Friday, March 22, 2013

Standing Pat, Planning the Long Game

And now an investment post, since we're overdue.

Four years ago, a sixty-something member came into the office, and he was agitated.

We were in the middle of the financial meltdown, and his broker/financial advisor had his investment stash mostly in stocks. Given the member's age, I thought this was nuts. And said so.

The guy wanted to jump out of his stock positions and get into CDs and bonds. The broker wanted him to stick with the stocks. I didn't take a position.

In retrospect, I should have emphatically agreed with the broker (even though the broker was misguided with the man's asset allocation.)

Because ...

The Fine Art of Doing Nothing

Don’t just do something, sit there!

I love that purposefully juxtaposed Yogi Berra-ism.

I have been thinking about nothing on this lovely Friday morning. More precisely, why doing nothing — or at least much less — is better for your long term investing outcomes than doing something, also known as more.

Don’t.

Don’t do something, anything, just for the sake of it. If you are going to do something, you better have a damned good reason for it.

Doing something feels good. Doing something creates the illusion of control. Doing something responds to the angst we feel when we are unhappy with current circumstances.

Doing something is why people dump all of their stock at market bottoms; please-just-make-the-pain-stop-sell it-I-don’t-care-if-this-is-the-low was heard quite often in February and March 2009.

I have been thinking about nothing recently, mostly in the context of time frames (a post I did a few weeks ago, expanded into a full column for Sunday).

Humans exist in the here and now, at the intersection of past and future. The present is all they really know from experience. Contextualizing the long game is not their forte. What 24/7 media fills their minds with is so much meaningless detritus, so many useless options — its why they often forget that nothing itself is a viable choice. Indeed, nothing is often the best choice available. ...

I have spent years overthinking and over-analyzing investment options. I do too much slicing and dicing, putting money into that stock fund and this bond fund until I have twelve or fifteen funds stacked up like lumber at a busy construction site.

And I have been guilty of chasing after "hot" funds and bailing out of cooler funds, and generally running with the lemmings.

It took the financial fustercluck that occurred in 2008-2009 (otherwise known as the Great Recession) to force me to get my financial head on straight. For once, I didn't run screaming from my plunging stock funds. Instead I gritted my teeth and muttered "Ignore it, ignore it, please God let me ignore it ..."

And lo. Four years later, the funds I owned were back to even ... and I (at last) learned the beneficial art of doing nothing.

Moral: Set up a financial plan that is right for your head, your nervous system and your circumstances. And stick with it.
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Thursday, March 21, 2013

Lucasfilm Animation Alterations

Seems sort of obvious now that Diz Co. owns The Force, they wouldn't want Cartoon Network (and Time-Warner) to share the wealth.

... It seems that the team behind The Clone Wars will not be a team for much longer. While the status of Season 6 story arcs is still unknown, reports indicate that Lucasfilm employees responsible for bringing the show to life are being reassigned or let go. ...

[One source] described a dramatic downsizing of the entire division and said that Disney planned to place future Star Wars TV projects in the hands of its existing television operation.

Ah yes, downsizing. The ongoing theme of 2013.

But Disney didn't purchase Lucasfilm for the animation division. Animation is part of the package, but I understand the Mouse has other assets of the same type. So they're dealing with Lucas cartoons in the obvious way: reducing the footprint.

Which likely means Star Wars projects will end up at Disney TV Animation, Disney Toon Studios, or some other Disney animation unit. Big Shiny Robot isn't thrilled with this.

... Let’s be honest, no Disney television show has ever or will ever look as good as The Clone Wars did. And it’s a testament to those who worked on it. ...

Lucasfilm still has a feature animation unit; my information is it will continue with the current project (helmed by Brenda Chapman). Whether it makes a feature beyond the project now in work is anybody's guess.

But I would prognosticate a big "no," and that the current movie will be a one-off. Disney needs a third feature animation division like it needs a third ear on Mickey. And I don't know how John Lasseter would fit into the equation (if he'd fit at all.)
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Priced to Buy

In visual effects land, it's not just liquidations.

Prime Focus World said Wednesday that Hong Kong-based private equity firm AID Partners Capital Limited has made a $10 million equity investment in the visual-effects company.

Prime Focus, a subsidiary of Indian media and entertainment industry services company Prime Focus Limited, said that with the investment, the company is now valued at $250 million.

In return, AID will receive a minority stake in Prime Focus World.

The money will be used to help grow Prime Focus' business in China and other emerging markets, possibly through an acquisition. ...

Seems to me that smart-money investorys are picking up some nicely-priced properties while the fire sales are on.

Be fun to know what kind of "minority take" their $10 million buys them. My guess would it's relatively substantial.
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Stating the Obvious

From Business Insider.

... Analysts have "The Croods" projected to open between $38 million and $45 million.

Stifel analyst Benjamin Mogil predicts the film could earn $150 million domestically and another $300 million overseas.

Those numbers are 20 percent below the $60.3 million opening of last summer's "Madagascar 3." Current tracking for "The Croods" is more in line with the "Shrek" spinoff "Puss in Boots."

If the film performs well, then it will prove the "Guardians" debut was simply an anomaly.

However, if it fails to meet analyst's estimates, and teeters close to DreamWorks Animation's Thanksgiving debut, the studio could have a larger problem on its hands with only one other film — about a racing snail — out later this year. ...

