around so little.

I wrote back that I knew nothing about The Search for Mickey Mouse, and that the only current projects regarding the Mickster of which I was cognizant were some beat boards created by Disney veteran Burny Mattinson and a Mickey project that was being developed by a Disney feature director.

(Whether the director's feature idea is even moving forward at this point, I know not.) ...

I messaged my non-information and got this in return:

"The Search for Mickey Mouse" was going to be about Minnie and Basil of Baker Street's quest around the globe to find Mickey, as they meet a plethora of other famous Disney characters. In the early '00s, there were two major rumors circulating about "The Search for Mickey Mouse":

1) It would be Disney Feature Animation's 50th film. Or...

2) It would be a direct-to-video feature celebrating Mickey's 75th birthday.

Supposedly, the screenwriters - whoever they were - couldn't crack the code on the screenplay. Instead of a compelling narrative, the story was deemed too much of a gimmick (i.e. "Minnie and Basil go to The Hundred Acre Wood and meet Pooh; now they're in Agrabah and meeting Aladdin, etc").

So, "The Search for Mickey Mouse" was allegedly replaced with "Mickey, Donald & Goofy: The Three Musketeers" and the TV series "House of Mouse."

I've spoken with "Musketeers" director Donovan Cook, who likewise said he had never heard of "Search." But if the project was fake, it was one of the most elaborate and well-spread rumors in animation history. ...

I also got a link to this project on a fan site.

The thing of it is, studio artists develop various ideas and pitches all the time. Most end up in the trash receptacle. In the early eighties, story artist Pete Young and I spent the better part of seven or eight months developing boards for a feature called Mickey and the Three Musketeers under the supervision of Burny Mattinson. We looked at old films, developed character arcs, and had the usual fights over the direction of the story. Our version ultimately sputtered to a halt and was never made, but decades later Disney Toons Studio developed and produced their own version. (Dumas and his fiction never die.)

I knew about the later "Musketeers," even saw development boards and Toby Bluth's spiffy backgrounds, but swear to God, this "Search for Mickey Mouse" thingie escaped me. Maybe if I time-transport back to the early two thousands, back to the days of Sharon Morrill and David Stainton, I can vacume some relevant information up and shed some light on this.

(On second thought, maybe I'll just run home and watch television. I've got a week's worth of DVRed "Daily Shows" to watch.)
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Wednesday, October 17, 2012

Animation Renewals, Animation Ratings

In the last few days I've done walk throughs inside Bento Box and Film Roman-Starz. The artists at both places are eager for good news.

So here's some:

FOX has ordered a fourth season of 22 all-new episodes of the Emmy-nominated animated comedy BOB’S BURGERS, it was announced today by Kevin Reilly, Chairman of Entertainment, Fox Broadcasting Company.

Fox of late has taken its own sweet times renewing the prime-time animated stable. American Dad got a relatively late renewal, and the staff of The Cleveland Show, now mostly on hiatus or layoff (choose one) doesn't know if there is a show to come back to. (Most tend to think not.)

This is a wee bit ironic considering that ...

... Sunday’s premiere of The Cleveland Show (9 p.m.) [on Adult Swim] earned solid delivery gains among adults 18-24 (up 33%), adults 18-49 (up 8%), men 18-24 (up 13%) and men 18-49 (up 1%).

(Adult Swim ranked as basic cable’s #1 network for Total Day Delivery of young adults 18-34 & 18-24 as well as men 18-34 & 18-24.)

And then there were the other parts of the cable/cartoon universe:

Adult Swim programming – including Family Guy, American Dad, Robot Chicken and The Greatest Event in Television History – accounted for 17 of the top 50 telecasts of the week on basic cable among adults 18-34, more than any other network.

Cartoon Network
Across the second week of October 2012, Cartoon Network ranked as basic cable’s #1 network for Early Prime (7-9 p.m.) delivery of boys 2-11, 6-11 & 9-14, and as the #1 network for Total Day (Mon-Sun, 6 a.m.-9 p.m.) delivery of boys 9-14.

Among the network’s original animated programming, Monday night’s new episode of Regular Show (8 p.m.) scored as the #1 telecast of the day among all boys 2-11, 6-11 & 9-14, while a new episode of Adventure Time (7:30 p.m.) ranked #1 in its time period among all boy demos.

Tuesday night’s animated originals (7-9 p.m.) posted double-digit delivery gains across all kids and boys demos vs. the same time period last year, with a new episode of The Looney Tunes Show (8 p.m.) ranking #1 in its time period among kids 9-14 and boys 2-11, 6-11 and 9-14. Compared to last year’s time period, The Looney Tunes Show charted double-digit delivery growth across kids 6-11 (21%), kids 9-14 (71%), boys 2-11 (10%), boys 6-11 (26%) and boys 9-14 (48%).

On Wednesday night, a new episode of Ninjago (7:30 p.m.) ranked as the #1 telecast of the day among boys 6-11 & 9-14 and #1 in its time period among kids 2-11 ... New series Dreamworks Dragons: Riders of Berk (8 p.m.) scored as the #1 telecast in its time period among kids 2-11 and all boys 2-11, 6-11 & 9-14. Compared to the same time period last year, average kids delivery grew by strong double digits—kids 2-11 by 86%, kids 6-11 by 71% and kids 9-14 by 70%.

Saturday morning’s presentation of Cartoon Network’s newest original series, Ben 10: Omniverse (9 a.m.), ranked #1 in its time period among boys 6-11 & 9-14, and posted double-digit delivery gains across younger kids and boy demos vs. the same time period last year—kids 2-11 grew by 28%, kids 6-11 by 32%, boys 2-11 by 46% and boys 6-11 by 47%.

Meandering on, there's a reason that Jake and the Neverland Pirates, (in continuing production at the Disney Yahoo building next to the Bob Hope Airport) is still cranking out new episodes.

For the week of October 8, 2012, Disney Channel's daily programming block for kids age 2-7 and their caregivers, Disney Junior, delivered the Top 2 cable TV series among Kids 2-5 and Girls 2-5, “Doc McStuffins” and “Jake and the Never Land Pirates.” ...

Also a reason that Nick has been shuffling execs.

... Disney Channel continued its record streak as the #1 TV network on a Total Day basis to 70 consecutive weeks in Kids 6-11 (614,000/2.6 rating) and Tweens 9-14 (499,000/2.1 rating), and was the #1 TV network for the 2nd consecutive week in Kids 2-11 (903,000/2.3 rating) and for the 4th time in the previous 5 weeks overall.

Disney Channel continues to out-deliver Nickelodeon by solid margins on a weekly basis, surpassing it by double-digit percentages for the 49th straight week in Kids 6-11 (+37% – 614,000 vs. 449,000) and for the 51st consecutive week in Tweens 9-14 (+46% – 499,000 vs. 342,000). ...

Etc., etc.

And prime time animation on Fox still seems to pull them in ... when it isn't displaced by football.

But as we can see, animation is a crowd magnet on the teevee.
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So a Contract

Hollywood IA locals helped a striking crew prevail in the tussle with management.

