Friday, March 05, 2010

Gallery 839 Presents the "Beyond Yellow" Virtual Art Show

"Mas Vino" by Charles Ragins; "Lying in the Water" by Robert Sean Coons; "The Jester's Mask, Venice" by Yelena Geodakyan.

As I type, the opening of "Beyond Yellow, " Gallery 839's exhibition of The Simpsons artists, is taking place. If you can't make it, We're going to give you a chance to view the artwork here, inside the glow of your computer screen.

Foreground, "John Tom Waits" (sculpture) by Jeffrey Johnson; background left, "Keys in Box" by Rebecca Totman; "Seated Nude" by Teresa Potter Heimark; "Green Vase with Pods" by Teresa P. Heimark; "Cristin No. 3" by John Liu; "Portrait of Forest" by Nancy Kruse.

Top left painting "Knowledge in Your Hands" by Edwin Aguilar; "March Moss" by John Pattison; "Ethel" (guitar) by Robert Ingram; "Keys in a Box" by Rebecca Totman.

Another view of "Lying in the Water" by Robert Sean Coons (take a close look at it.)

"George Lucas In Love" by Paul Wee ....

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The Permanence of Three Dee -- Part XIII

There hasn't really been much question for a while now, but now Mr. Park's weighed in.

Wallace and Gromit creator Nick Park has said that he would like to make a Plasticine animation in 3D.

Park, speaking in Los Angeles ahead of Sunday's Oscars, said he had planned to make a Wallace and Gromit story in 3D but shelved it for financial reasons.

"I'd like to see a 3D Plasticine animation - I think it would really suit it," he told the BBC ...

Personally, I think the die is cast. I think Three Dee is now a major part of studio planning. Congloms are throwing a ton of money at it, converting flat features to dimensional ones, so I think all the boulders are now rolling and bounding downhill.

And where they'll stop? That's anyone's guess.

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The Weekend Derby

Now with Nikkifying Add On.

... Starting with Forbes Magazine and Exhibitors' Relations predictions for the first full weekend of March:

Disney's new version of ''Alice in Wonderland'' will take over 3-D screens, ending the dominance of ''Avatar.''

... On Friday [Avatar] loses its IMAX slot and most 3-D screens in multiplexes. Around 75% of Avatar's $2.5 billion in box office earnings have come from 3-D.

The new Disney ( DIS - news - people ) movie Alice in Wonderland will take its place. The Tim Burton film stars Johnny Depp as the Mad Hatter in a sort of sequel to the original Alice tale. This time, Alice goes back to Wonderland as a 19-year-old and has to battle a dragon.

Disney angered theater owners last month when Chief Executive Robert Iger announced that the DVD of Alice would hit stores a mere three months after the film's release date. ...

And here's how Exhibitor's R. guesstimates Alice and various competitors will perform:

Alice In Wonderland $70 million

Shutter Island $14 million

Brooklyn's Finest $10 million

Cop Out $10 million

Avatar $9 million

Add On: The Nikkster gives us early figures ... that make it look like T. Burton has done it again!

I'm hearing that Friday's North American grosses for Disney's 3D Alice In Wonderland are looking like $35+M and maybe even as high as $40M from 3,728 theaters. This would make it the biggest film of 2010 so far and its aleady the biggest 3D bow ever. ...

This is another one of those awkward Hollywood situations where a studio cleans house only to have the new management preside over a huge hit courtesy of their predecessors. In this case, Rich Ross et al will benefit from what Dick Cook and Oren Aviv hath wrought. Dick had a very special relationship with both Tim and Johnny.

No doubt Dick C. is chortling gleefully from his yacht in Newport Beach ...

Add On Too: And now ol' Dick is consumed by hysterical laughter, as Alice rakes in $41 million on Friday.

Brooklyn's Finest, Shutter Island, Cop Out and The Crazies follow in that order.

Avatar continues to make money in its flat-screen incarnation, taking in $1,975,000.

Add On III And at the wire, it's Dick Cook splitting his sides re Alice In Wonderland. The Nikkster totes up the semi-final numbers:

1. Alice In Wonderland (Disney) NEW [3,728 Theaters] Friday $41M, Saturday $45M, Weekend $115+M

2. Brooklyn's Finest (Overture) NEW [1,936 Theaters] Friday $4.7M, Saturday $5.5M, Weekend $13.5M

3. Shutter Island (Paramount) Week 3 [3,178 Theaters] Friday $4.0M, Saturday $6.1M, Weekend $13.5M, Cume $96.0M

4. Cop Out (Warner Bros) Week 2 [3,150 Theaters] Friday $2.8M, Saturday $4.2M, Weekend $9.2M, Cume $32.4M

5. The Crazies (Overture) Week 2 [2,479 Theaters] Friday $2.3M, Saturday $3.0M, Weekend $6.9M, Cume $27.3M

6. Avatar (Fox) [2,163 Theaters] Week 12 Friday $1.9M, Saturday $3.7M, Weekend $7.6M, Estimated Cume $720.0M

7. Valentine's Day (Warner Bros) Week 4 [3,040 Theaters] Friday $1.4M, Estimated Weekend $4.5M, Estimated Cume $106.4M

8. Percy Jackson (Fox) Week 4 [2,994 Theaters] Friday $1.3M, Estimated Weekend $5.2M, Estimated Cume $78.0M

9. Dear John (Sony) Week 5 [2,496 Theaters] Friday $965K, Saturday $1.3M, Weekend $3.0M, Estimated Cume $76.8M

10. Crazy Heart (Fox Searchlight) Week 12 [1,274 Theaters] Friday $925K, Estimated Weekend $3.5M, Estimated Cume $29.6M

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Thursday, March 04, 2010

End-of-Week Linkage

I'm so old I remember when Tron was considered a misfire.

A TV series of groundbreaking 1982 sci-fi film Tron is being made by the Disney Channel, according to reports. The new show will be aimed at children aged between six and 14, according to trade magazine Mediaweek. It is not clear when it will air.

There are reportedly also plans for a separate 10-part micro-series to be shown in autumn 2011 on Disney XD, the cable channel aimed at young boys.

Big screen 3D re-imagining Tron Legacy, meanwhile, is due out in December ....

Who says hand-drawn features are done?

T-Pain's animated 'Freaknik': 'Strippers start coming and flying out the air'

On Sunday, the Cartoon Network will premiere “Freaknik: The Musical,” a 60-minute animated feature produced by, and starring, the rapper -- and yes, there will be use of Auto-Tune.

T-Pain said making the move to animation was easy because he had already been collaborating with the network, including appearing in a live-action version of the hit show “Aqua Teen Hunger Force.” Using Freaknik as the backdrop for the special was one of the ideas brought to him by producers, and it happened to be the most risqué. ...

Comic The Goon is apparently coming along nicely on the road to animated featurehood.

We had to adapt [the comic book version] for the film, but I wrote the script — so The Goon doesn't fall from the sky in a meteor or have superpowers or anything like that. It is The Goon and it has the feel of the The Goon. The story had to change a little to get it to work in a film format, but the characters, the world, and the interaction between the characters are all the same.

Hot diggity. Diz Co. is getting a thumbs up from Wall Street ...

Bank of America Merrill Lynch ... said the stock is one of the most compelling equities in the media and entertainment sector heading into fiscal 2011. The broker sees the firm helped by a broad economic recovery that helps ad-driven networks, a falling unemployment rate that helps parks and consumer products,

It would be nice to believe Merril Lynch is right on. Because the stock price hasn't moved much in some years.

So who takes the fall for this?

A Los Angeles businessman who was arrested for investigation of draping a building with a massive movie billboard near the site of the upcoming Oscars agreed to remove the sign Monday in exchange for a drastic reduction of his bail. ...

Authorities said Setareh arranged for the ad for DreamWorks Animation LLC's upcoming movie "How to Train Your Dragon" to be hung on a Hollywood Boulevard building he owns near the Kodak Theatre, the site of Sunday's Academy Awards ...

DreamWorks Animation referred questions to Paramount Pictures, which was handling marketing for "How to Train Your Dragon." Paramount said in a statement that it had been assured that the site had all appropriate permits. ...

"Not my fault." ... Not MY fault!" ...

And then there's a newer Toy Story 3 poster.

Meanwhile, there's more mining of the Mouse's film vaults:

Disney Theatrical Productions and Stephen Daldry, the Tony Award-wining director of “Billy Elliot: The Musical,” are developing an adaptation for the stage of the 1941 classic animated movie “Dumbo,” a Disney executive said on Wednesday afternoon. Mr. Daldry approached Disney Theatrical several months ago with a concept for a “Dumbo” musical, and they are now in “the very initial stages” of shaping those ideas ...