Jeffrey K. and associates have long been doing a high-wire act ... and doing it well.

But to have a business model that requires you to release one blockbuster hit after another is ... a tall order. Pixar has done it. And DreamWorks Animation has sort of done it.

But DWA is a stand-alone company, almost totally dependent on its movies to keep the corporate ball rolling. DreamWorks Animation now has a sizable library to exploit, and other businesses that it's starting to get into, but it's still in high-wire act mode.

And after Rise of the Guardians's under-performance, it's got some weights bolted to its extremities. So this weekend's grosses will be important, no?


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Wednesday, March 20, 2013

Beyond the Valley of Uncanniness

Face and speech technologies keep improving.

... One of the steepest challenges for computer animators and game developers is crafting realistic human characters without dropping their audience off the proverbial cliff of the uncanny valley. At the annual GPU Technology Conference this week, NVIDIA demonstrated “Face Works,” a technology made possible by their Titan graphics card. It’s a technology that may end up shielding our eyes from the uncanny valley forever.

NVIDIA defines Face Works as “advanced real-time character performance.” They’re able to take 32GB of facial data (the bump maps, texture maps, lighting, expressions, etc) and compress it down to 400MB in a new way of rendering facial expression. Considering that it takes an 8000-instruction long program to render each pixel on Ira’s face, that’s quite an achievement. ...

Watch the last couple minutes of the linked video. I thought I was looking at a live actor, but it was a computer creation. (Better than the human computer creations that have gone before, yes?)

But honestly, I don't know how this applies to what we call "animated features." Because if it's a synthetic visual creation that looks and acts like a live action image, won't audiences' eyeballs and brains register it as "live action?" The same way that they now register old-style character animation as a "cartoon?"

If you build something that looks completely real, isn't that what people watching will consider it to be?
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Tax Credits!!

Face it: the playing field will never be level.

... The British finance minister puts aside an initial $30 million for high-end TV, animation and video games ...

LONDON – Britain got its latest annual budget Wednesday, and the U.K. entertainment industry was surely paying particular attention. After all, the sector is one of the key beneficiaries of long-expected tax incentives for high-end TV productions, animation and video games that were part of the budget. ...

[The Chancellor of the exchequer] said in a brief mention during his annual budget speech that the introduction of the tax relief would play a big part in keeping the U.K.'s "world-class visual effects sector" competitive in his brief reference to the measures.

It is designed to help keep the U.K. on the map with Hollywood studios and high end producers looking to make big budget TV projects - likely to be budgeted at $1.5 million plus per episode. ...

It's a long spiral down to terra firma. And you have to ask, "When will governments be paying companies to perform the work in their city/state/country AND guaranteeing them a profit to do it?"

State socialism forevah!
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Tuesday, March 19, 2013

Creatives Unite!

The current plight of visual effects artists is part of the Great Grinding of working artists (and others) in the 2st century.

Can unions save the creative class?
Newspapers are dying. Musicians and writers can't get paid. Maybe it's time for creatives to really organize
...

In decline: America’s creative class — artists, writers, musicians, architects, those part of the media, the fine arts, publishing, TV and other fields — faced with an unstable landscape marked by technological shifts, a corporate culture of downsizing, and high unemployment.

So is it time for artists to strap on a hard hat? Maybe unions or artists’ guilds can serve and protect an embattled creative class. With musicians typically operating without record labels, journalists increasingly working as freelancers as newspapers shed staff, and book publishing beginning what looks like a period of compression, unions might take some of the risk and sting out of our current state of creative destruction. ...

If you work in the union biz, you eventually figure out that artists in unionized studios get slammed around just like their counterparts elsewhere. The difference is that some of the slamming you can DO something about. Grievances can get filed. Phone calls can be made. Studio visits can calm things down.

In the time I've been here, TAG has organized studios, filed grievances, and worked to raise awareness about the usefulness and utility of labor unions. We've had non-union artists keep us at arm's length, then call us for help when their non-union studio (that they thought was going to last forever) rolled over and died, taking several weeks of employees' salary and vacation pay with it.

When things like that happen, you never give people the cold shoulder or the straight arm, because you know that you need every ally you can muster, and if you turn somebody away you risk making an enemy. Because it's 2013, and labor unions understand that the wolves are at the gates.
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Ubiquitous

... is what Dave Rand seems to be.

But it's good that he's willing to stick his neck out and say how the visual effects industry is taking it in the shorts, even as our fine entertainment conglomerates make more and more visual effects tent poles.

It's a continuing mystery how pervasive visual effects are, while at the same time causing large, recently flourishing visual effects houses to sink beneath the waves. Click here to read entire post

Early Moolah for Croods

Worldwide rollouts of DreamWorks Animation's latest have started to happen:

... DreamWorks Animation's The Croods — their first movie being released by 20th Century Fox — earned over $6 million from preview shows in Russia, Mexico, and a handful of smaller markets this weekend. Aside from Russia and Mexico, it is also reaching Brazil, Germany, Italy, Spain and the U.K. (along with around 40 other territories) next weekend, and it will surely claim the top spot. ...

I haven't seen early tracking for the movie so have no clue how it will perform this weekend, but it looks closer to the zany comedy stylings of the company than Rise of the Guardians, so I'm thinking it will have stronger grosses. Click here to read entire post

Monday, March 18, 2013

Workplace Environments

The niceness of the space in which you work can be important, yes?