The union and producers Magical Elves reached an agreement over health and pension benefits last night ... The crew of Fashion Star, on strike since Saturday, will return to work today. There will be no more picketing at Hollywood Center Studios and the producers’ offices. Also, today’s 1:30 PM taping in front of an audience of the NBC reality show will now go ahead as scheduled. ...

The old leverage thing. (You can find the start of leverage being applied here.)

The company had foot-dragged over negotiations, and tried to resume taping the show even as it stalled things out. So picketing continued until the company got serious and reached a deal.

Always remember Hulett's maxim: "There is no fair and unfair, there is only what you have the juice to get."
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Tuesday, October 16, 2012

Top Holiday Feature?

The new DreamWorks Animation feature gets its New York unveiling.

On Monday night in New York, DreamWorks Animation held the first metropolitan-area screening of Rise of the Guardians, its highly anticipated awards hopeful ...

My initial impression: Based on the quality of this film and the relative weakness of the rest of this year's animated feature field, it is probably the film to beat at both the Academy Awards and Golden Globe Awards. ...

Me, I've watched trailers and snippets on animators' computer screens for a couple of years now, and I think the feature has a different look and vibe than other DWA movies. As How To Train Your Dragon was a breakaway production, so is Guardians.

Still in all, I think that, box-office wise, Wreck It Ralph will give Rise of the Guardians a spirited run for its money. There are boatloads of gamers (my younger son being one of them) who are itching to see Ralph.
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Foreign Companies -- L.A. Addresses

Work goes out, work comes in.

Venkatesh Roddam, [now in charge of Reliance MediaWorks' film and media services business,] may be the world's most renowned outsourcing executive. But the 48-year-old native of Hyderabad, India, thinks conventional outsourcing is a bad idea when it comes to the movie business. ... Roddam, formerly a senior banking executive with Deutsche Bank, said he wants to expand Reliance's Burbank office, which employs about 75 people, and open a studio in New York. ...

Of course, a big bankroll and low-cost labor don't guarantee success in Hollywood.

Tata Elxsi's Visual Computing Labs, part of Indian conglomerate Tata, unveiled an office in Santa Monica in December 2009, citing its ability to achieve "significant economies" for its clients. The California studio hired Academy Award-winning visual effects supervisor Joel Hynek and other Hollywood veterans.

But although Tata has worked on some big projects, including "Spider-Man 3," it has struggled to retain local talent. Two of Hynek's colleagues — Tricia Ashford, the head of production, and Treva Blue, head of trailer production — recently resigned after clashes with management, said a person close to the studio who asked not to be identified for fear of reprisals. Tata representatives did not respond to requests for comment. ...

It's a movie we've seen a bajillion times before: Low-cost provider bops into town and makes his sales pitch. "I can cut your costs by fifty percent!" An American company bites. Then the low-cost results fail at the box office, and that's the end of the marriage built on equal parts of hope, delusion and greed.

In the decades I've been doing this, I've watched foreign animation studios rise, and then rapidly melt away competing for American box office. Because it's not enough to be really cheap, you must also produce an artistic result that somebody somewhere wants to actually see. The MacGuff studio in France (now part of the American Illumination Entertainment) is the first animation house to enjoy success in the U.S. market. (Prior to MacGuff, the watchwords for foreign produced animation was "bombs away!")

So it's understandable that foreign companies are setting up shops in the wide, deep talent pool that exists in Southern California. (Hong Kong-based Imagi tried it five years ago and success didn't follow, but the odds are good that some foreign entity will strike it rich before the sun reaches its red star phase.)

The problems for Asian and Indian companies are the same they have always been: When you're behind in the technology and talent race, it's hard to catch up. Because the sprinters at the head of the pack keep moving ... and moving briskly.
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Monday, October 15, 2012

Box Office Factoids

... which took place in and around Sunday's domestic turnstiles.

1) Hotel Transylvania was the highest grosser with $5,202,139.

2) Frankenweenie moved north of $20,000,000 (to $22,075,002.)

3) Finding Nemo (3D) crawled above $40,000,000 (to $40,115,172.)

4) Ice Age: Continental Drift collected $69,492 from 237 theaters. (Close to gone.)

5) Madgascar 3 made $27,205 in 122 theaters. (Close to totally gone.)

Every last drop of revenue is being squeezed from the current crop of animated features. Click here to read entire post

Back to the Hat

I returned to Disney this morning, since the new Disney-IA contract (named the "TSL Contract*") has been negotiated, and I'll be helping out with getting the document ratified later this week. (Not to puncture anybody's balloon, but it looks remarkably like many of the union contracts over the past ... oh ... two or three years. But we'll supply the details to the employees of Disney Toon Studios and Walt Disney Animation Studios, since they're the artists, writers and technicians who will be voting on it ...)

Re Disney animation, the L.A. Times had this earlier today:

“Phineas and Ferb” movie, originally slated to be released July 28, 2013, has been pushed back to 2014, the exact date to be determined. “Saving Mr. Banks,” about the origins of Disney’s “Mary Poppins,” is now to be released on Dec. 20, 2013, and Disneynature’s “Bears” is due out April 18, 2014.

Two as-yet-untitled animated films from Disney Animation and Pixar Animation are slated for Nov. 7, 2014, and Nov. 25, 2015, respectively.

While I was running around, a veteran staffer told me a about projects in various stages of work.

There's Big Hero Six and Frozen going into production, and then three projects after that. One of them Ron and John's feature, and two more. Nobody knows what order they'll be in, John Lasseter hasn't decided. But we've got more features in development. Three or four more beyond those three ..."

At which point my informant hurried off and I kept shambling around, telling people about the oncoming ratification vote.

Add On: For those wondering what "TSL" means, it' the anacronym for "The Secret Lab*" -- a visual effects division that was embedded inside Disney Feature Animation from 1999 to 2003. The division created visual effects for a number of live-action films, and then was allowed to die a quiet death.

But the contract under which The Secret Lab operated lives on, and today covers the animation work done at Disney Toon Studios (Glendale) and Walt Disney Animation Studios (Burbank).

The name "The Secret Lab" comes from The Emperor's New Groove. Disney also holds a contract named "The Traveling Lab." (TTL) which mirrors the TSL contract.

* You can find a long-winded account of the beginnings of The Secret Lab here. Some of it's inaccurate, but when Jim H. is telling a good yarn, why would he want to stick to ... you know ... facts?
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Animation Magazine Conference Needs Volunteers



Animation Magazine is holding a Feature Films and Visual Effects summit conference at the end of the month. They have shared the flier above asking for volunteers to help support the event.

After reviewing the conference agenda, it appears to be three days packed with important information for animation and visual effects professionals.

We are speaking to representatives of the magazine to find out what exhibition and group discount opportunities exist. We will communicate any discoveries to the membership through email. Click here to read entire post

Sunday, October 14, 2012

Meantime, On the Entertainment Labor Front

... several of our sister unions in the Alliance stir up trouble.

Crew members from the reality TV series "Fashion Star" walked off the job Saturday morning in a dispute over efforts to secure union representation.