Lastly. The New York Times analyzes the shrinking fees of film actors:

For Movie Stars, the Big Money Is Now Deferred

Movie stars, who not so long ago vied to make $20 million or even $25 million a picture, have seen their upfront salaries shrink in the last several years as DVD sales fell, star-driven vehicles stumbled at the box office and studios grew increasingly tightfisted ....

... [F]or the ultrahigh-budget “Avatar,” the highest paid appears to have been Sigourney Weaver, though she almost certainly worked for a small fraction of the $11 million she was reported to have been paid for “Alien: Resurrection” in 1997.

Zoë Saldana and Sam Worthington, meanwhile, got fees that were more than guild minimums but less than enough to make them feel financially secure ...

At least Mr. Worthington wasn’t scratching for fees in the animation world.

“I was paid for sessions,” said Ed Asner, a veteran actor who provided the voice for Carl Fredricksen, an aging adventurer in “Up,” a best-picture nominees. Typically, the eight or 10 sessions required of a voice actor might pay $50,000 ... Mr. Asner, who spoke by phone last week, said he ultimately received much more because the Walt Disney Company’s Pixar unit, which produced “Up,” augmented his small front-end fee with bonuses that came with the film’s success ...

(Ed's session rates seem about what Vincent Price pulled down twenty-seven years ago for The Great Mouse Detective. My, but how things have stayed similar.)

.

Have a wondrous Friday work experience.

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Viralness

Diz Co. has battled the internets, and (at least this once) waved the white flag.

The Walt Disney Corp. has surrendered its control over use of the University of Oregon's costumed athletic mascot –quite possibly in response to a brouhaha involving The Duck, three UO students and a rap video that went viral on the Internet.

Supwitchugirl made a video in November titled "I Love My Ducks" for student-run DuckU television ... The video included clips of the three students – Bishop, Brian McAndrew and Jamie Slade – and The Duck, referred to in the video as "Puddles." ...

But use of The Duck, which bears a strong resemblance to the Disney character Donald Duck, was limited by a licensing agreement that supposedly dates to a handshake between Walt Disney and former UO athletic Leo Harris in 1947.

Supwitchugirl hadn't asked the university for permission to use The Duck. The university responded by ordering the students to take down the video, fearing it violated the Disney licensing agreement.

Supwitchugirl pulled the video off of YouTube. But by then the Internet and social networking sites had taken it world wide. The more university tried to stamp it out, the more popular it became ...

The problem with trying to control sounds and images going across the internet is simple and obvious.

It's freaking impossible to control them.

Yet that's why many of our fine conglomerates and related entertainment unions/ guilds are currently so agitated. Music, videos and feature films fly around the worldwide web at the speed of light, and there's not one hell of a lot the congloms can do about it. This has grave consequences when it comes to distributing copyrighted material.

But, swear to God, some of the things companies get miffed about are comical. I've seen studio execs get miffed over the premature unvealing of an animated feature's screen ratio (CinemaScope) and a cartoon character's barely-detectable model sheet changes. I was once tongue-lashed for revealing that a movie sequel's title was Lion King 1 1/2. (My response was: "You have to to be shitting me.")

The thing of it is, when there are genuine threats to the commercial viability of entertainment products which companies and labor unions rely on to stay in business, it's silly to get riled up about small, peripheral issues -- like publicity for that product -- that only enhances the work's salability.

It's why the smarter studios stopped fighting Ain't It Cool News long ago. It dawned on them that the site could help put fannies in theater seats if they worked wit the fanboys rather than sue them. And it might be why, now, this has happened:

... Disney ceded control of the [Duck] mascot, and the student inside the costume, to the university ...

Companies with brains know the difference between theft of product and publicity. Theft damages the bottom line. Publicity helps. Kudos to the big Mouse for figuring that out.

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Reminder: "Beyond Yellow" opens TOMORROW

Just to remind you that "Beyond Yellow", Gallery 839's new show of the personal artwork of artists from the Simpsons crew, opens tomorrow night. The opening night celebration will last from 6 pm to 9 pm. The show is free and open to the public; no RSVPs necessary.

Gallery 839 is located at the Guild's headquarters at 1105 N. Hollywood Way, north of Magnolia in Burbank.

Hope to see you there!

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Wednesday, March 03, 2010

Protectionism!

China, with its 8% growth rate, is choosing a different flight path than the Land of the Free, particularly in Toonland:

China's Zhejiang Zhongnan Group Animation and Shanghai Media Group subsidiary WingsMedia have landed a raft of Chinese cartoons and popular entertainment shows with GlobeCast for video-on-demand distribution in Europe. ...

... In June, the company founded in 2005 sold its "Magic Wonderland" to U.S. cable giant Viacom as a part of the hour-long ChinaToon programming block aimed at Chinese speakers in 13 Asian territories.

Keenly aware of the decades of soft power wielded by Japanese animation, China's broadcast regulators have moved in recent years to boost China's nascent cartoon industry by barring imports from Chinese TV's primetime hours and by subsidizing local animators.

These Communists don't seem to adhere to Free Market Principles like we do. They're into the protective tariff strategy, which we used from 1783 to 1980, but then dropped.

But of course, we're much better off, aren't we? No economic problems at all.

(Stand by for the mud-slinging between the Bush and Obama factions ...)

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A Tale of Moral Uplift in Three Acts

The following was sent to me by a friendly correspondent, and it's worth sharing:

This is a true story of a studio attempting to do wrong to an artist, and how that artist protected himself from it. The facts are all true, only the names have been changed or left out ....

In brief (if you haven't visited the link yet), the bullet points are:

1) A freelance viz effx artist person reached agreement on his deal with a studio, including pay rate and overtime.

2) The studio didn't honor the agreement. The freelancer up and left.

3) The freelancer had the deal in writing, sued the studio in small claims court for moneys owed, and won.

What I want people to note here is: The studio didn't live up to its end of the deal. The freelancer said "See ya, bye," and then went after what was rightfully, legally his.

There are a lot of variations to this basic tale. One of my favorites is:

The studio runs out of money (or says it's run out of money) then cajoles and intimidates employees into working for nothing.

Employees, ever eager to be "team players" go along.

Studio, when the project is completed, goes out of business and into bankruptcy without paying its "team players" (also known as "suckers.")

I've seen this scenario play out several times over the years, and I always have the same advice when I encounter it.

When checks with wages and deductions don't materialize at the proper time at your workspace, smile, get up from your desk, and get the hell out of there. Because refusing to work on a project for which you're not being paid is the BIGGEST leverage you've got.

End of sermon.

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Tuesday, March 02, 2010

The Secret of ... Success

You want to make hand-drawn animation, this might be the way to do it.

Tomm Moore is the director of the animated film “The Secret of Kells” ... Set in a remote abbey in medieval Ireland, [the film] follows the adventures of a boy — a young monk in training — as he works with an illuminator to finish the Book of Kells, the Latin manuscript transcribed by Celtic monks around A.D. 800 ...

... The film arrived with strong buzz from animation fans, earned when it won the top audience prize at the Edinburgh Film Festival in July, the first animated film to do so ... [Mr. Moore] said he hoped the attention from the Oscar race would propel the film to greater success at home ...

Mr. Moore and Mr. Beckman both said they didn’t believe “The Secret of Kells” had a chance of winning an Oscar. But in their case just being nominated really does pay dividends: in audience awareness, DVD sales and future financing ....

Ralph Bakshi says that animation artists should go do their own films. So here's an artist from a small town in Ireland who's actually done just that. Kudos to him.

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Right Up Mr. Burton's Alley

This was snapped right up.

Tim Burton and "Wanted" director Timur Bekmambetov are teaming to bring the Seth Grahame-Smith novel "Abraham Lincoln: Vampire Hunter" to the big screen.

But will it be stop motion? ...

No, probably not. (But it cries out for Three Dee!)

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Da Hat

Afternoon at the fabled Walt Disney Animation Studio, where ....

* Story work is in its final lap for Winnie the Pooh.

* The first-floor crew for Rapunzel Tangled is being lifted up by the rising currents of production work that is only now starting to waft through the department. (""We're going to be spending a lot of time here to get the move out in time.")

* A story person related: "The main lot decided now was not the right time for another Princess movie, which is what they considered Snow Queen to be. That's why it was put aside. John Lasseter hopes at some point it can still get made ..." [But that's why they changed Rapunzel's name, yes? To get away from the curse of "girl" movies? You know, like Beauty and the Beast and Little Mermaid?*)

And nobody I talked to knows how many hand-drawn projects (if any) will be happening after Winnie the Pooh wraps up the end of the year.

"There's several people working on projects to pitch, but so far nothing's been greenlit. Chris Buck is working on another feature idea [after Snow Queen], but that's going to be CGI ..."

And so it goes.

(* Personally, I think that the right title is super important. I only went to see "Finding Nemo" because I thought it was a sequel to "20,000 Leagues Under the Sea".)

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Monday, March 01, 2010

Organize MBO?

A visual effects artist emailed today:.