THE ANIMATED WORKPLACE: DREAMWORKS’ “SIX PACK” APPROACH TO BUILDING A CULTURE OF CREATIVITY

Small teams, extracurricular art, and an open approach to failure help Dreamworks get the best from its army of animators and tech wizards.

...DreamWorks Animation's films require intense work and long hours, replete with footage quotas for animators. So the standard creative company perks apply. There’s free breakfast, lunch, and snacks at various commissaries, and there are game rooms replete with typical tech company goodies like foosball and ping-pong. ...

But there are other things too. Like workplace quotas.

I've been at DWA a lot over the past month. First for the big round of layoffs, more recently to answer questions about changes to DreamWorks Personal Service Contracts. (It seems new California labor regulations have forced alterations to the company's overtime provisions in its PSCs.)

An animator told me:

We're going to be doing forty-hour weeks now. I was told the studio expects the same animation footage with forty-hours as with the longer weeks we did last year. ...

I responded if that was the case, then animators would maybe have to

1) Work faster,

2) Do gratis overtime, or

3) Ask for authorization to work more hours at time-and-a-half.

Free o.t. to meet television production deadlines has been an unhappy strategy for animation employees longer than I've done this job. (And it's been one of the bigger issues during the time I've done this job.) Free o.t. seldom rears its ugly head in feature animation, yet it occasionally pops up when production managers get overly ambitions ... or desperate.

Animation footage requirements at different studios has varied widely over time. Recently a veteran animator said the quota at UPA in the fifties was twenty-five feet a week (the same as at Warner Bros. Animation.) Frank Thomas told me that ten feet a week was expected on Disney shorts in the 1930s. (Frank and Ollie were doing eight or nine feet a week when I worked with them in the seventies.)

Ward Kimball bragged that he cranked out thirty-five feet of animation every week on Dumbo.

There are no hard and fast numbers. There's also no set amount of time required for producing an animated feature. Most of Dumbo was done in a year. The Fox and the Hound took three and a half years to produce. Wreck-It Ralph's production time-line was under a year, and Frozen looks as though it will be under the twelve-month marker as well. A Disney veteran said to me last Thursday:

Frozen is going to have a tight production schedule. The crew's told management they'd like to avoid lots of seven day weeks, but we know we're going to have plenty of six-day weeks. ...

Walt Disney Animation Studios (aka Disney Feature) has employed shorter production schedules with expanded staffs to get pictures completed on tight deadlines. DreamWorks Animation has used longer schedules with crews that were carried from project to project. That now seems to be changing.

Whether or not DWA ends up with a Disney-style production model will be known in the fullness of time.
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Dueling lunches

From Dave Rand, a VFX artist working at Rhythm & Hues:

For the first time in my 18 year career as a vfx artist, the client, a studio, hosts our overtime lunch. This comes two weeks after the Animation Guild hosts our overtime lunch. Everyone is just getting so friendly!

Can you see what happens when there's balance?
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Genius, Illustrated


Genius, Illustrated - The Life and Art of Alex Toth
Published by The Library of American Comics, an imprint of IDW Publishing, San Diego.
Edited by Dean Mullaney and Bruce Canwell. Hardcover, 13" x 10", 341 pages, $49.99.

This is a great book, especially if you're a fan of Alex Toth's work. It spans the period in Toth's career between Cambria Studios (1957 - 1965) and Hanna-Barbera, concluding with his death on May 27, 2006 at age 77.

There are tons of art samples (many shot from original art), including comic book art, private sketches, a comic strip done exclusively for The Hollywood Reporter, character designs, model sheets, storyboards, presentation art, family photographs, with many pages in full color, and riveting text laced with fascinating information and anecdotes from friends, co-workers and fans. Even if you knew Alex personally, there's plenty of new information and stories to be found in this hefty volume.

Many pages are devoted to Toth's private life and his relationship to his kids and other key players in his life. A very revealing and inspiring publishing achievement that all Toth fans will love.

-- Bob Foster



REQUEST FROM THE EDITOR of Genius, Illustrated

The Library of American Comics editor Dean Mullaney has produced two outstanding books on the art and life of Alex Toth entitled Genius, Isolated and Genius, Illustrated. Mullaney is currently at work on the third volume of the Toth series: Genius, Animated. It will focus on Toth's career in animation and Mullaney would like to hear from people in the animation business who worked with Toth, who might have some stories to tell, and who might have photographs or artwork suitable for inclusion in the forthcoming book.

If you'd be willing to be interviewed for the third volume, please contact Dean Mullaney at info@loacomics.com.

The Library of American Comics, an imprint of IDW Publishing located in San Diego, CA, has published a series of comic art related books that include The Complete Chester Gould’s Dick Tracy, The Complete Little Orphan Annie, The Complete Terry and the Pirates, and Scorchy Smith and the Art of Noel Sickles.

Check out their complete catalog at:  http://www.libraryofamericancomics.com/catalog/
For more books you might also be interested in, check out the IDW catalog:
http://www.idwpublishing.com/catalog/ and http://www.idwpublishing.com/

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Sunday, March 17, 2013

On The 22 Rules

The New Yorker analyzes Emma Coats' "22 Rules of Storytelling" and decides:

The kind of recipe for success that a soft-drink company might guard with fierce vigilance, a movie company puts online for all to see. Emma Coats, a former storyboard artist at Pixar, sent out a list of the company’s “22 Rules of Storytelling.” I confess, I thought there was just one—“whatever works”—though it’s no surprise to learn that Pixar, a Disney subsidiary, has codified its process to a programmatic uniformity.* ...