Production of the show was suspended Saturday when about 75 crew members struck and began picketing outside Hollywood Center Studios at 8 a.m.

The strike was led by the International Alliance of Theatrical Stage Employees, which has been waging an ongoing campaign to extend union benefits to crew members who work behind the scenes on reality TV shows. ...

The thing about unions, if they don't organize, they wither and die. Because companies keep growing, and new companies continually come along. Blink your eyes a couple of times and the "100% representation" you once enjoyed has become 60%. (Just ask the United Auto Workers.)

As a grizzled old organizer, I can tell you that organizing an area of the biz that has less represented work is tough. Crews are usually uptight because walking out is a major step. They're putting their jobs on the line. It's only when the crappy wages and minimal or zero benefits begin to make people desperate that the reticence to take action fades away.

So hats off to the crew for standing up. And good on the IATSE for backing them as they work to gain pension and health benefits.
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Your Foreign Turnstile Receipts

Ted continues to rake in the money overseas.

Ted grossed $13.9 million on the weekend at 2,900 playdates in 44 markets. Overseas cume stands at $250.5 million while the worldwide take, at $469 million, makes Seth MacFarlane’s comedy fantasy the biggest grossing R-rated comedy of all time. ...

And the 100% animated titles are doing pretty well also:

Hotel Transylvania drew $13.7 million on the weekend overall at 3,560 locations in 24 territories. The family animation outing in 3D has grossed $49.3 million so far overseas. ...

Madagascar 3: Europe's Most Wanted delivered $10.4 million from 2,360 situations in 29 countries, thus elevating the film’s foreign gross total to $465.2 million. ...

Ice Age: Continental Drift grossed $3.3 million at 721 spots in four markets. That weekend action elevated the film’s foreign gross to $707 million. ...

Frankenweenie opened offshore in nine markets this round, collecting $4.9 million on the weekend. Early offshore cume for the Disney release stands at $5.3 million.

What's notable here is not only the number of animated titles in play, but the grosses most of them are racking up.

Worldwide Receipts

Frankenweenie -- $27,335,000
Hotel Transylvania -- $151,493,000
Ice Age: Continental Drift -- $866,809,000
Madagascar 3 -- $681,566,000

With the exception of the stop-motion Frankenweenie, all the above titles are doing gangbuster business.

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Saturday, October 13, 2012

The Official Announcement

... hits the press.

Following their successful partnership this year with Ultimate Spider-Man, corporate siblings Marvel and Disney XD are teaming up again for two animated superhero series. As previously announced, Marvel Television is already in production on Marvel's Avengers Assemble and Hulk and the Agents of S.M.A.S.H. Marvel is set to make the announcement today at New York Comic Con that both show are slated to join Disney XD's Marvel Universe block in summer 2013. ...

The Mouse knows success when it rises up in front of it. The Mouse is generally adept at capitalizing on same.

As we've noted before, Ultimate Spider-Man is produced at Starz-Film Roman. Marvel Animation, located in Glendale, is handling Avengers and Hulk (with work well underway) and more series coming soon. I'm told that they will, sooner rather than later, move to a building with more elbow room. Right now they're in 9-10,000 square feet that is filling up steadily.

With space constraints, Marvel is free-lancing work. The company is famously thrifty with a dollar. Whether that operating philosophy extends to MA's television franchises, we will know in the fullness of time.

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Mid October Dog Race

As we move into the holiday season (Halloween is just around the corner), two animated features occupy the Top Ten:

1. Sinister (Summit/Lionsgate) NEW [2,527 Runs] R Friday $7.4M, Weekend $17.5M

2. Taken 2 (Fox) Week 2 [3,706 Runs] PG13 Friday $7.0M (-62%), Weekend $23.0M, Cume $87.0M

3. Argo (Warner Bros) NEW [3,232 Runs] R Friday $5.9M, Weekend $18.0M

4. Hotel Transylvania (Sony Animation) Week 3 [3,375 Runs] PG Friday $4.2M, Weekend $19.0M, Cume $104.0M

5. Here Comes The Boom (Sony) NEW [3,014 Runs] PG Friday $3.6M, Weekend $11.9M

6. Pitch Perfect (Universal) Week 3 [2,787 Runs] PG13 Friday $3.0M, Weekend $9.2M, Cume $35.9M

7. Looper (FilmDistrict/Sony) Week 3 [2,605 Runs] R Friday $1.8M, Weekend $6.4M, Cume $51.6M

8. Frankenweenie (Disney) Week 2 [3,005 Runs] PG Friday $1.7M, Weekend $6.3M, Cume $21.4M

9. Seven Psychopaths (CBS Films) NEW [1,480 Runs] R Friday $1.3M, Weekend $4.1M

10. Atlas Shrugged Part 2 (Atlas) NEW [1,012 Runs] PG13 Friday $691K, Weekend $1.9M

Hotel Transylvania continues to hold nicely, even as Frankenweenie sputters in 8th place. It'll be a surprise if it claws past $50 million. (Did the black-and-white three dee drive people away?)

So maybe it ends up a revival-circuit favorite like Nightmare Before Christmas.
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Friday, October 12, 2012

Changing Executives

This past week I talked with a couple of Nick directors about this:

On Thursday, the embattled children's network witnessed two more departures of high-level executives: Paul Ward, a 22-year veteran of MTV Networks and head of prime-time acquisitions, and Pete Danielsen, executive vice president of programming. ...

Six weeks ago, the network pushed out its head of animation, Brown Johnson, the Nickelodeon executive most responsible for creating the hit "Dora the Explorer." ...

Nickelodeon is rolling out hundreds of hours of new programming ... The network is getting a boost from its reboot of the animated "Teenage Mutant Ninja Turtles," which drew nearly 4 million viewers in its first outing. "Ninja Turtles" has improved Nickelodeon's ratings among young viewers by more than 15% in the Saturday morning time slot.

It's not just New York that's repealing and replacing execs. In Burbank, a clutch of executives have departed, to be replaced by new faces (among them, animation veteran David Steinberg.)

But as a Nick artist said to me:

Nick management has been a little uptight. They've seen their big lead in television slipping away. But I see it differently. Every studio makes stupid decisions. Nick let Adventure Time go, and now they're doing an imitation of The Regular Show. But that's nothing new. Years back Disney used to do shows that imitated Nick.

All the big animation companies go up and down. When they're down, they start asking artists for ideas for new shows. Doesn't happen as much when they're on top. Then, the doors are a lot more closed. ...
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Robot #7

CN greenlights another season:

Adult Swim said today it has ordered another season of Robot Chicken, with Season 7 set to air on Cartoon Network next year. Season 6 of the Emmy-winning stop-motion series — which included its 100th episode — currently airs Sunday nights and is the programming block’s top-rated original series. ...

We have no contract with Robot Chicken (more's the pity), but we're nevertheless pleased that the series has gotten picked up. It entertains teenagers in a major way and raises awareness of Star Wars and various Super Heroes. (When the franchises of our fine, entertainment conglomerates are boosted, America wins.)