Several people have mentioned to me that they are disgusted by the way freelancers are being asked to sign up and pay for "Employer of Record" services in order to get jobs. Typically these freelancers would not be eligible for union representation since their are neither a group nor employees, however thousands of them are now employees of companies like MBO and Yurkor who serve as their "Employers of Record" while not providing any of the benefits employers customarily provide. ...

Welcome to the Brave New World of "squeeze the nickel 'til it bleeds."

I talked to the artist on the phone later in the day, and said that it was certainly possible to organize MBO or Yorker, but there were interesting challenges:

1) MBO would probably fight tenaciously to avoid unionization. And getting sufficient representation cards from far-flung visual effects houses across the fruited plain would be a bit daunting.

2) And when you did get enough cards, there could be an argument at the resulting National Labor Relations Board hearing over who the actual employer was, MBO or the various Mom and Pop houses it was serving. One legal eagle I consulted said it could well be a joint employer situation -- MBO and the viz effx houses might both be "Employers of Record."

3) Lastly, you'd have to get a lot of artists onboard, construct phone and e-mail trees to communicate, build momentum. (All these things are achievable, but they take time.)

Much of the problem of visual effects employment, of course, stems from the way that it's done. Different sub-contractors bid for the work, low-balling one another to get the job, and this usually results in narrow (or non-existent?) margins and big pressure to cut wages and benefits to the bone.

Hence "independent sub-contractors" and the emergence of MBO. Visual effects companies know that there will be pressure from tax agencies, both federal and state, to make workers the actual employees they should be so that taxes can be withheld.

This, of course, is where MBO comes in. The charming "Employer of Record" middle-man collects the effects studio's checks, pays the required taxes to the federal and state governments, then passes the remainder to the men and women doing the work. The sub-contracting studio is protected from the IRS auditors, the government bureaucracies get their taxes, and the "employees" get shafted. All very neat and tidy.

But it probably works well for a chosen few.

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El Sonora

Disney TVA has two series going at the Glendale facility: Jake and the Neverland Pirates and Inspector Oso, now in its second season. There's a lot of empty cubicles, but more artists are inside working than in the recent past ...

Elsewhere in the building, work continues on the Fairies/ Tinkerbell franchise:

"We've got five of them to do, way less than earlier plans. They might do more, but we think they're going to decide how many they make as they go along, on a case by case basis ...

Artists told me the next DisneyToons franchise had been announced, but I can't find evidence of that anywhere on the internet, so I'm guessing they're mistaken ...

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Beyond Yellow: opening this Friday, March 5 at Gallery 839

You see their names when the credits roll on Fox's The Simpsons. With such titles as Director, Character Layout and Design, this is the crew that takes the writers's script and brings it to life.

But when they leave the studio, they leave Homer and the other Springfieldians behind, and create artwork in their own stile and their own flourishes.

This is that art.

Gallery 839's next shows opens this Friday, March 5, with a reception from 6 pm to 9 pm. Gallery 839 is located at the Animation Guild, 1105 N. Hollywood Way in Burbank.

Gallery 839 is featuring the art of Animation Guild members and other animation artists, highlighting their artistic contributions outside of the sphere of what they do for animation studios.

We are interested in setting up both group shows and individual exhibits. If you have an idea for an upcoming show, or for further details, e-mail Jeff Massie at jeffmass@mindspring.com.

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Sunday, February 28, 2010

Purists' Anger

Over the years I've heard complaints about how the animation business just isn't what it used to be, how the quality of films has tanked, how all the studios care about is a buck and the bottom line, etcetera.

Decades back, I listened to Disney artists gripe how management was lousing up Walt's cartoon legacy by putting the feature library on .... [drumroll] ... VHS!

To hear some of them talk, it was the end of civilization as upright carbon life forms knew it. But the studio made a hell of a lot of money putting its longer cartoons on video tape, and so the studio continued the practice. And before you could freeze frame the Playboy centerfold in The Rescuers, most of the back catalogue was on cassette. (The horror!)

So here we are in the 21st century, and the purists whine on. Amid of Cartoon Brew gripes about how an Academy Award for Best Animated Feature is a bad idea, but guess what? The Oscars stopped being about "Best" around 1936. Today, more than ever, the little gold man is there to goose the grosses of nominees, and as such, I think "Best Animated Feature" is a splendid idea.

If it adds fifty million dollars to DreamWorks Animation or Pixar's final take, then I'm for it, because more animators and tech directors and pre-visualization artists will be drawing paychecks when the next animated feature is greenlit for production.

And lately Rope of Silicon has wondered if Pixar, shining fountainhead of creativity, has jumped the shark by making all those icky, unoriginal sequels.

My answer would be "not hardly." As Kevin Koch points out, plots are made and remade. As there was Dances with Wolves, so is there now Avatar. Douglas Fairbanks in Robin Hood (the copyrighted title from the 1922 epic) begat The Adventures of Robin Ho0d in 1938, and a string of Robin Hoods thereafter. And Shakespeare wrote Hamlet from an earlier play (how unoriginal of him.)

Live with it. The practice has been going on since ancient Athens started constructing buildings with marble. It won't be stopping anytime soon.

But sequels are beside the point. What counts is the quality of the tale retold. If Cars VII grabs an audience by the shirt front and compels tears and laughter, nobody cares if its version #7 or sequel #20. And if a movie bores opening night theater-goers stiff, being the First of Its Kind won't help a bit.

So let's stop mewling about purity and originality, shall we? Studios are in the business to make a profit. And if they have to destroy the idealists' fantasy of the high road to do it, they'll cheerfully obliterate miles of asphalt without batting a greedy eyelash.

No creator is ever given a blank check anyway. Everyone is constrained by the system in which they find themselves. Charles Dickens wrote serials. Jay Ward had miniscule budgets on 1960s television; James Cameron had tight schedules and money with the first Terminator. The trick is working with whatever literary form or television show or movie you've got and turning it into something that entertains and delights. (And also make the congloms big bucks.)

If you're clever enough, and lucky enough, to succeed, then you'll be invited back to create yet another profitable success. Whether or not that first one was pure and original or not.

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Animation's Foreign Derby

Animation continues to be a red hot commodity around the globe. Specifics below:

20th Century Fox's "Avatar" on the weekend made it 11 straight stanzas in the No. 1 spot by grossing $36.1 million from 6,535 screens in 70 markets. ... Total foreign take by director James Cameron's 3D blockbuster now stands at $1.844 billion. ... To date, its foreign gross is more than two-and-a-half times its domestic cume of $707 million..

Finishing fifth was Disney's "The Princess and the Frog," which grossed $7.7 million from 3,203 screens in 36 territories for a foreign cume to date of $143 million. ... "Cloudy With a Chance of Meatballs," ... drew another $2.6 million on the weekend from 1,350 screens in 20 markets for an overseas cume of $112.5 million.

Fox's "Fantastic Mr. Fox," [earned] $22.8 million; ... Fox's "Alvin and the Chipmunks: The Squeakquel," $219 million.

For those of you keeping score (and who among us is not?) Green Froggy now has a worldwide total of $250 million, Cloudy Mit Meatballs has accumulated $237.4 million, and critics' favorite The Fantastic Mr. Fox stands at $43.6 million. Meantime, Alvin and Co. is up there at ten times Fox's number with $435.6 million.

Apparently the world community likes animated product pretty well, wouldn't you say?

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Saturday, February 27, 2010

Chasing Returns

Now with Buffet-heavy Add On.

Since the deadline for TAG 401(k) enrollment looms (the deadline is next week), here's another dollop of investment advice, this one about the folly of chasing overheated returns ....

Please note the word "chasing," as in "trying to overtake," which is essentially what chasing entails: the train -- some hot investment or fund -- is barreling along the track, and the hopeful investor is racing along behind trying to jump aboard.

The problem is, most investors buy into the hot mutual fund (or stock) around the time it's starting to cool off.

One quick example: In Money Magazine's 2010 Investor's Guide, the top ranked fund for 2009 was Oceanstone Fund..

The little darling returned 246.1% in 2009. For the three years spanning 2007 to 2009, the fund was also number one, earning 56.7% for the period.

But before you go piling onto this big-time bonanza, here's a few things you should know:

1) Oceanstone is small, with only four million dollars in assets. (This might explain part of the reason it's performing well -- the sucker has a small asset base and is therefore nimble.)

2) Oceanstone has only been up and running since November 2006, so it's got a short track record.

And here's the other thing: as investors read Money Magazine, they'll look at the rankings and jump on the gravy train, unaware that as investors sign up the fund will inevitably become much larger and less able to ride hot investments.

(This is what happened to Fidelity's Magellan Fund under Peter Lynch. Magellan took off like a rocket when it was small, well-managed and able to turn on an investment dime. But its success caused it to become huge, and Magellan became, for all intents and purposes, little more than a high-cost index fund.)