(Go to the bottom of the article, and you see that the writer Richard Brody realizes he's wrong to pin the 22 Rules on Pixar, and takes back a bit ... but not all .. of what he originally said.)

The larger point to be made: Good storytelling is organic, not mechanical. Sure, there are basic structures that are often observed, but the problem for big-budget filmmakers aren't "rules" per se, but the endless notes and picking of nits from various development executives. And of course the focus groups and "testing," as companies try to cover all their bets when sinking dollars into the latest project.

Our fine entertainment conglomerates usually attempt to duplicate the successes that have gone before, the better to maximize profits. This means that characters and story beats have a sameness to them. No exec will get fired for replicating the tried and true, or hiring a big name actor or screenwriter. But heads will roll if something new and different is tried ... and it fails.
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Overseas Money Gathering

There's little animation in play, but plenty of visual effects extravaganzas.

Oz The Great and Powerful dominated, ... taking the top weekend spot overseas with a $46.6 million gross and lifting its offshore cume to $136.8 million. ...

Agood Day to Die Hard drew a mighty $15.7 million at 5,009 venues, elevating the total weekend take to $20.4 million ... Foreign gross total flew past the $200-million mark ($201.3 million) ...

Jack the Giant Slayer expanded its footprint for a weekend tally of $10.3 million at some 4,000 sites in 25 markets. International cume stands at $35.2 million. ...

Foreign Grosses

Rise of the Guardians -- $200,300,000

Wreck It Ralph -- $247,900,000

Escape From Planet Earth -- $1,367,308

Escape, as you can see, hasn't been out and about in foreign venues much. As of Sunday, it was still in the Top Ten in the U.S. and Canada.
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Ceding Territory

Fox Broadcasting trumpets its new dominance ....

FOX has officially surpassed NBC and moved into the No. 2 spot for the season among Adults 18-49. The network’s week was highlighted by dominate performances from American Idol, BONES, THE FOLLOWING, GLEE, and the Sunday night ANIMATION DOMINATION line-up, leading the network to rank No. 1 for the week among Adults 18-49, Adults 18-34 and Teens.

FOX also ranked No. 1 six nights this week among Adults 18-49 and Adults 18-34. ...

And the network was delighted to point out the shows that were whomping the competition. We highlight the animated ones below ...

8 of the Top 20 programs among Adults 18-49: Family Guy (No. 11), ... The Simpsons (No. 16 tie) ...

11 of the Top 20 programs among Adults 18-34: Family Guy (No. 3), THE Simpsons (No. 7), BOB’S BURGERS (No. 10 tie), American Dad SP (No. 8 tie), The Cleveland Show 8:30p (No. 10), BOB’S BURGERS (No. 12), The Cleveland Show 8:30p (No. 13 tie)

9 of the Top 20 programs among Teens: Family Guy (No. 3), THE Simpsons (No. 5 tie), The Cleveland Show 8:30p (No. 5 tie), BOB’S BURGERS (No. 9) ...

Fox can't take full credit for the victory. NBC contributed by running sucky shows (which NBC is a little thin-skinned about).

But weak competition or not, animation has certainly helped boost Fox upwards, and it's a continuing puzzlement to me why other networks allow Fox to have a monopoly on prime time animation.

(It can't be that Fox is the only company that's willing to sign a labor contract with the WGA for nighttime animated shows, can it. If so, Fox has made out like a bandit.)

It took years for entertainment conglomerates not named Disney to start making theatrical animated features. How many more years will it take for entertainment companies to compete against Fox in the prime time cartoon arena? Are they that averse to making money?
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Saturday, March 16, 2013

Spring Break Box Office

Now with rich, caramel Add On.

Diz Co. rides high with the wizard.

1. Oz The Great and Powerful (Disney) Week 2 [Runs 3,912] PG Friday $11.4M, Weekend $42.0M, Cume $144.9M

2. The Call (Troika/TriStar/Sony) NEW [Runs 2,507] R Friday $6.2M, Weekend $16.7M

3. The Incredible Burt Wonderstone (Warner Bros) NEW [Runs 3,160] PG13 Friday $3.7M, Weekend $11.1M

4. Jack The Giant Slayer (Warner Bros) Week 3 [Runs 3,357] PG13 Friday $1.7M, Weekend $6.8M, Cume $54.5M

5. Identity Thief (Universal) Week 6 [Runs 2,842] R Friday $1.3M, Weekend $4.8M, Cume $124.0M

6. Snitch (Summit/Lionsgate) Week 4 [Runs 2,353] PG13 Friday $1.0K, Weekend $3.8M, Cume $37.6M

7. 21 And Over (Relativity) Week 3 [Runs 2,424] R Friday $950K, Weekend $2.7M, Cume $22.0M

8. Safe Haven (Relativity) Week 5 [Runs 2,206] PG13 Friday $840K, Weekend $2.5M, Cume $67.0M

9. Silver Linings Playbook (Weinstein) Week 18 [Runs 1,602] R Friday $745K, Weekend $2.5M, Cume $124.6M

10. Dead Man Down (FilmDistrict) Week 2 [Runs 2,188] R Friday $640K (-65%), Weekend $2.1M, Cume $9.4M

One of our fine trade papers says:

Disney’s “Oz the Great and Powerful” is looking at an admirable hold for its second frame, dropping about 45% for a three-day haul likely at or a little shy of $45 million. The Mouse’s magic maker earned $11.4 million domestically Friday.