And most importantly, it's one more animated series that strengthens animation's presence on television. That's good for everyone who works in the industry.
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Animated Feature Funding .. in the 21st Century



There's yet another new Kickstarter campaign that started today. Normally, that news isn't worthy of note. Except this new pitch is from acclaimed feature film director David Fincher (among others) and is for an animated film based on the Dark Horse comic called The Goon.
* Proof of concept video shown above
Entertainment Weekly writes:
David Fincher may be a big-name director, but that doesn’t mean his name alone can turn dream projects into reality. Take The Goon, Fincher and Blur Studio’s proposed animated adaptation of Eric Powell’s inventively manic Dark Horse comic series. Despite the creation of a three-minute “proof of concept” teaser that has been making the rounds on the Internet since 2010, Hollywood still hasn’t taken the bait. So that’s why the studio and The Social Network director are bypassing the traditional greenlighting process and going straight to the public.

With sites like Kickstarter, it’s becoming easier for filmmakers to not only raise money for passion projects, but also demonstrate the pre-existence of a market for said projects.

Apparently the video linked above has been around for a couple of years. According to the Kickstarter page, Fincher, along with the Comic's author Eric Powell and Blur Studio (the LA VFX shop that created the video above) have yet to get a studio to pick the project up. The kickstarter campaign will fund the creation of a story reel to make another run for full production support.

Movie studios are pushing projects to later start dates or pulling them all together as they scramble to find the next "sure-fire" bet to bankroll. A project of this nature, while easily showing a strong support group, "isn't a sequel or filled with dancing animals". So the creatives have gone to their fans to get the project to the next level.

It will be interesting to follow its progression and see how far this goes.
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Simple Investing = Best Investing

A sobering bit of news from the Gray Lady:

For years, America’s largest, richest and most prestigious universities ... churned out double-digit returns. ... An investment stampede ensued as other universities, giant pension funds and even individuals slavishly copied their strategy, which stressed diversification along with high-cost, often illiquid alternative investments like hedge funds, venture capital and private equity funds.

[But] data compiled by the National Association of College and University Business Officers for the 2011 fiscal year (the most recent available) show that large, medium and small endowments all underperformed a simple mix of 60 percent stocks and 40 percent bonds over one-, three-and five--year periods. The 91 percent of endowments with less than $1 billion in assets underperformed in every time period since records have been maintained. ...

I've been at this investing thing for awhile now, and what I've come to understand is:

The more comples and expensive your investment choices are, the LOWER your long-term returns.

I, personally, would run rapidly away from any high-octane investment counselor who was hot to put me into a lot of "go go" funds with big price tags. I've sprinted down that road before, and ended up the poorer for it.

And it's probably why today I tell anyone getting into the the TAG 401(k) Plan to think seriously about stashing all or most of their money into one of the Vanguard Target Funds -- ignoring the dates and focussing on the asset allocation. (For instance, if you want a 50/50 split of stocks to bonds, the 2010 Vanguard target date fund is a pretty good choice, just as Vanguard 2020 is good for a "classic" 60% stock 40% bond allocation.
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Thursday, October 11, 2012

Hand Drawn at Disney

While wandering the halls of the hat building yesterday, I chanced on one of the traditional animators working there. He said:

We're developing a bunch of different projects to show John Lasseter. It's a complicated process. We pitch to a development group, they tell us which ones they like, then tell us that people who're pitching need to develop three pitches for Joh, since he likes artists showing him three things.

And when we do pitch, it's made clear to us that the stories aren't necessarily for a hand-drawn project. When we've brought it up with John Lasseter, he's shied away from commiting to a hand-drawn feature ...



This is a turn-around from a few years ago, when the idea was to have hand-drawn features created in Burbank, and the CG features produced at Emeryville.

My thought is: John Lasseter is a smart man. He likes hand-drawn but he recognizes they way the wind is blowing. Princess and the Grog grossed $300 million globally; Tangled grossed twice that. When the gap is so wide, it's an easy corporate decision to say: "We're going with CGI."

Ron Clements and John Musker are developing a hand-drawn feature that, if what I've been shown holds up, will look one hell of a lot different from Show White. The scuttlebutt I've heard indicates that Mr. Lasseter isn't as keen on greenlighting hand-drawn epics as he was a few years ago. But who inside Diz Co. could blame him? More than overseeing hand-drawn animation, John Lasseter wants to win. And he's probably made the judgment that creating hand-drawn features isn't a winning corporate strategy.

Even so, I was disheartened to read this from Mr. Kousac down below:

Thankfully, no "hand drawn" cartoons are in the work at Disney for the forseeable future. Looking forward to seeing the Disney artists take hold of their new digital tools.

Sorry, Mr. Kousac. You can be as glad as you like Disney hasn't got any hand-drawn features on its "to do" list. But I think the world is a little bit diminished if the curtain now rings down on big, hand-drawn features. They had a lilting, personalized quality to them, and they are missed.
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Joint Venture

More partnerships in the Middle Kingdom:

Hasbro Inc. announced a joint venture with Chinese toy and entertainment company Guangdong Alpha Animation & Culture Co. to co-develop toys and games for China and other global markets.

"This long-term, strategic partnership will marry Hasbro's global capabilities in both merchandise and television programming with Alpha Animation's expertise and reach in entertainment, including television programming and toy distribution within China," Hasbro Chief Operating Officer David Hargreaves said. "Through our collaboration, we are able to re-imagine these brands from start to finish for both Chinese and global consumers." ...

Hasbro set up an animation studio in Burbank four years ago. The plan was (is) to use animation to sell toys. There have been hiccups along the way, but the company is still in the game, trimming costs wherever it can.

China is another way to trim costs, but it's not only Hasbro:

DreamWorks Animation will co-produce Kung Fu Panda 3, set to be released in 2016, in China with its local venture partners China Media Capital, Shanghai Media Group and Shanghai Alliance Investment, the companies announced this summer. They will invest more than 20 billion yuan ($3.1 billion) to build an animation studio and an entertainment complex called the Dream Center. The studio itself will get a $350 million investment and hire about 800 people in the coming years, the companies had said. ...

How well these corporate ventures pan out, remains to be seen. How they'll impact production inside the U.S. of A. is also a question mark. And (of course), it's not only animation.

Visual effects company Rhythm and Hues is chasing dollars to expand overseas.

Sort of a trend, isn't it?
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Wednesday, October 10, 2012

The International Trailer



WIR's international trailer, which reminds me ...

I was at the House of Mouse today, and the pace is a lot more relaxed. The feature is out of the lighting department (the last step) and a lot of the department is on vacation ... or has just gotten back from vacation.

But there are a few shot tweaks going on still; I was informed that a minor character is being altered for one of Diz's foreign releases. (Strange, but there it is.)

As for the rest of the Disney slate, Frozen has multiple sequences in production, and the feature slated after Frozen is chugging along.

And I was told that the wrap party for Wreck-It Ralph is imminent. Happy faces all around.
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Feel the Love

Yesterday TAG sent out a wide-cast e-mail to members, urging them to vote "No on Proposition 32," and get involved with the campaign to defeat it.