Warren Buffet, who's managed to make a few dollars as a professional stock picker, has offered this advice to small, part time investors:

... "The best way in my view is to just buy a low-cost index fund and keep buying it regularly over time, because you'll be buying into a wonderful industry, which in effect is all of American industry ... If you have 2% a year of your funds being eaten up by fees, you're going to have a hard time matching an index fund ..."

But I'll go a step or two further. You should get into a low-cost asset allocation fund (I've linked t0 three examples -- only one of which contains pure index funds) and feed it month by month over a period of twenty or thirty years.

Do it that way, and you won't have to worry about rebalancing, because the fund will rebalance for you. And you won't have to worry about a steady drip-drip of brokerage costs, because you won't have any.

The only thing you'll have to worry about, after several decades of dribbling in your investment dollars this way, is how you're going to spend whole lot of money.

Add On: Since Warren Buffet published snippets of investing wisdom in his Berkshire Hathaway letter yesterday, we quote (via The Wall Street Journal) some highlights:

Stay liquid. "We will never become dependent on the kindness of strangers," he wrote. "We will always arrange our affairs so that any requirements for cash we may conceivably have will be dwarfed by our own liquidity. Moreover, that liquidity will be constantly refreshed by a gusher of earnings from our many and diverse businesses."

Buy when everyone else is selling. "We've put a lot of money to work during the chaos of the last two years. It's been an ideal period for investors: A climate of fear is their best friend ... Big opportunities come infrequently. When it's raining gold, reach for a bucket, not a thimble."

Don't buy when everyone else is buying. "Those who invest only when commentators are upbeat end up paying a heavy price for meaningless reassurance," Mr. Buffett wrote. The obvious corollary is to be patient. You can only buy when everyone else is selling if you have held your fire when everyone was buying.

Value, value, value. "In the end, what counts in investing is what you pay for a business-through the purchase of a small piece of it in the stock market-and what that business earns in the succeeding decade or two."

Don't get suckered by big growth stories. Mr. Buffett reminded investors that he and Berkshire Vice Chairman Charlie Munger "avoid businesses whose futures we can't evaluate, no matter how exciting their products may be."

Most investors who bet on the auto industry in 1910, planes in 1930 or TV makers in 1950 ended up losing their shirts, even though the products really did change the world. "Dramatic growth" doesn't always lead to high profit margins and returns on capital. China, anyone?

Understand what you own. "Investors who buy and sell based upon media or analyst commentary are not for us," Mr. Buffett wrote.

"We want partners who join us at Berkshire because they wish to make a long-term investment in a business they themselves understand and because it's one that follows policies with which they concur."

Defense beats offense. "Though we have lagged the S&P in some years that were positive for the market, we have consistently done better than the S&P in the eleven years during which it delivered negative results. In other words, our defense has been better than our offense, and that's likely to continue."

All timely advice from Mr. Buffett for turbulent times.

The only thing that I'll add here is the simplest way to be a Buffet-like contrarian is to have an asset allocation between stocks and bonds (say, 50%-50%) and to re-balance the mix to that percentage every twelve or eighteen months. This will force you, over time, to sell high and buy low.

To do it any other way is difficult. Because very few mortals -- Mr. Buffet is clearly one of that small band -- have the ability and discipline to fold a hot hand.

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Synchrolux Says

... the following:.

... [T]here’s a common joke-slash-truism in the animation community: What are the three most important things in a great animated movie? It’s a variation on the old real-estate saw: What are the three most important things in selling a house? Location, location, location. In the world of animation, the axiomatic answer is usually story, story, story. ...

Now go and read the rest of the post.

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End Of February Derby

Now with fresh-baked Add On.

Another weekend, another three days seeing how much more money Avatar makes ...

And the tall blue people now approach the $700 million domestic divide after 71 days of release. (If a movie makes $700 million worldwide, the conglomerate that releases it is ecstatic with joy, and Avatar has picked that much lucre up inside Canada and the fifty states. Truly amazing ...)

The Nikkster has the early returns:

1. Shutter Island (Paramount) Week 2 [3,003 Theaters] Friday $6.7M, Estimated Weekend $21M, Estimated Cume $75M

2. Cop Out (Warner Bros) NEW [3,150 Theaters] Friday $5.9M, Estimated Weekend $16.7M

3. The Crazies (Overture) NEW [2,476 Theaters] Friday $5.9M, Estimated Weekend $15.3M

4. Avatar (Fox) Week 11 [2,456 Theaters] Friday $3.1M, Etimated Weekend $12.5M, Estimated Cume $705M

5. Valentine's Day (Warner Bros) Week 3 [3,578 Theaters] Friday $2.9M, Estimated Weekend $8.8M, Estimated Cume $100M

6. Percy Jackson (Fox) Week 3 [3,302 Theaters] Friday $2.4M, $Estimated Weekend $8.8M, Estimated Cume $70.2M

7. Dear John (Sony) Week 4 [3,006 Theaters] Friday $1.5M, Estimated Weekend $4.3M, Estimated Cume $71.8M

8. The Wolfman (Universal) Week 3 [3,043 Theaters] Friday $1.1M, Estimated Weekend $3.8M, Estimated Cume $57M

9. Tooth Fairy (Fox) Week 6 [2,249 Theater] Friday $730K, Estimated Weekend $2.8M, Estimated Cume $53.1M

10. Crazy Heart (Fox Searchlight) Week 11 [1,158 Theaters] Friday $610K, Estimated Weekend $2.4M, Estimated Cume $25M

Add On: The wire has now been crossed, and Shutter Island hangs onto the top spot with $22.2 million, Cop Out collects $18.5 million, with The Crazies earning $16.5 million. The 70% animated Avatar makes another $14 million in the fourth spot, and now has $706.9 million in its domestic kitty.

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Tomorrow: Your last chance to see "Canvas, Polyresin and Bronze"

Above: George Scribner, Rubén Procopio, Bill Wray, Annie Guenther and Vicki Banks

If you missed the opening of the Gallery 839 exhibit "CANVAS, BRONZE AND POLYRESIN" and haven't had an opportunity to see it yet, tomorrow's your last chance before it goes away. The gallery, which is located at our headquarters at 1105 N. Hollywood Way in Burbank, will be open on Sunday, February 28 from noon until 3 pm.

William Wray, Vicki Banks, George Scribner, Rubén Procopio and Annie Guenther will be in attendance. All artwork is available for purchase.

Gallery 839 is featuring the art of Animation Guild members and other animation artists, highlighting their artistic contributions outside of the sphere of what they do for animation studios.

We are interested in setting up both group shows and individual exhibits. If you have an idea for an upcoming show, or for further details, e-mail Jeff Massie at jeffmass@mindspring.com.

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Friday, February 26, 2010

Mo Cap Manipulation

Bill Kroyer, director and animation veteran, has one of the better takes on motion capture:

"Pure motion capture is essentially another form of puppetry, and we don't consider puppetry, which involves real-time manipulation, to be animation," explains Bill Kroyer, an animation director at the Rhythm and Hues effects studio. "We've always defined animation as frame-by-frame filmmaking, which means the artist has the ability to go in and manipulate the action frame by frame.

"It gets tricky because it's all hybrid now, especially motion capture," he continues. "You're starting with a real-time file, but in almost every film, the motion capture has been adjusted frame by frame. Even in 'A Christmas Carol' or 'Beowulf,' they couldn't capture eyes and mouths; those had to be animated."

The thing of it is, raw, unadorned motion capture, like live action photostats traced slavishly onto hole-pegged paper, doesn't grab audiences very much. Both look kind of floaty and bizarre if animators don't get in there and massage them.

Years ago, a DreamWorks staffer told me about a mo cap test for Shrek, early in its development:

"Jeffrey looked at it and said 'it doesn't work,' and everybody agreed that the picture was going to be animated. And we'd spent a bunch of money on the test ..."

This isn't, sadly, a new phenomenon.

Ralph Bakshi told The Times he rotoscoped his entire film of "The Lord of the Rings" "to get the total realistic motion that animation has never gotten before." But the results looked weightless, awkward and far less convincing than good freehand animation. The film elicits snickers when it screens today ...

Mo cap and roto are fine tools, but they don't work particularly well if there's no artistic brain working at the computer or light board, honing and shaping them into believable performances.

No matter what live action filmmakers say, they can't erase animators out of the process, because without them, the results neither convince nor compel audiences to accept the images up there on that big, wide screen..

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A Gathering Of Links

As we move to March, we give you another cluster of linkage to Cartoon News you can review and discard, as you see fit.

The New York Times details the wonder of the New York International Children's Film Festival:

New York International Children’s Film Festival

One of the most intriguing features in the New York International Children’s Film Festival is all about Oz. But this place has no Dorothy, no wizard, no Emerald City. And it’s even farther from Kansas.