This beat out new entries “The Call” from Sony-TriStar and “The Incredible Burt Wonderstone” from Warner Bros.-New Line, Friday’s second and third, respectively. ...

Through last Thursday, the animated brigade had accumulated the following:

8) Escape from Planet Earth -- $49.8 million
21) Wreck-It Ralph -- $188.1 million
25) Rise of the Guardians -- $102.8 million

Escape From Planet Earth has now fallen out of the Top Ten, but the Weinsteins must be pleased that it's performed as well as it has. (Now if they can just hack their way through the lawsuits generated by some of the creators, they'll be all set.)

Add On: I spoke too soon. Escape clung to the tenth rung of the Popularity List, declining by the smallest percentage of any of the highest ten box office entertainments. It dropped 27.7% while losing 328 screens. The pic collected another $2.3 million and now owns a total of $52.2 million over the course of its domestic run.

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Friday, March 15, 2013

The Channel of Mouse

This is a wee bit startling.

... Disney Channels Worldwide — which operates Disney Channel, Disney XD and Disney Junior — has succeeded in introducing young audiences to the company’s iconic characters for the first time, or to new franchises that make them loyal to Mickey and friends for years to come.

“Disney Channel has become the biggest franchise grower for the company worldwide,” Jay Rasulo, the Walt Disney Co.’s chief financial officer, said last fall at the Bank of America/Merrill Lynch Media, Communications and Entertainment Conference in Beverly Hills. “It used to be (film) animation, but the amount of time kids spend in front of the TV and
Web devices (and) mobile devices (watching) the Disney Channel make this an incredibly powerful vehicle.” ...

I was a Disney employee when the Disney Channel was launched.

Back in the early eighties, the Channel was much derided by Disney employees:

"It'll never work." ... "It shows nothing but crap. Who wants to watch Mickey cartoons and old episodes of Zorro?" ... "How can the studio produce enough material for a cable channel?" ... "Who do they think they're kidding?" etc.

People all over the lot were pitching and selling ideas for shows. The Channel was taking lots of odd stuff. Just so long as it didn't cost much to produce, things could get on. Welcome to Pooh Corner, one of the first originals made for the Disney Channel, was made for next to nothing on a small Hollywood sound stage, where two half-hour shows were cranked out each week.

One hundred twenty episodes were produced in three years.

And Tim Burton made a cheapie version of Hansel and Gretel (taking a break from his animation duties) that aired on the channel once. This small epic cost slightly more than $100,000 and has been pretty thoroughly buried for thirty years.

But what most tickles me is, the Disney Channel, this powerhouse driver of corporate profits, wasn't launched by Hollywood hotshot Michael Eisner, but by Ron Miller, who launched the Channel mere months before being overthrown the the Bass brothers in a 1984 coup.

Small irony, yes?

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Backlash

I guess there's only so much tax money for our fine, entertainment conglomerates.

Gov. Susana Martinez opposed the so-called “Breaking Bad bill” that would have raised the state’s film tax credit to 30% from 25% for TV series shooting at least six episodes in New Mexico, AP reported. Martinez told the Legislature she supports the film industry but objected to a subsidy just for Hollywood rather than making it part of an overall package of economic incentives ...

I would be willing to wager the rent money that, as time moves along, tax funds will start to dry up for the various "Cash for Hollywood" bills that now litter the Canadian provinces and various U.S. states. There is, after all, only so much moolah to go around, and voters will start to catch wise that large entertainment conglomerates are getting too sweet a deal. And then rebel.

Long-term tax subsidies are inherently unstable and hard to sustain. Over time, tax payers resent the largesse, and look around for politicians who will spend dollars on them ... or not spend dollars at all.
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Thursday, March 14, 2013

What's the Solution ...

(Now with Add On.)

To the visual effects conundrum? Here's a few ... offered by various stakeholders:

Viz Effects Trade Association. Former visual errects honcho Scott Rossis reaching out to the heads of the major visual-effects shops to try to persuade them to create a trade association. ...

"What's prevented it from happening in the past, is that each one of the visual-effects facilities have it in their heads that there is not enough work, and the enemy is the other facilities, so the concept of sitting down at the table with the enemy is hard for them to get over,"

Union Organizing "The visual-effects artists are at the lowest point downhill where the trouble has rolled due to a broken business model," Organizer Steve Kaplan said. "One thing that needs to be done to staunch the downward flow is to form a union as a barrier to abuses of overtime and benefits and to establish certain minimums and standards in the work place."

Values.... "It's about changing the value proposition - and that's not to be confused with asking filmmakers to pay us more," said Mark Driscoll, president and co-founder of Look Effects, a 100-person shop that has worked on "Black Swan" and "Warm Bodies." "There is plenty of money being spent. I think it's more about discussing what our relationship is to the ownership risk and reward on a film."

Subsidies. "Adding say half a billion or a full billion to the film subsidies in California would bring a flood of jobs back to the Golden State, in the long run it would perpetuate a race to the bottom, which dismantles any hope to have a booming growth industry based on talent and branding rather than political whims and charms," Dave Rand, a visual-effects artist at Rhythm & Hues, said.