(In case you live out of state ... or in some deep basement in Tujunga ... private and public labor unions in California are fighting Proposition 32, as it strangles their ability to participate in elections and issues and will end their ability to defend themselves against future anti-union legislation and initiatives.)

We got back this tart reply:

Take your advice and shove it up your ass! The last thing anyone needs is a stupid shit bolshevik, telling the members to support government public employees unions! Go f ... yourself with a corkscrew and when your done, do it again! The only thing you and these worthless peons can do is pick each others noses!

With no regard for lazy turds like you! ...

And so on. ...

Everyone, of course, is entitled to their opinion. But we believe in debate and discourse, and responded thusly:

Hi [name deleted].

The reason private unions are supporting NO on 32 is, they get screwed along with the public ones. This baby called Prop 32 passes, IA and Animation Guild members can probably (long term) kiss their health and pension benefits goodbye. Along with higher wages.

Just to let you know.

We hope you’re doing well. Janette sends her good wishes to you, [the Mrs.] and the boys.

All the best from us lazy turds.

Steve Hulett

See, there's a lot of hate out there for "greedy, bloated" public unions The wages they've negotated are too damn high (the argument goes). And the pensions they get are too generous. So we gotta muzzle them.

There are voices in the comment section who think the Animation Guild has its head up its large intestine supporting public unions (being they're so evil and all), but here's the way we look at it. Private unions get their throats cut along with the public ones. If all unions suddenly have no ability to argue against "right to work" legislation or initiatives or other laws that cripple them.

So all the private unions? Entertainment unions? We're kind of like ... collateral damage.

But Paul Ryan and his associates* are completely right. The country is just too damn far to the left, and the lower orders are running amuck. Here's a handy chart to show just how grotesque all the horrid redistribution of moolah has gotten in this Socialist paradise (led, of course, by greedy public and private sector unions which represent ... wait for it ... a whopping 11% of the working population):



So. Count us as co-mingling with the "stupid shit bolsheviks" who think organized labor should have a voice. And that maybe the upper tax brackets should be raised by 4.5% (the Clinton tax rates) rather than cut by 20% (the Ryan-Romney rates.)

We're funny that way.

* We shrink from naming Willard M. Romney because his positions shift and twitch like pussy willows in a strong September wind. So who knows what he believes? (Probably whatever it takes to get him elected.)
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Tuesday, October 09, 2012

Prime Time Toons

As animation prospers at the multi-plex, so does its smaller screen counterparts bring home the money.

Last week, FOX’s ... Sunday Animation line-up combined with The X Factor, BONES and GLEE to lead the network to rank No. 1 among Teens, No. 2 among Adults 18-34 and No. 3 among Adults 18-49.

FOX had The Following shows in the Top 20 programs of the week:

* [Among] the Top 20 programs among Adults 18-49: Family Guy (No. 10), Simpsons (no. 15.)

* [Among] the Top 20 programs among Adults 18-34: Family Guy (No. 2), Simpsons (No. 4), American Dad (No. 9 tie), BOB’S BURGERS (No. 14 tie), Cleveland Show (No. 16).

* [Among] the Top 20 programs among Teens: Family Guy (No. 2), Simpsons (No. 4 tie), American Dad (No. 9), BOB’S BURGERS (No. 10) and The Cleveland Show (No. 14). ...

It remains a mystery why our other fine, entertainment conglomerates don't jump in to prime time animation, but there it is.

If I were to hazard a guess, I would say that none of them want to sign contracts with the WGAw to cover the work. Far easier to cede the business to Fox. Rupert might be a right winger, but he never lets pig-headedness against signing a labor contract with an entertainament guild stand between him and riches.

Of course, we could cover prime time as well (and sometimes do), but hey. Pig-headedness.

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David Weidman portfolio show, Thursday @ 7 pm

Click on the image for a full view
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Charles M. Schulz LIVES

I assume this will be CGI?

Charlie Brown, Snoopy, Linus and the gang are coming to the big screen, as 20th Century Fox Animation and its Blue Sky Studios unit announced Tuesday that they have acquired the rights to Charles M. Schulz's iconic "Peanuts" comic strip.

The planned movie, the product of an agreement between the studio and Schulz's heirs, is scheduled to arrive in theaters Nov. 25, 2015. ...

Bill Melendez, owner operator of BIll Melendez Productions and also, too, the last President of the Screen Cartoonists Guild before it lost much of its jurisdiction to the Motion Picture Screen Cartoonists, Local 839 IATSE (our original name), created hundreds of "Peanuts" half-hours and earlier feature films.

The Melendez work always had a lilting fidelity to the spirit of Schulz's strip, and I'm not sure that Blue Sky's computer generated rendition will replicate Bill's earlier work.

I'm, uh, understating things here.
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Monday, October 08, 2012

A Word About Synergy

Compared to Pixar, DreamWorks Animation is crass and money-grubbing: "Addicted to Sequels!" ... "Commercializes Its Properties!" "Runs Franchises Into the Ground!"

Welll ...

... [T]he short Partysaurus Rex, which premiered in front of last month’s Finding Nemo 3D re-release, is slated to make its television debut tonight. In addition, it now looks like the [Toy Story] gang will reunite again for Toy Story of Terror, a TV special due out next year. ...

Made in Canada at the Vancouver studio, no doubt.

Before the snark gets too thick, let's remember that cartoon companies -- even ones founded by Steve Jobs -- are a long way from being Florentine art studios. They're in business to make money, the more the better. And the more money they make, the more people get employed.

So sequels? Hell, yeah! Shorts? Television spin-offs? F*ck yeah!

Animation is a business, not a religion. And the day that corporations don't exploit their creations to the max, is the day they're not around anymore.
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Another Animator With a Political Agenda

Since some among us are touchy about the video below, try this one:



See, in 1944, there was this animator guy name Charles Jones who directed a political cartoon for yet another Democratic candidate, the leftie Franklin D. Roosevelt ...

Mr. Jones worked on the film at night, away from his day job. It was the first production of what became UPA, another left-wing organization, filled with ex-Disneyites who had gone out on strike in 1941. As Disney veteran Joe Grant related to me a few years ago:

"A lot of those strikers were commies, and didn't care enough about the studio. ... (pause) But, you know, Walt hired all those guys, so you know, maybe he's a litte responsible?" ...

Of course, today is a lot different than sixty-eight years ago. Back then, we were only a few years out of a Depression and running big deficits and involved in a long war. And there were these awful labor unions ...

Oh. Wait ...

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Why Obama Now



Fox Animation regular and TAG member Lucas Gray wrote, directed and helped animate a short video highlighting some salient points to consider when making the decision on which box to check during the elections next month.

Gray and a hand full of animators used Obama's 2012 Associated Press luncheon speech, some top-notch animation and a dedicated website to artistically support President Obama's re-election campaign. When you can, check out the video above, as well as the credits list and information sources pages at their website:

http://whyobamanow.org/

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Sunday, October 07, 2012

Game Apps, Shorts, and T.V. Shows

Cartoon Network. Going in new directions.