Here Oz is a virtual universe controlling everything from traffic signals to nuclear missile codes. Its sudden, fateful hacking by the Love Machine, a rogue artificial intelligence, forms the plot of “Summer Wars,” by the up-and-coming Japanese anime director Mamoru Hosoda ....

The Croods, in mid-stream story development at DreamWorks Animation, is filling its cast list.

Nicolas Cage and Ryan Reynolds have reportedly signed to play caveman in the CG-animated comedy The Croods.

According to Variety, Cage will voice Crug, a patriarch of a Neanderthal family who cautiously leads his relatives to a new land after their home is destroyed.

Reynolds is to voice a progressive-thinking outsider who challenges Crug ....

Reuters asks John Lasseter various questions:

"Toy Story," "Finding Nemo," "The Incredibles," "Ratatouille" "Wall-E" and now "Up" have all earned best screenplay Oscar nominations. What's the secret?

A: "I believe in research. Each movie at Pixar involves research with college professors or taking trips to learn as much as we can about a particular subject matter...I have met a lot of top chefs around the world during my travels. Each one of them has said "Ratatouille" is their favorite movie and the only movie that truly captures what they do. Auto Week called "Cars" the best car movie because the details were spot on."

A Yalie complains about the lack of dramatic animations:

There is not a single dramatic animated short up for an Academy Award this year. Not a single instance of animation defying the seemingly perpetual relegation of the medium to comedy — of animation that does not rely (at least in part) on slapstick humor to tell its story. Why?

Granted, I may be more insulted by this than most ...

Yes, I imagine you are.

Animated news, the next frontier (and Tiger Woods was just the beginning):

Animated news: blurring the line between fact and fiction?

Are CGI envisionings of a killer whale attack, Brown's alleged bullying and what goes on in the male brain the future of news?

First there was the animation of Tiger Woods's car crash, which went viral. Then came the video showing a perhaps exaggerated version of Gordon Brown's alleged bullying. Western journalists have been forced to take notice of animated news ...

And we can all rest easy, because the Big Mouse has worked out it's British theater chain problem:

Odeon/UCI cinemas has agreed to an eleventh-hour deal with Disney to show "Alice in Wonderland" in the circuit's U.K. theaters.

The agreement follows a separate deal with U.K. exhib Vue, ending a controversy that had threatened to squeeze Tim Burton's 3D pic out of the local theatrical market. The Odeon agreement was announced Thursday, as Disney prepared to stage the world premiere of "Alice" in front of Prince Charles at the circuit's flagship cinema on Leicester Square ...

Have a restful weekend.

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Thursday, February 25, 2010

With the Yellow Family

I spent half my morning at The Simpsons studio Film Roman, and learned one new fact I hadn't been aware of before ....

Though most everyone works on Cintiqs (see below), I noticed that layout artists were busy cutting pieces out of their layout setups and reworking them on paper. I wondered aloud why they were working with long white sheets when the Cintiq tablets were right at their shoulders. They answered:

"Rough Draft, the studio in Korea, doesn't work with the digital files, It uses paper. So we draw layouts digitally and print them out, work with them some more, cut and resize, hole punch the drawings and get them ready for shipping. It's the way it's always been with the overseas studio: layouts on sheets of paper ..."

Meantime, Bart and the rest of the brood march on through their 21st season:

On Sunday night original episodes of animated favorites THE SIMPSONS, THE CLEVELAND SHOW, and AMERICAN DAD grew significantly over their previous week’s performances.

At 8p THE SIMPSONS posted a 2.9/8 among Adults 18-49, marking a +12% increase over the previous week.

THE CLEVELAND SHOW in the 8:30p timeslot delivered a 2.8/7 among Adults 18-49, gaining +17% over the previous week.

At 9:30p AMERICAN DAD achieved a 2.8/6 among Adults 18-49, up +12% versus the previous week.

I hear Simpsons artists speculate on how many more seasons The Simpsons will keep going, and how long them might have jobs. I guess some of that depends on the next round of the voice actors' demands, but the ratings seem to be holding up.

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Becoming a Disney Writer

A commenter asks:

I hope to become a screenwriter for Disney, any tips?

Becoming a screenwriter at Disney Animation is a bit more complicated than when I did it back at the time James Garfield was President.

In the mid seventies, TAG Veep Earl Kress and I applied for positions in Disney Feature story department. Amazingly enough, we both got the nod. The company was looking for fresh blood and they weren't concerned whether you had a lengthy professional resume or not. (I had an unpublished novel and a few published magazine articles in my back pack. Big whoop.)

But amazingly enough, Earl and I ended up being staff writers, and were there for some years. But I don't think the route we hiked -- coming in as novice screenwriters -- exists anymore.

In the 1970s, Disney was a small studio, a sleepy backwater that mainstream Hollywood ignored. And what Hollywood really had no interest in, back in the day, was ninety minutes of hand-drawn animation. Because of that, the studio hired employees for its little cartoon department (led by former animator and Army Air Force pilot Woolie Reitherman and the last of the Nine Old Men) without regard to how impressive their previous Hollywood work was, or if they had any work at all. Most everybody was a newbie. Almost nobody came with a list of screen credits.

Today, however, the animation biz is HUGE, and hugely important to the conglomerates' bottom lines. None of the studios -- not DreamWorks Animation, not Disney, not Pixar or Blue Sky Studios or Sony Pictures Animation -- leave animation scripting to twenty-somethings with zero big league credits. All of them now use high profile writers from the live-action realm. From the corporate perspective, the stakes are too high not to.

Sometimes this approach works out fine, and sometimes studios spend a lot of money for a hundred twenty pages of deathless prose that even a team of seasoned board artists are unable to salvage. The newer reality is, if you want to write for Walt Disney Animation Studios or any of the rest, you better have a couple of high-grossing films under your belt, or they won't give you the time of day.

So here's my tip: Charge out there and get some credits that say: "Screenplay By." Then go write some animated features.

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Cintiqs' Speed Traps

A member e-mailed me the following this morning:

I recently purchased a Cintiq, and really enjoy using it. My concern is, now that everyone is switching over to digital drawing, I think that the studios have unrealistic expectations as to the time savings. Studio X has cut a week off the storyboard schedules. ... Even though we're working on computers now, it still takes time to make the drawings, and the computer is just a different tool. I would like to see if other union members agree with me, or if they have found that using a computer really does speed up the process.

I've talked to a number of board artists who've jumped to Cintiqs, and almost all of them like it. They enjoy the fact they don't have to redraw everything or endlessly cut, paste and Xerox; they like the storage capabilities. But many get frustrated with new demands that they turn out more material at a faster pace when there is still a hell of a lot of drawing to do, drawing that still takes a hell of a lot of skill, concentration and time.

Thoughts?

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Wednesday, February 24, 2010

Lemming Watch

We should all celebrate the success of Alvin and the Chipmunks and sequel. Because it means that all over Tinsel Town, movie execs are shouting into their cell phones: Quick! What other cartoon characters we got out there?!"

And now we have our answer:

Speedy Gonzales is taking his folk hero status, incredible speed and signature red kerchief to the big screen, courtesy of New Line. "Garfield" scribes Alec Sokolow and Joel Cohen will adapt the classic animated Looney Tunes character into a live-action/CG hybrid feature. ...

We are fortunate that Warner Brothers Animation and other studios developed a variety of cartoon characters in the thirties, forties, and fifties. Because it gives Hollywood a lot of different choices as it populates the oncoming tidal wave of hybrid animated features.

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The Disney Afternoon

I spent a portion of my post-lunch day at the Hat Building, doing my usual rounds. And the place was peaceful.

Tangled, the movie in production, is generally liked, although some departments on the first floor are still waiting for the production wave to hit at full force.

Winnie the Pooh (the next feature up) is going full-tilt in the layout department, although some animators don't have a lot of scenes yet. Meanwhile, animation staffers attended a meeting about new ideas for hand-drawn production. (The word is that the company would like to see TP&TF hit $300 million globally, the better to get into clearly profitable territory, and of course now it's below that magical figure. "But the merchandise has sold well.")

In the bigger corporate picture, Robert Iger is in an acquisitive mood:

Disney Chief Executive Officer Robert Iger, 59, is on a spending spree at the world’s biggest media company to transform his film studio, amusement parks and stores. In fiscal 2009, net income at Disney fell 25 percent to $3.3 billion -- the worst annual performance in Iger’s five-year reign -- and was almost flat in the first quarter of 2010 compared with a year earlier. ...

... In December, Disney completed its $4.3 billion purchase of Marvel Entertainment Inc., home of Iron Man, Spider-Man and the X-Men, paying a 40 percent premium over the stock price. ... In December, S&P affirmed its earlier revised outlook on Disney’s debt to negative from stable, citing concerns about the company’s recovery, the growth in spending and threats from deep-pocketed rivals...

“Disney is going to be basically doubling what they are spending,” says James Tarkenton, a managing director at Lateef Investment Management ....