What the industry is going through is slow-motion destruction. Studios are going out of business. Countries and states are seeing which of them can throw the most money at visual effects projects, the better to lure them to their geographic location. Visual effects artists, pushed to the wall, are demonstrating and holding mass meetings.

What emerges at the end of the death spiral? I could see a landscape of fewer key suppliers. And maybe Disney finding a way to make its new effects shop ILM work for the Mouse's live-action tent-poles. Parts of the industry might have union contracts, while other parts not.

But I don't see Chinese and Indian studios dominating the business in my lifetime. It's next to impossible to have a grip on quality when your main focus is being the low cost provider. It's like taking monastic vows while running a whore house: the two things aren't compatible. In twenty years of close observation I've never seen that particular formula work.

Add On:

Unionization and the creation of a trade association topped the priorities at a visual effects biz town hall meeting Thursday in Los Angeles where hundreds of VFX professionals gathered to discuss the state of their troubled industry. Despite calls for solidarity within the global community and a general sense of accord, a tense volley of boos erupted halfway through the panel when Visual Effects Society rep Mike Chambers took the mic and mentioned the organization’s call for larger California subsidies made in an open letter last month. In the letter the VES had announced plans to hold a VFX Congress, which has yet to materialize. “What are you going to do?” shouted one audience member to Chambers, who had no answer for his group. ...

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President Emeritus Tom Sito SPEAKS



Tom Sito -- author, animator, director, storyboard artist and college professor -- has written a new book on the history of computer animation. In due course, we plan to pick Mr. Sito's brain about his tome in a TAG Interview, but in the meantime ...

FLIP: Were there any popular myths about CG that were shattered during your research? Any surprises?

TS: I found all the layer upon layers of interconnectiveness fascinating. How the same people popped up again and again. Like Ivan Sutherland, who wrote the first software program at MIT, was also at the government agency ARPA when they began to develop the Internet, Then he taught at University of Utah. His class included Ed Catmull, Nolan Bushnell, Jim Blinn, Jim Clark (SGI), Gouraud, Phong, Alan Kay ( laptop computers) all giants in CG development. It was Alan Kay who suggested to Steve Lissberger that he do TRON in CG, and he also suggested to Steve Jobs that he buy Pixar from Lucas.

Another revelation was how at the New York Institute of Technology, an eccentric millionaire was financing an attempt to create the first CG feature as early as 1975! Almost twenty years before it was done with Toy Story (1995). ...

You can find the rest of Tom's interview here. ...

Tom worked on this book for a long time, interviewing loads of movers and shakers in the field. His first book, Drawing the Line has been a steady seller for years.

(You can find our earlier TAG interview with Professor Sito here and here.)

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Wednesday, March 13, 2013

Chinese Studio ... Foreign Talent

This caught my eye.

Tudou’s Gary Wang Eyes Animation Domination In China

Tudou.com founder Gary Wang is gearing up to launch an animated film studio in Beijing on April 1, making movies primarily for the domestic market. The entrepreneur told The Wall Street Journal he has secured tens of millions of dollars in funding from a group of international investors. With China now the world’s second biggest movie market at $2.74B in sales last year, the time is ripe, Wang believes.

Movie theaters are opening at a breakneck pace and the environment has improved for distribution, promotion and copyrights, Wang said. China does not have a large animation sector but DreamWorks is now in a joint venture with China Media Capital, Shanghai Media Group and Shanghai Alliance Investment on Oriental DreamWorks, a Shanghai studio that will develop and produce original Chinese animated and live-action content. Wang is recruiting local talent, but also scanning Los Angeles and San Francisco for directors, storyboard artists and senior animators.

There's a large, California-based talent pool of animators, designers, and board artists who have worked on wildly* successful animated features. Smart global business persons know these are the kind of folks that it's desirable to recruit. So I expect that one of two things will happen:

1) Gary Wang will set up an office in the eastern San Fernando Valley to interview prospective employees for his Chinese studio, or

2) He will set up a satellite facility in Studio City to feed his operation in mainland China.

Just because Hong Kong's Imagi tried it and failed doesn't mean it won't succeed the second time around.

$500+ million = "wildly"
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Going to India? (Part XI)

Deadline says:

Random Cow Pictures‘ Matt Flynn will direct It’s A Dog’s World, an animated pic centered on autistic 8-year-old Willie Welby, who travels to a parallel universe where all the dogs talk ...

You can never go wrong with talking dogs. However ...

... The production will take place fully at Reliance MediaWorks‘ studios in Mumbai and Chennai, India, with preproduction set to begin this month. ...

According to People* Who Claim to Know, this whole-enchilada-cooked-in-Mumbia thing might present problems because:

Reliance can't even finish simple work outsourced to them! They have no ability to do this. What the f*ck are they smoking!?

Perhaps they're inhaling deep, rich, laughing tobacco. Or maybe something stronger.

As we've previously noted, it's well and good to create inexpensive animated features. But it's even better to create animated features that audiences will actually watch, and the features from the sub-continent have not yet cleared that bar.

* Here defined as individuals inside Hollywood effects studios with knowledge of Reliance's sub-contract work.
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Tuesday, March 12, 2013

The Mick

This has been percolating at Disney Television Animation for a long while. I was sworn to secrecy about it (aren't I always?) But clearly, the invisiblity cloak has now come off.