Cartoon Network is considering developing original content as apps and games first rather than as TV shows, in an effort to create its own digital brands to rival the likes of Angry Birds. ...

"I don't think everything has to be created as a show," said Stuart Snyder, president and chief operating officer of parent company Turner's Animation, Young Adults and Kids division. "Things can be developed as shorts, they can start as games, they can start as apps… That is the nature, more and more, of where the business needs to think of itself." ...

So the question I have, one-note Johnny that I am: where does that leave animation artists trying to add to the pension plan and, you know, get health coverage?

Because there is this two-tier system that's been developing awhile.

There is the old-line part of the business, things like live-action and animated television production and theatrical work, and much of those products are unionized. With quaint things like quality health care and pension benefits.

Then there is the "new" part of entertainment: digital effects, video games, phone and ipad applications, etc. etc.. All those things are non-union, and we're told how it's a brave new world now, and everyone needs to fend for themselves, save their own retirement money, suck up the lower pay and higher costs and buy an HMO or high-deductible health insurance policy. Learn to smile and enjoy it.

And when President Romney reaches the 100th day of his administration, and entitlements for the victims and parasites start getting down-sized, I'll be telling my kids to learn to live small and frugal, tucking away as much money as possible for their old age.

Because whatever stash they build up (along with the Wal-mart job) is what will be seeing them through their catfood years.

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Overseas Moolah

Liam Neeson, action hero, dominated foreign ticket booths, and Bruce Willis came back strong with his time travel movie, but what of animation?

... DreamWorks Animation’s Madagascar 3: Europe’s Most Wanted continues to chug along, generating $23.3 million on the weekend at 2,453 locations in 29 markets. A No. 1 opening in Germany accounted for the higher gross this round, contributing $15.4 million from 740 venues. A first place ranking in Austria added $1.3 million at 81 locations. Overseas gross total now stands at $451 million ...

Hotel Transylvania drew $13.1 million from at 2,985 screens in 22 markets, lifting its early foreign cume to $29.3 million. A No. 1 Brazil debut for the family animation outing in 3D delivered $2.9 million ...

Ted has grossed a total of $232.9 million overseas thus far with five territories still to open including France and Belgium this week. (Worldwide,Ted has grossed some $450 million.) ... Ice Age: Continental Drift surpassed the $700 million gross mark overseas ($702.6 million) thanks to a $5.7 million weekend ...

[But that's not all!] Disney’s Brave, $291 million; Universal’s Dr. Seuss’ The Lorax, $127.1 million; Disney’s Finding Nemo 3D, $11.6 million ...

There are a whole raft of things to highlight here, so let's whip out our Magic Marker:

1) Back when The Lorax was released, entertainment media was quick to point out that movies based on Dr. Seuss's works "didn't perform well overseas," and it's true that Lorax has earned more in the U.S. of A. than abroad. However, if almost any live-action feature made over $127 million in foreign box office, it would not be called a failure, but a strong success. (Worldwide, The Lorax has made $341,130,000.)

2) Ice Age: Continental Drift has now earned $859 million across the globe. Want to know the movie that is powering Fox's bottom-line, since James Cameron isn't releasing anything at the moment? It's this Blue Sky Studios production.

(The continuing robustness of the Ice Ages and other American animated features might be a clue why Fox was happy to take on distribution duties for DreamWorks Animation's product. Which leads to the last factoid:)

3) DreamWorks Animation's latest Madagascar sequel has picked up a total of $667,132,292 here and abroad.

All the above leads me to conclude that our fine entertainment conglomerates will continue to expand their production of theatrical animated features.
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Saturday, October 06, 2012

California Movie Work

Last week, I had lunch with a retired rep of the Cinematographer's Guild. We talked about these kinds of things:

... For years now, many of the year’s biggest and most acclaimed movies have barely been made in Hollywood, greater Los Angeles, or California — if at all. Thanks in part to generous tax breaks in states like Louisiana and New York — not to mention countries like Canada and Australia — feature film production in the Los Angeles area dropped an estimated 41 percent from 1996 to 2007, according to production data from the non-for-profit organization FilmL.A. That steady march of film production out of California prompted the state legislature to pass a tax break plan of its own in 2009, which Gov. Jerry Brown just renewed for two more years this week. The plan offers up to $100 million in tax credits per year, but the biggest question now is, will that be enough to bring filmmaking back to its former SoCal glory? ...

My friend from Local 600 said:

There's a lot of work going out of town. New television series are leaving. A lot of big movies are someplace else. It's really pretty bad. And the attitude of the studios is a lot worse than when I hung it up. ...

I told him I notice that the companies are a lot harder assed than just a few years ago. I told him how, at TAG's May meeting, writers who are dual card holders (WGA/TAG) stood up and related how things got grimmer after the WGA's 2007-2008 strike: overscale deals went down, staffing got leaner, and work got sparser.

I said that the 2008 economic meltdown continues to be the excuse studios use for paying as close to scale as possible, for cutting schedules and expanding workloads.

But I also told him that animation has held up pretty well in the New Era of Austerity. Animation studios stay closer to minimums, but L.A. animation (for the most part) hasn't decamped en masse for locations offering state tax rebates. (There are, of course, exceptions to this trend: Sony ImageWorks has shipped a bunch of jobs to British Columbia.)

Keeping the work in town isn't due to corporate altruism, but the nature of animation work. In the live-action world, studios can cherry pick their key employees from the L.A. labor pool and pick up the rest of the crew, most with lesser skills, at the distant location. In Cartoonland, production is a wee bit more complex. If there's nobody in Macon, Georgia who can do storyboards, or run Maya software, or design characters, tax rebates won't do much good because there is nobody in Macon that can do the work.

It's one thing to push a dolly or pull cable, and quite another to draw, design, rig and animate with the level of professionalism studios require. Los Angeles has a deep and highly skilled talent pool working in animation. That's the biggest reason why the work has held steady in Southern California over the last half dozen years. Animation artists aren't cable pullers. If you don't have qualified staff, you're not going to get the job done.
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Autumn Derby

Hotel Transylvania hangs on to #2, but Frankenweeinie? The doggie isn't busting the chart.

1. Taken 2 (Fox) NEW [3,661 Runs] PG13 Friday $18.5M, Weekend $49.0M

2. Hotel Transylvania 3D (Sony Animation) Week 2 [3,352 Runs] PG Friday $6.4M (-41%), Weekend $25.7M, Cume $75.4M

3. Pitch Perfect (Universal) Week 2 [2,770 Runs] PG13 Friday $4.8M, Weekend $14.1M, Cume $21.0M

4. Looper (FilmDistrict/Sony) Week 2 [2,993 Runs] R Friday $3.5M (-49%), Weekend $11.6M, Cume $39.7M

5. Frankenweenie 3D (Disney) NEW [3,005 Runs] PG Friday $3.2M, Weekend $12.3M

6. Trouble with the Curve (Warner Bros) Week 3 [3,003 Runs] PG13 Friday $1.1M, Weekend $3.8M, Cume $29.7M

7. End Of Watch (Open Road) Week 3 [2,370 Runs] R Friday $1.1M, Weekend $3.7M, Cume $32.6M

8. House At End Of Street (Relativity) Week 3 [2,720 Runs] PG13 Friday $1.1M, Weekend $3.7M, Cume $27.6M

9. The Master (Weinstein) Week 4 [864 Runs] R Friday $498K, Weekend $1.7M, Cume $12.2M

10. Perks Of Being Wallflower (Summit) Week 3 [221 Runs] PG13 Friday $482K, Weekend $1.4M, Cume $3.2M

Meanwhile, Finding Nemo has fallen out of the Top Ten, and ParaNorman, closing in on $54.2 million, has run most of its course. Click here to read entire post

Friday, October 05, 2012

Newer Animation Producer

... is diving into television production.