Looks to me like the Disney CEO is planning to do whatever it takes to goose Diz Co.'s profit margins. Some big buys and big bets going on just now. Here's hoping they pan out.

Add On: As long as we're on Disney, the Mouse is teaming with the Getty on a worthwhile preservation program.

... The Getty Conservation Institute said Wednesday that it is partnering with a division of Disney to study the deterioration that can occur in plastics -- specifically, the kind used in animation cels.

The study will be conducted as a partnership between the Getty Institute in Brentwood and the Disney Animation Research Library ...

Some of the cels already examined by the Getty show that paint is starting to come away from parts of the plastic, while others show signs of warping and yellowing ...

The Disney Animation Research Library houses an estimated 65 million pieces of animation created over more than 80 years by the Walt Disney Animation Studios. ...

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Tuesday, February 23, 2010

The Permanence of Three Dee -- Part XI

Somehow I missed this:

Jim Cameron's "Avatar" shone brightly at the International 3D Society's inaugural kudos event Tuesday, copping a half-dozen Lumiere Awards and a People's Choice award for favorite live-action movie.

The International 3D Society? International 3D Society?

It seems like only yesterday that my dear father was a proud, card-carrying member of the International CinemaScope Society (The Robe. 20,000 Leagues Under the Sea!) What the hell happened to that?!

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DreamWorks Walk Through

Around the time I was wandering the hall of DWA's Lakeside building today, Jeffrey Katzenberg was on the phone about DreamWorks Animation's March movie release in three dimensions:

QUESTION: Do you think you're going to be able to hold onto the majority of your 3-D screens post the release of "Clash of the Titans?"

RESPONSE: So, on the 3-D screens issue, again I think ultimately it becomes the playability of the movies. We will have a very, very strong 3-D platform, to launch "Dragons" on. In particular, we have an exclusive arrangement for the vast majority of Imax screens. The only ones that are excluded are some of the ones that are in the educational market. And so, that platform is exclusive to us for a six-week run ...

How to Train Your Dragon will have a big opening if staffers opinions of the movie are right, because most people I've talked to really like the picture.

I guess we'll have to wait and see.

But Dragon is done. The focus of the board artists, animators, layout artists and surfacers I talked to today is now elsewhere.

"We're well into Kung Fu Panda: the Kaboom of Doom. We've got five sequences in work. There's still way more to do than we've already done, but it's moving right along ..."

I got a look at footage for DWA's Fall release Megamind, and the stuff looks good. Funny characters and attitudes abound. (Sadly, I didn't see enough to know how the picture fits together, so don't ask.) The animator who showed me said: "I think this feature is going to surprise people. It's witty and has lots of funny sequences and bits."

And a Puss in Boots story artist says story development has been robus. So robust that it's jumped ahead of another picture, coming out in 2011.

But don't think everybody is 100% satisfied. A development guy crabbed how the company needs more projects in work to keep the production pipeline filled. "There's a lot of movies going on here, but I think there should be more small teams taking properties the company owns, that are just sitting around, and seeing what they can do with them. Just throw up an outline board and see if it works. If it doesn't, move on to the next. If we're going to get up to three pictures a year and stay there, we're going to need more development."

But most aren't complaining. As a long-time employee said as I was walking out: "For me, there's always a picture to jump onto, always some kind of work. I like knowing I've got a job to come to."

Add On: DreamWorks Animation, in case you were wondering, had a pretty okay fourth quarter, business-wise:

... Reporting its fourth-quarter income for the fiscal year ending December 31, 2009, DreamWorks reported full-year revenue of $725.2 million and a profit of $151 million – up 12 percent and 10 percent respectively – driven by films including “Monsters vs. Aliens.” The company beat fourth quarter revenue forecast with $194.2 million. ...

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Monday, February 22, 2010

My 401(k) Day

The entire workday was taken up with 401(k) Administrative meetings (and preparations for the meetings.)

Which presents me with a fine opportunity to post about retirement planning, and why anybody reading this had better get serious about tucking cash away for their Golden Years ...

Our outside experts attending the meetings today said the obvious:

"Very few people save enough for retirement. That's why a lot of corporate 401(k) Plans are now moving to "opt out" enrollment structures: When you're hired, you're automatically in the company 401(k) Plan at 3% or 4% unless you act to get out. Which most people don't."

I'm not a licensed financial advisor but I've done a jillion 401(k) enrollment meetings and read more financial blogs, investing books, and mutual fund web sites than I can remember. And here's the basic deal:

There is no perfect investment model. (When every asset class except cash tanks at the same time, like happened for six months in 2008-2009, what are you going to do?) Here are a few important retirement sign posts:

Age 50: Special "catch up" provisions allow you to contribute more to 401(k) Plans and IRAs.

Age 55: Early Retirement allowed by Motion Picture Industry Health and Pension Plan (49.5% of monthly annuity; 100% of Individual Account Plan with 20 Qualified Pension Years and 20,000 hours.) Special Early Retirement (70% of monthly annuity and 100% of Individual Account Plan with 30 Qualified Pension Years and 60,000 hours.)

Age 59 1/2: Can take withdrawal from 401(k)s and IRAs without penalty.

Age 60: Full retirement and Retiree Health Benefits from MPIPHP with 30 Qualified Pension Years and 60,000 hours.

Age 62: Early Social Security benefits.

Age 65: Medicare becomes available.

Age 65: Full Retiree benefits from MPIPHP.

Age 67: Full Social Security benefits for those born after 1960.

Age 70: Social Security benefits stop growing. (Grows 8% per year from age 62 to age 70 -- IF benefit is unused.)

Age 70 1/2: Minimum distribution from IRAs and 401(k) Plans are required.

Asset allocation can be as simple or complex as you care to make it. The standard-issue allocation for people under 45 is 60% stocks (70% domestic; 30% foreign, with a quarter of the total in small caps) and 40% bonds (short term and intermediate issues.)

For people over 55 the usual allocation is 60% bonds and 40% stocks. (And here you will find one of the kazillion asset allocation and investment wizards that are available on the intertubes.)

Asset allocation and a solid investment strategy are relatively simple things. What's hard is sticking with them. But with a bit of discipline, the task is highly doable.

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Fox the Dominator

Fox is developing yet another teevee cartoon:.

... BRICKLEBERRY PARK (FOX, New!) - Waco O'Guin and Roger Black ("Stankervision") have booked a pilot presentation order from the network for a new animated comedy about "a group of forest rangers at a declining park that's about to be shut down." Dave Herman ("Office Space"), Tom Kenny ("Spongebob SquarePants") and Carlos Alazraqui ("Reno 911") have already signed on to voice the project ...

Forget about Disney, the company. Or John Lasseter, the man. The Big Kahuna in animation is someone else ...

... and that someone else is a kindly old gentleman named Murdoch.

Think about it a minute. Rupert presides over the highest grossing animated feature (Avatar) of all time. Sure, there's live action in it. And James Cameron argues that it falls in the l.a. column. But anybody who's honest would concede there's more animated elements in its two hour and twenty minute running time than anything else.

As Snow White was the highest grossing feature film as of 1938, so Avatar is the highest grossing feature circa 2010 ($2,467,962,011 and counting.)

But that's only a fragment of the reason that Rupert Murdoch is Animation's New King. In television, the Fox Network has its Animation Domination" schedule, where Sunday night IS Toonville. On the theatrical front, Avatar is only the beginning. There is the tentpole known as Alvin and the Chipmunks. There is Blue Sky Studio's Ice Age franchise, the last feature of which brought in a tidy sum for News Corporation.

So forget Walt Disney or John Lasseter or Jeffrey Katzenberg. The Big Kahuna of animation isa well-known newspaper mogul Keith Rupert Murdoch.

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Sunday, February 21, 2010

Can't Keep a Good Director Down

As there is life after Disney, so is there life after Pixar:

Chris McCoy and Jan Pinkava are writing the animated film "Little White Lie" for Laika Entertainment, the company behind the Oscar-nominated "Coraline."

"Lie" stems from an original idea by Pinkava, who has a story credit on Pixar's "Ratatouille," which he co-directed. Pinkava also will direct "White Lie."

Laika needs a replacement for Henry Selick, and now it's got one in Dr Pinkava. Here's hoping White Lie is a thundering success.

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Tex Avery's Roots

The Dallas Morning News remembers a native son:

... [Tex Avery] first heard the line [Eh, what's up, doc?"] at North Dallas High, where he graduated with the Class of 1926. Standing in the cavernous hallways, one can almost hear Roaring '20s teenagers passing one another during class changes. "Hiya, doc." "What's new, doc?" "What's up, doc?"

... Avery ... once told an interviewer that Daffy Duck was born on White Rock Lake in East Dallas, where he and his friends hunted ducks.

Who knew?

Unfortunately, various educators are aware of N. Dallas High's graduate, and are steering impressionable youth down a perilous path..