Disney Channel is launching a new short-form series of 2D comedy cartoons featuring its iconic Mickey Mouse character, the network announced in advance of its upfront presentation on Tuesday.

The series of 19 cartoon shorts will premiere on Friday, June 28 on Disney Channel, Disney.com and the WATCH Disney Channel app. ...

Here's one of the new offerings. Diz Co. is clearly interested in doing new things with its corporate symbol. Click here to read entire post

The Sam Ewing Interview -- Part II



TAG Interview with Sam Ewing

Find all TAG Interviews on the TAG website at this link

Mr. Ewing spent the larger part of a decade working at Hanna-Barbera, then left to take a job at Saban ...

Mr. Ewing says Saban (and Saban International) was an interesting place to work.

Haim Saban was always completely upfront about the way he paid his people: "When you come to work for me, I'm not going to pay you very much. You have to work and prove yourself. But after you've shown that you can make me money, I'll pay you more. Pay you a lot more."

Mr. Ewing worked as a producer of Saban animated shows and as a Vice-President of Internation productions. When Saban was sold to Disney, he elected not to stay with the Mouse but move on to fresh fields of endeavor.

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Monday, March 11, 2013

The Continuing Gold Rush

It apparently hasn't escaped the smart money's notice that CG animated features are more profitable than any other kind of theatrical long-form entertainment. Therefore:

COLOGNE, Germany - Cinematography technology group Arri, maker of Arriflex cameras, has formed a production and sales alliance with Munich-based animation group Trixter that will see the two companies co-produce and sell animated features for the international market.y the

The first production under the new alliance will be Ploe - You'll Never Fly Alone, a family-friendly feature about a young golden plover. ...

Everybody's chasing the big brass ring. And why not? If American animation studios can open their own mint, if Spanish and French animation studios can hit pay dirt, then German studios can do it as well.

Correct?

The price of software and hardware is coming down, and artists' talent pools expanding. So there's ample opportunities to create animated features at various price points: $10 million; $40 million; $80 million and up. (Find a budget that suits you!)

And certainly the rewards are there:

... 3D turtle toon “Sammy’s Adventures 2” had made $42.1 million worldwide, while Scandi sequel “Niko 2: Little Brother, Big Trouble” (screening at Cartoon Movie) earned $19.3 million. Also in Lyon, “Tad, the Lost Explorer” has made $24.6 million in native Spain, topping $40 million worldwide. ...

The number of animated features are going to continue increasing across the globe. Robust box office will see to that. Even DWA's failure Rise of the Guardians grossed $302 million. Now, if the movie had only cost $90 million, it would be safely in the black.
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The Rebellion Strikes Time-Warner

As BC tells us:

An official announcement on the Star Wars website has promised “a new direction for Lucasfilm animation.” [Also, too:]

"We are exploring a whole new Star Wars series set in a time period previously untouched in Star Wars films or television programming."

Obviously driven by the recent Lucasfilm-Disney deal, this “new direction” seems mainly designed to a sever ties with Cartoon Network. As a result, the fifth series of Clone Wars is to be the last… at least on TV.

Well ... yeah.

Disney isn't in the business of enriching Time-Warner. Not if Diz Co. can help it.

Further, I don't believe Disney will be in the business of having a third theatrical animation division on its roster. I would be willing to wager that the Chapman-directed, animated feature that Lucasfilm is developing will be its first ... and last.
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The Sam Ewing Interview -- Part I



TAG Interview with Sam Ewing

Find all TAG Interviews on the TAG website at this link

Sam Ewing worked in the animation business for decades, but not as an animator, writer, or board artist. Mr. Ewing was a producer and development executive for the likes of Hanna-Barbera and Saban ...

And before that, he was the go-to guy in children's programming for NBC, where he worked closely with all the major television animation studios, from H-B to FIlmation and beyond.

Mr. Ewing describes his first day as a Hanna-Barbera employee as follows:

I had been in and out of the studio many times when I worked for NBC, but the day I came to work as an employee, carrying my box of stuff, the guard stopped me at the gate and wanted to know who I was. Me walking in had never been a problem when I came in as an exec from the network, but when I started working there, it was a problem. ...
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Sunday, March 10, 2013

Says He'll Keep It Going

So Rhythm and Hues WON'T be going away?

David Shim is managing partner of JS Communications, which got approval from the courts Friday for a “stalking horse” bid for the bankrupt visual effects firm.

“I have no intention to liquidate,” he told Variety. “Far from it. Rhythm & Hues should be taken care of. It’s in the common interest of the motion picture industry to support it for its skillset and what it can do for the industry going forward.

Shim said R&H’s problems were “the fault of the industry as a whole” but he added that the company’s financial management had been “a little lacking.” He has been onsite regularly at R&H’s offices and JSC appears to be the company’s preferred buyer in the upcoming bankruptcy auction. ...

A while ago, I was working for an animation company that was told by its foreign buyer that "production would continue" after the takeover. This was before the sale was finalized.

But whatayaknow? The second the ink was dry, the foreign purchaser (in this case, the French corporation L'Oreal) shut the twenty-six-year-old Filmation down faster than you can say "Zoot alors!" and a 140 animation employees were out of work. So the fact that a major suitor of Rhythm & Hues is making soothing noises now really "don't impress me much."

(But I guess we can always hope, can't we?)