SeaWorld Developing New Animated Series
SeaWorld’s fledgling production arm is working with former Marvel Animation president Eric Rollman on a new project. SeaWorld Family Entertainment, which produces live-action and animated content for SeaWorld parks, is setting to work on The Octo Force, an action series that follows five anthropomorphic kids. Rollman is consulting. The company will meet with potential broadcast and production partners at Mipcom next week. ...

Eric Rollin, head of Rollin Entertainment, has been a producer of animation for a good long while. SeaWorld, on the other hand, is a relative newcomer to Cartoonland.

And speaking of Mipcom, another animation studio is out there selling its products:

DreamWorks Animation SKG, Inc. (Nasdaq: DWA) today announced that DreamWorks Classics will make its debut at MIPCOM 2012, bringing to worldwide telecasters a comprehensive television portfolio highlighted by DreamWorks "Dragons: Riders of Berk", which is inspired by DreamWorks Animation's beloved "How to Train Your Dragon" film franchise, and an all-new television series based on the studio's upcoming animated feature film "Turbo." ...

Two Emmy Award-winning CG animated television series inspired by other DreamWorks Animation film franchises currently air on Nickelodeon. "Kung Fu Panda: Legends of Awesomeness" debuted in November of 2011 and "Penguins of Madagascar" in March 2009. Both highly-rated programs air in approximately 140 countries, reaching over 450 million households worldwide. Nickelodeon will also debut a future "Monsters vs. Aliens" television series. ...

This makes DreamWorks Animation the first major film studio to debut at MIPCOM in more than a decade. ...

The market for quality animation continues to expand, which is pretty amazing when you think about it. I would have thought a saturation point would have been reached some time ago, but clearly I was wrong.

Click here to read entire post

Laika's Next Project

... looks as though it will be released two years hence.

Box Office Mojo has gotten word that Laika has put one of their untitled projects officially on the map, establishing a release date on September 26, 2014. The movie will be the first time the studio has ventured into the fall months, as Coraline came out in February and ParaNorman made its way to theaters this past August. ...

Given that the project announced today is simply called Untitled Laika Project, it's reasonable for someone to think that it may definitely be an original project (if it were an adaptation it would have a title), but it's also possible that the date is just a goal and they are deciding which is best suited to go into full production.

It's good that Laika is soldiering on with more features. It's first two, Coraline and ParaNorman, garnered some good reviews, but the pictures' grosses did not set the universe on fire:

Worldwide Grosses
Coraline -- $124.6 million
ParaNorman -- $86.5 million*
-

Stop-motion pictures have an audience (and some, like Nightmare Before Christmas, have become holiday perennials.) But they pull down a fraction of the box office income enjoyed by top-line CG features, and that dynamic appears to be continuing. (As of Thursday, the CG extravaganza Hotel Transylvania was holding down the #2 position with a $50 million gross, while Finding Nemo -- with an accumulation of $37.4 million -- occupied the 9th spot.)

There are styles of animation beyond the computer-generated variety, and I'm happy somebody is out there creating at least one of them. (I've given up hope of a big-budget, hand-drawn feature getting greenlit anytime soon, so let's get out there and support the puppet movies.)

* Still in release.
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Marvel Animation

Marvel Animation's new 'toon:

Arriving April 23, Iron Man & Hulk: Heroes United sees Tony Stark and Bruce Banner joining forces to battle the classic Hulk villain Zzzax, a sentient being of pure energy who can control magnetic force, travel through electrical lines and grow as tall as 40 feet. ...

signed a contract with TAG several months ago. They are owned by Disney, but (weirdly) apart from Disney. They have their own studio and go through Marvel's chain of command.

I've watched the Glendale studio steadily increase the number of employees. They have a Hulk series. They have an Avengers series. They will no doubt announce new projects (like the one above) in coming months.

The facility MA now occupies is only 9-10,000 square feet. I will wager that the studio will be moving to bigger quarters before a great deal of time passes. They plan on doing more series. (Now in work: Hulk, Avengers and Spiderman, Spidey being done at Film Roman.)

Click here to read entire post

Thursday, October 04, 2012

Ollie Johnston's Favorite

But not Dr. Toon's.

... In the summer of 2003 I was asked by animation historian Jerry Beck to join his team of five contributors in writing The Animated Movie Guide. Jerry asked me to evaluate and critique the Disney films from Snow White through Home on the Range ... When asked to give readers and audiences my opinions about the Disney manifest, I put Robin Hood (1973) in the birdcage-lining category.

Robin Hood is simply an incompetent film by Disney standards, flawed in far too many places to work as an animated feature. I came to this conclusion after multiple viewings, comparison with other features both contemporary and past, and examination of the movie using critical skills I worked hard to develop over forty years of watching animation of all stripes.

One man's poison is another's scrumptious feast.

In 1978, I asked Mr. Johnston (fabled animator, and the last surviving member of Disney's "Nine Old Men") what his favorite Disney animated feature -- out of all the classics he worked on -- happened to be.

He looked at me and said: "Robin Hood."

"De gustibus non est disputandum"

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Jeanette Thomas, RIP

Frank Thomas's widow was ninety-one.

Jeanette Armentrout Thomas, the widow of legendary Disney animator Frank Thomas (one of Walt Disney’s renowned “Nine Old Men”), passed away on Saturday September 29th, from age-related illnesses, at Huntington Hospital in Pasadena. She was 91-years-old. Jeanette was prominently featured in several documentaries directed by her son, Theodore Thomas, including Frank & Ollie, and Walt and El Grupo. ...

A long life well-lived. We tend not to think of the iconic Disney animators outside the Hyperion and Buena Vista studios, or that they had wives, families and multi-faceted existences away from work, but they did.

Mrs. Thomas was among the last surviving spouses of the Nine Old Men. Our condolences to the Thomas family.

(Diane Disney Miller memorializes Jeanette Thomas here.)
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The Fleischer Style

So maybe the wider audience agrees with this:

“We started out by thinking that animation can do anything — singing flowers, walking chairs, all that stuff,” Tartakovsky told Wired by phone, breathing sighs of relief that Hotel Transylvania’s box-office performance might widen his feature film horizons. “But then we moved to completely copying realism. Maybe this is a good time to start going back to the old ways, where anything can happen.” ...