... [S]tudent artists are competing in a contest to paint the best mural of Avery's characters. Winners will be declared later this month. Teachers say incidents of illegal graffiti have decreased recently, because students can use the cartoon contest as an outlet ...

It's fine and dandy that illegal grafitti is down, but get real. Lawyers from Time-Warner will soon be banging on North Dallas High's doors, handing out "cease and desist" orders for copyright infringement. And getting students to erase the murals.

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The Foreign Derby

The many varieties of animation (hand-drawn, cg, hybrid) continue to prosper in venues across the seas:

... [D]ominating the foreign circuit, 20th Century Fox's "Avatar" squeaked out its 10th consecutive round as the No. 1 film overseas, generating $51 million -- down just 15% from last weekend -- from 7,600 screens in 71 markets.

Overseas gross total for director James Cameron's record-setting blockbuster was $1.780 billion with its worldwide tally weighing in at $2.468 billion ...

And Rupert's other hybrid animated feature is churning out foreign coin for News Corp. as well:

... Fox's "Alvin and the Chipmunks: The Squeakquel" hoisted it overseas cume to $215.5 million thanks to a $3.7 million weekend at 2,500 screens in 30 markets ...

Though Sony smothered its most recent animated feature a little too early stateside, the opus rolls on overseas:

... "Cloudy With A Chance of Meatballs" drew $3.2 million on the weekend from 1,470 screens in 21 markets for an international cume (collected since last Sept. 16) of $107.7 million.

To date, Cloudy has fun up a worldwide total of $232.6 million.

Meantime, Green Froggy continues to hop right along:

No. 5 was Disney Animation's "The Princess and the Frog," which cashed in on school holidays in France and the U.K. and grossed $12.1 million from 3,397 screens in 40 territories. Overseas cume stands at $131.5 million. France, with about two-thirds of the country observing school vacations, generated $4.1 million -- up 9% from last weekend -- from 697 locations for a one-month market cume of $23.1 million ...

So will TP&TF be a money spinner after all revenue sources have reported in? You betchya. It's already grossed $234.2 million on a worldwide basis. After factoring in the little silver disks and product merchandising, it should perform satisifactorily.

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Saturday, February 20, 2010

Multi Animated Links

Linkage on a winter weekend, what could be finer?

The New York Times details the animated shorts vying for an Oscar:

... Few movies of any length combine such daring and craft with the dazzling wit of “A Matter of Loaf and Death,” Nick Park’s half-hour tour de force. It marks the welcome return of Wallace and Gromit, the hand-molded English bloke and his skeptical dog who have brought glory to the Aardman animation studios. ...

How to Train Your Dragon serves up a teaser trailer (which is probably already sprinkled far and wide across the intertubes, but we throw it up as a link anyway.)

Adult Swim expands ....

The additional hour of prime time is in response to Adult Swim’s high ratings that have dominated the 18- to 34-year-old male demographic consistently since 2007.

Quick. Dream up some crass and/or edgy and/or older demographic-type cartoons.

Dr. Catmull to be honored:

... The 8th Annual Video Effects Society (VES) Awards, which takes place on Sunday, February 28, will honor Walt Disney Animation Studios and Pixar President Dr. Ed Catmull with the Georges Méliès Award for Pioneering ...

The Los Angeles Times looks at a new direct-to-video hand-drawn feature:

'Dante's Inferno' and the rings of pop culture

... The direct-to-home-video release ... is rooted in "The Divine Comedy," the epic 14th century poem by Dante Alighieri that endures as one of the signature works in world literature. This "Inferno," though, will be a bit jolting to anyone whose mental image was shaped by high school textbooks or the classic illustrations by Botticelli or William Blake's watercolor interpretations. This "Inferno" finds its hellish landscape in the game published this year by Electronic Arts and developed by Visceral Games ...

The WGA (east and west) held its writing award ceremonies today:

... The WGA's annual awards for film, TV, radio, news, promotional, video-game, animation and variety-show writing were presented ... in simultaneous ceremonies at the Hyatt Regency Century Plaza Hotel in Los Angeles and the Millennium Broadway Hotel's Hudson Theatre in New York City. "Family Guy" mastermind Seth MacFarlane hosted the West Coast show, while "Curb Your Enthusiasm" regular Susie Essman hosted back east ...

The Art Center College of Design is mounting an animation exhibit at its Williamson Gallery:

... A rare opportunity to see just what's involved in creating the blend of artistry and technology in animated film opens March 5 with the "DreamWorlds" exhibit ...

"It's ...a chance to peek behind the veil and see what the environment of contemporary animation looks like," said Stephen Nowlin, the gallery's curator. "You get to see the process, and people are still fascinated by that...but I think they'll still be able to suspend their disbelief" when they see the finished movie. ..."

And finally there is Yogi Bear Three Dee ... now shooting in New Zealand?!

... Welcome to another day at Jellystone Park. Or, as it's known to its usual native wild creatures, the mountain bikers of Auckland, Woodhill Forest.

It's roughly halfway through the New Zealand shoot for Yogi Bear, the mixed live action and computer-animated 3D version of the Hanna-Barbera cartoon which dates back to 1958.

The production has already spent time in Taupo, shooting whitewater scenes at the Aratiatia rapids, and in central city Auckland - (spoiler alert) at some point Ranger Smith is reassigned to the tiny "Evergreen Park" better known to us as Emily Place.

And they'll be here until mid-March, with more days at Woodhill and West Auckland's Studio West for scenes inside Yogi's cave.

It's always good that an American icon is being shot on the bottom side of the globe. Makes me tingle.

Have a refreshing sabbath.

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The Mid-Winter Derby

The lead horse appears to be Shutter Island, fast out of the gate with $14.1 million, headed for a $35 million dollar opening weekend. ...

The Nikkster's tally, (earlier and slightly off) goes as follows:

1. Shutter Island (Paramount) NEW [2,991 Theaters] Friday $13.5M, Estimated $35M Weekend

2. Valentine's Day (Warner Bros) Week 2 [3,665 Theaters] Friday $5.6M (-61%), Estimated Weekend $17M, Estimated Cume $89M

3. Percy Jackson & The Olympians (Fox) Week 2 [3,396 Theaters] Friday $4.0M (-58%), Estimated Weekend $16M, Estimated Cume $62M

4. Avatar (Fox) Week 10 [2,582 Theaters] Friday $4.0M, Estimated Weekend $16M, Estimated Cume $687M

5. The Wolfman (Universal) Week 2 [3,223 Theaters] Friday $3.0M (-68%), Estimated Weekend $9.0M, Estimated Cume $49.5M

6. Dear John (Relativity/Sony) Week 3 [3,062 Theaters] Friday $2.3M, Estimated Weekend $7.5M, Estimated Cume $66.2M

7. Tooth Fairy (Fox) Week 5 [2,523 Theaters] Estimated Weekend $4.5M, Estimated Cume $50M

8. Crazy Heart (Fox Searchlight) Week 10 [1,089 Theaters] Estimated Weekend $3.0M, Estimated Cume $21.5M

9. From Paris With Love (Lionsgate ) Week [2,311 Theaters] Estimated Weekend $2.5M, Estimated Cume $21.2M

10. Edge of Darkness (Alcon/Warner Bros) Week 4 [2,118 Theaters] Estimated weekend $2.3M, Estimated Cume $40.5M

Avatar, in its tenth week, closes in on a $700 million domestic accumulation, which is narrowly short of amazing.

Add On: At the finish, DiCaprio and Scorcese triumph atop Shutter Island, raking in $40.2 million for the weekend.

In second and third, Valentine's Day earns $17,160,000 while the hardy, long-limbed blue people pull down $16.1 million to give Avatar a domestic total of $687,821,000.

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Friday, February 19, 2010

The Animateds' Current Box Office

Not the high-flying hybrid stuff that is sprinkled with live (ecch) action, but the 100% unadulterated animated features. There are two still two of those in general release ...

The Princess and the Frog has earned $102.1 million in domestic release, and $109 million in overseas takings, for a grand total of $211.1 million in worldwide grosses.

Since TP&tF comes out on those little silver disks on March 16th, its domestic total is unlikely to climb a lot higher. (What the release pattern is in each foreign markets might be known to Diz Co., but certainly not to me.)

The other pure animated product out there is The Fantastic Mr. Fox, which despite critical hossanahs, isn't setting the record books on fire. As I write, the feature has made half its money inside the U.S., and half out, with a total accumulation of $40.6 million against a budget of $40 million.

Add On: As indicated above, The Princess and the Frog has now toted up a $234.2 million worldwide gross.

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Books Don't Always Translate

Bill Peet moved major plot points (and many of the bells and whistles) from Dodie Smith's novel 101 Dalmations to the big screen for the Disney version half a century ago.

Apparently translating a book into another medium is not always as successful as the 1961 model turned out to be.