I think what the last few years have shown is: Audiences respond to traditional animation (that is, stuff that is done by an animator) and don't respond to motion capture (that is "rotoscope from hell.") Click here to read entire post

Wednesday, October 03, 2012

Regular

... and also a winner.

Fresh from its recent Primetime Emmy(R) win for "Outstanding Short-Format Animated Program," Cartoon Network's original series REGULAR SHOW returned Monday night, Oct. 1 (8 p.m.) with its fourth season, scoring its best performance in its history, ranking as the #1 telecast of the day among all targeted kids and boys ages 2-11, 6-11 and 9-14, according to Nielsen Media Research. ...

TAG Executive Board members Jack Thomas and Mike Roth picked up emmies for their work on Regular Show, along with animation and emmy veteran veteran Robert Alvarez.

Congratulations to all for the Emmy(R) win, and the gangbuster ratings for the new season.
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David Weidman @ Gallery 839, opens Friday

David Weidman original serigraphs, 1963-1979

At ninety-one, David Weidman is excited to have a new exhibition of his original vintage serigraphs at the Animation Guild. The limited edition serigraphs, all hand signed, will be on display from October 5-26 at Gallery 839.

David will be present to sign his book (now out of print) “The Whimsical Works of David Weidman” from 6 to 8 pm on October 5 only. Also at the opening we will feature some of the lesser known pieces in the portfolio.
David worked as a background painter in the animation world of the 50s and 60s, painting backgrounds for Mr. Magoo, Crusader Rabbit, Fractured Fairy Tales and many others.

David created his works directly on the screen, not using any intermediary mediums to develop a new body of work that constitutes a world of Whimsy unique to Weidman. This exhibit will feature the evolution of his use of the medium from the early works that resemble the fanciful animation backgrounds to the layered later works that show off the medium to best advantage.
The lacquer based inks (no longer available) still retain their vibrancy and his layouts and orchestration have stood the test of time. Enjoying a resurgence of interest, his work has been featured in the Los Angeles Times, on the set of Mad Men, Urban Outfitters licensed products and more.

Please visit his site for a preview at www.weidmansart.com or call (626) 737-9704. Gallery 839 is located at 1105 N. Hollywood Way in Burbank.
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Movers and Shakers -- The Jerry Eisenberg Interview (Part II)



Today, Mr. Eisenberg on video ...

TAG Interview with Jerry Eisenberg

Find all TAG Interviews on the TAG website at this link

Where he talks about studio owners he liked (Joe Barbera) and studio owners he liked less (Bill Hannah.) Click here to read entire post

Tuesday, October 02, 2012

Even more on Paperman

Paperman, the latest and much-praised short from Disney, will be shown in front of the studios newest animated feature, Wreck-It Ralph, opening early next month.

As has been highlighted before on this blog, the short was created using a fascinating mixture of traditional and CG animation techniques. A video has been released showing the breakdown of how those techniques were achieved.

Watch the short on the It's Art website at this link: http://www.itsartmag.com/features/paperman-breakdown/

Click here to read entire post

Movers and Shakers -- The Jerry Eisenberg Interview (Part I)



TAG Interview with Jerry Eisenberg

Find all TAG Interviews on the TAG website at this link

Jerry Eisenberg spent over a half century working in the sunlit uplands of the animation business, rubbing shoulders with Joe Barbera, Chuck Jones, and Mike Maltese among numerous others ...

This is our second interview with Mr. Eisenberg> (Here and here you will find the first.) This time, we have Jerry on video, talking more about the personalities and bosses he rubbed shoulders with over the years, and less about his own career.

Click here to read entire post

Monday, October 01, 2012

So Why Not MORE Prime Time Animation?

Rupert's minions continue their television monopoly:

FOX’s ANIMATION DOMINATION premieres ranked #2 last night among Adults 18-49, Total Viewers and Adults 18-34 and won the night among Teens.

THE SIMPSONS was the second highest-rated entertainment program of the night in Adults 18-49 (just one-tenth behind Once Upon A Time) and THE SIMPSONS and FAMILY GUY tied as the highest-rated entertainment programs of the night in Adults 18-34. ...

I get that our other fine conglomerates have this unreasoning fear of the Writers Guild grabbing more nighttime teevee cartoons, which no doubt suits the Fox people fine, since it leaves the prime time playing field (and the accompanying piles of greenbacks) all to them.

But I continue to believe that it's a stupid corporate move for Disney ... Universal-NBC ... and the wonderful folks at CBS to studiously ignore prime time cartoons. In many ways, it's a weird parallel to the long-ago days when everybody pretended theatrical animation didn't exist, leaving the genre to Disney.

Which of course left Uncle Walt all alone to make big bucks doing feature-length cartoons.
Click here to read entire post

Extension

Our mother international was pushing hard for this:

A broad coalition of unions representing the entertainment industry hailed Governor Jerry Brown's decision to sign into law a two-year extension of California's film and television tax credit.

"We commend the legislature and Gov. Brown for recognizing that the motion picture business is an integral part of the economic and cultural powerhouse that has been California during the last 100 years," said a statement issued by a coalition of entertainment industry unions, including the Directors Guild of America, the Teamsters, the International Alliance of Theatrical Stage Employees and SAG-AFTRA.

Brown approved legislation that was overwhelmingly supported by the state Assembly and the Senate. The bills provide $200 million for the state film tax credit, extending funding through 2017. ...

I'm not a big fan of state subsidies for business, but I recognize that we live in an imperfect world. When other countries and states offer subsidies to our fine entertainment conglomerates, California has to compete if it wants to have a feature and television industry.

That's the cold reality. So I'm glad that the governor and state legislature got the legislation done.
Click here to read entire post

African Animation



The production of animated features happens on every continent on the globe.

Earlier this year, Triggerfish Studios, a Cape Town-based animation studio released Zambezia, South Africa’s first full-length animated feature film. ... It's already Africa’s largest animation studio, but Stuart Forrest, the owner and CEO of the company, is keen on growing his 3D animation studio into a behemoth entertainment enterprise – up there with Pixar, DreamWorks, Disney and the rest of the big boys. ...

Triggerfish appears to have a ways to go. But what interests me is how a newer animation company in South Africa goes about finding the money to create a ninety-minute CGI cartoon.

We had a private investor who seeded the development of our first film, Zambezia, which enabled us to create a pilot. Once the pilot was created, we found a sales agent in Los Angeles (Cinema Management Group) who was willing to take it to market. Distributors reacted favorably, and we did quite a large amount of presales. We got a gap financier from LA (120dB Film Finances) to cashflow the presales. We also got some money from the National Film and Video Foundation of South Africa (NFVF). ...

The willingness of distributors to finance theatrical animated features underscores the viability and strength of the medium. Whether Triggerfish Studios becomes a player in global animation depends on the quality of its creative vision, and the ability of its staff to execute same.

Making entertainments that world audiences want to see is a difficult and elusive achievement. American companies have done it. Australian and French companies (Animal Logic and MacGuff) have managed to accomplish it. But thus far, nobody else has climbed to the topmost rungs of the ladder.
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