Broadway in Chicago’s ‘101 Dalmatians’ a dog of a musical

The conceit of this ill-conceived show is that the dogs are played by regular-sized people in spotted outfits, so Director Jerry Zaks has made all the people playing humans larger than life by putting them up on stilts. The resulting dog-people aren’t very doggish and the humans are like nothing on earth.

The pop-tinged score, by Styx singer Dennis DeYoung is almost completely forgettable, the exceptions being “Hail to the Chef,” a bouncy food song crooned by Cruella to the dogsitting cook while her henchmen make off with the pups, and a recurring reggae number, “Be a Little Bit Braver ...”

Four adults, ten kids, 15 real Dalmatians and a few dummy dogs and puppets portray the 101 canines of the title, but not very well. ... The puppetry simulating the puppy pack could have been done much better ...

I read Ms. Smith's opus about dalmations decades ago, but it stays with me still. Mr. Peet was faithful in his adaptation, although he left out a few poignant scenes (one with an old man remembering his faithful dog in front of a blazing fireplace) that failed to make the cut for the animated version, probably because they played well on the printed page but not on a storyboard.

A shame that the stage version of the book wasn't more riveting, but knowing the novel's challenges, I don't know how it could be. Animation really was (and is) the ideal medium for it.

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Thursday, February 18, 2010

Animation at the Brothers Warner

Today was WB Animation day at the ranch (formerly Columbia, currently Warner Bros.)

... WBA continues with its super hero direct-to-video features:

Bruce Timm: [Justice League: Crisis on Two Earths] is a return to my favorite show Justice League Unlimited. The original script was intended to be the bridge story between Justice League and Justice League Unlimited to explain how we went from seven heroes to more than 50 super heroes. We loved the story and the script, and it floated around here for years while we tried to figure out what to do with it – it was considered for a comic, but fortunately that got shot down. Then we took a look at it and, with just a few slight tweaks, we jumped at the chance to make it a DC Universe movie ...

WB Animation is a beehive of activity, especially compared to how empty and downright sleepy the place was ten or fourteen months ago.

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The Sub-Contracting Scam

The New York Times details the mis-categorization of working stiffs:

Federal and state officials, many facing record budget deficits, are starting to aggressively pursue companies that try to pass off regular employees as independent contractors ...

... Many workplace experts say a growing number of companies have maneuvered to cut costs by wrongly classifying regular employees as independent contractors, though they often are given desks, phone lines and assignments just like regular employees. Moreover, the experts say, workers have become more reluctant to challenge such practices, given the tough job market.

Companies that pass off employees as independent contractors avoid paying Social Security, Medicare and unemployment insurance taxes for those workers. Companies do not withhold income taxes from contractors’ paychecks, and several studies have indicated that, on average, misclassified independent workers do not report 30 percent of their income ....

I've had a number of visual effects artists, storyboard artists and designers complain to me about this practice over the years. I've even known of assistant animators, working in-studio, who have been labeled as "independent contractors" by a company in order to get around taxes and unemployment.

Now, of course, we have outfits like MBO striving to be enablers for firms that don't want to be on the hook for taxes and unemployment benefits for the people they engage. The tap dance goes like this:

"Heey now! You're a happening cat with places to go and people to see! You don't want to be pinned down with that employee stuff! You need your free-dom! We'll help make the indie thing work for you! Just give us 5% of your cash flow! ..."

Nice work if you can get it, but here's the way it's supposed to work: If you're working on site, or taking direction for the work performed, or using the company's equipment, you're an employee.

There are certainly bona fide independent contractors out there, and there are certainly independent contractors who make good livings. But let's face it, there's a lot of cheating and corner-cutting being done by various companies, and lots of workers are being short-changed.

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Cautious

Blue Sky Diz says that Mr. Lasseter is co-directing Cars 2. I wouldn't know anything about that, but in the recent past I had occasion to talk to Disney and Pixar artists who said:

"The new management team is cautious. John isn't taking big chances at Disney. They're trying to go with the kind of structure they have at Pixar, with a smaller creative group at the top, and I'm not sure it works well at Disney. The slate is really thin, and theyv'e got a hole in the slate now that Snow Queen is shelved, and they've asked directors here to see if they can come up with something. There should be more pitching of ideas, but management is wedded to the director-driven project, and they haven't greenlit a lot of stuff ..."

"The best way to not get ahead at Pixar is to say you want to be a director ..."

Me, beyond my observations walking around the hat building and talks with various artists there, I couldn't tell you much about Pixar. (In fact, I could tell you no-thing.)

The artists I've conversed with agree that the Disney development slate is thin, but between the films in the pipeline at Emeryville and the ones now in production down in Burbank, the House of Mouse has a goodly number of animated releases lined up on the tarmac, so there really isn't a short-term problem.

It's the more distant future that appears cloudy, but maybe that's because we're not there yet. Maybe a burst of new projects will happen between now and summer. Who knows?

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Wednesday, February 17, 2010

March of New TeeVee Animation

The last few months, various conglomerates and law firms have phoned in to ask about contracts for new animated shows. (Had one today, in fact.)

Funny how companies have figured out that animation is cost effective and, as an added bonus, has a dandy commercial shelf life. And that adults like it too. The media is apparently picking up on the trend:

HBO launches The Ricky Gervais Show and the second season of The Life & Times of Tim on Friday (9 and 9:30 p.m. ET/PT), and FX recently introduced Archer (tonight, 10 ET/PT). They join Comedy Central's South Park, Cartoon Network's Adult Swim block and Fox's Sunday lineup with offerings aimed more at grown-ups. ...

Casey Bloys, who oversees comedy at HBO, says the pay-cable network isn't specifically trying to launch animation. "What we're looking for are interesting shows. (The creators') point of view was the most important thing." ...

On the business side, animation is easy to dub for international audiences and it performs well in DVD sales, says Modi Wiczyk of Media Rights Capital, which produces Tim and Gervais. Quality animation can now be made "at a basic-cable price," too, Landgraf says.

The animation field is growing, Wiczyk says. "Twenty to 30 years ago, there wasn't a huge bench of people who wanted to make animated comedies. Now, this genre is attracting such bright talent."...

Thirty years ago, there weren't a jillion cable networks. We had three big broadcast companies, and we had low-rent syndicated shows appearing on the independent teevee channels sprinkled across the air waves. That, boys and girls, was pretty much it. Now, however, there's a lot more time to fill, and it can't all be talk and reality shows.

So animation is getting a close look by the multi-nationals because it travels well and makes money. And on our end, we're getting inquiries from various entities about new contracts. But we're telling the smart operators who ask about covering "just the writers" some sad news:

"Sorry, TAG isn't serving as a prophylactic against the Writers Guild of America (west). You want to cover your six writers to the exclusion of directors, storyboard artists, designers and animators, you can't do it with a contract from the Animation Guild, because we won't sign that kind of a deal."

It's pretty much all or nothing, the way we see it. In the next few weeks, we hope to have some newer studios signed to contracts, but the congloms' latest subsidiaries and subcontractors are going to have to decide if they want to cover the whole animated enchilada. Because covering a small slice of it just isn't going to work.

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Henry Selick Has a Point

It regards James Cameron's small art film, and it's a good one.

"Is it animation? Is it a new category? ... I don't know where it fits. I will tell you this, animators have to work very, very hard with the motion-capture data. After the performance is captured, it's not just plugged into the computer which spits out big blue people. It's a hybrid."

Well, yeah.

Just like Out of the Inkwell and Gulliver's Travels (the Fleischer edition) and Don Bluth's later work. There was lots of live-action emoting in the mix with all of them, but the final results needed animators sitting and desks. Lots and lots of animators. Likewise Avatar.

So to describe it as pure flesh-and-blood actor's performance is more than a little wrong.

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Tuesday, February 16, 2010

Who's Got the Biggest ... Lever?

All right, class. Here's a fine example of two groups striving for optimum leverage.

Walt Disney Pictures' decision to accelerate the release of its upcoming 3-D film "Alice in Wonderland" on DVD has sparked a revolt among movie theater owners in Europe.

Major chains in Great Britain and the Netherlands have threatened to boycott the movie when it hits theaters March 5, a move that could cut into box office revenues ...

Theater owners in Italy and other European countries are mulling similar action, said Westrate. Some European exhibition executives complained that, unlike their counterparts in the U.S., they were not consulted by Disney executives until recently.

The Big Mouse appears to have itself a problem.

If it goes ahead with its narrowed theatrical window, it might push more DVDs out the door, but it risks killing theatrical grosses. Whatever is a conglomerate to do?

Disney Distribution President Bob Chapek has been in London since last week meeting with exhibitors in an attempt to resolve the dispute.

I hope Bob is good at tap dancing, because he's going to have to entertain (and soothe) a lot of ticked-off European theater owners. But the question remains, who's going to blink first?

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