The problem for the visual effects industry remains what it has been for two decades: Visual effects cannot flourish in a system that requires the studios that create those effects to low-ball their bids to get work, thereby cutting their own corporate throats.

And employees working at those studios cannot survive when they have long stretches of unemployment, no stable pension or health plans, and no assurances that the work they are doing today will still be around five months from now, and not (instead) in some Montreal sweat shop that may or may not make its next payroll.

Hard realties, heart-breaking realities. "Zoot alors!" indeed.

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World Box Office

Disney, as in the U.S. and canada, performs well overseas.

Disney's Oz the Great and Powerful boasted the top international opening of 2013 in debuting to a solid $69.9 million from 46 markets, bringing the tentpole's global bow to $150.2 million. ...

Hansel and Gretel came in No. 2 overall at the international box office, grossing $11.2 million from 48 markets for an international total of $142 million. ...

A Good Day to Die Hard placed No. 3, grossing $9.1 million from 67 territories for a foreign total of $177.9 million and worldwide cume of $241.2 million. ...

Ted also made news as it matched the $327 million grossed internationally by The Hangover Part II. ...

On the full-bore animation front, cartoons were collecting money as follows:

Foreign Box Office

Rise of the Guardians -- $200,300,000

Tad, the Lost Explorer -- $41,000,000

Wreck-It Ralph -- $247,900,000

Tad is the low budget CG feature from Spain that is making brisk money outside the U.S. of A.

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Saturday, March 09, 2013

Marvel Animation's Latest Rollouts

Marvel Animation tells us when its new series arrive:

The "Marvel Universe" programming block on Disney XD will expand with the debut of two new animated series: "Marvel's Avengers Assemble," and "Marvel's Hulk and the Agents of S.M.A.S.H.," it was announced yesterday by David Levine, Vice President and General Manager, Disney XD Worldwide and Jeph Loeb, Executive Vice President & Head of Television, Marvel Entertainment.

Kicking off the summer programming is a special one-hour preview of "Marvel's Avengers Assemble" on SUNDAY, MAY 26, followed by the series premiere on SUNDAY, JULY 7. "Marvel's Hulk and the Agents S.M.A.S.H." premieres SUNDAY, AUGUST 11 (all at 11:00 a.m., ET/PT) on Marvel Universe on Disney XD. ...

With "Marvel's Ultimate Spider-Man" as its centerpiece, Marvel Universe is the destination for kids and families to enjoy original animated Marvel TV content, including series and interstitials ...

I was through Marvel's small but active studio on Friday, with artists busily working on Hulk and Avengers. (Spider Man's latest television incarnation has been produced 'til now at Film Roman.)

Marvel Animation has informed me that the intention is to add a couple more series to the Marvel Universe mix, but that hasn't been done yet. Whether the studio is waiting until it sees how the Hulkster and Avengers perform, I know not. The Marvel super hero universe is red hot, so more series (I think) are a foregone conclusion.

Marvel Animation has hired a lot of Warner Bros. Animation/D.C. Comics staffers, including writer Paul Dini.(Friday, I asked a former Warners super hero artist how it felt to be working on Marvel's side of the street. He said, "Hey, it's nice to have a job."

Which, of course, it is.)
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Grand Prize

Because it isn't all about the Oscars, Emmies and Annies.

The Russian animation “Out of Play” by Ivan Maximov won the grand prize at the 8th Tehran International Animation Festival.

The winners of the festival, which is held annually by the Institute for Intellectual Development of Children and Young Adults (IIDCYA), were announced during a ceremony in Tehran on Thursday. ...

... “Children Who Chase Lost Voices” by Makoto Shinkai from Japan won the Best Feature Animation Award.

The Best TV Animation Award of this section went to “Welcome to Bric and Brac” directed by Amandine Gallerand and Matthieu Chavallier from France. ...

But what about Wreck-It-Ralph? Why no mention of Brave?

This Tehran awards thingie is rigged.
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Technicolor B.O.

Now with Add On.

Color saturation and ThreeDeediness is the weekend theme.

Sam Raimi’s 3D blockbuster, Oz the Great and Powerful, is gearing up for an impressive $23 million haul Friday with a projected $80 million for the weekend. ...

Lots of critics are saying Oz doesn't compare to the "iconic" 1939 film, but most everybody forgets this minor fact:

The 1939 classic cost nearly $3 million -- MGM's most expensive film that year. Though released to much fanfare, it lost money until 1956 ... "Oz" was neither a commercial or critical success. The New Yorker said it had "no trace of imagination, good taste or integrity" ...

See, everybody turns handsprings over the original, and I remember seeing it as a kid on grandpa's round-screened color t.v., but the epic was a money loser for close to twenty years. It took a long run on television to turn its reputation around.

Everybody now remembers it as this awesome hit, this jaw-dropping game changer, but it wasn't. Gone With the Wind was the monster in 1939, which gave a big boost to three-strip Technicolor.

Add On: To nobody's surprise, Oz the Great and Powerful rakes in moolah:

Disney's 3-D prequel to the classic L. Frank Baum tale "The Wonderful Wizard of Oz" debuted in first place and earned $80.3 million at the weekend box office in the U.S. and Canada and $69.9 million overseas, according to studio estimates Sunday. ...

Weekend Box Office

1 Oz The Great and Powerful $80,278,000

2 Jack the Giant Slayer $10,020,000 ($43,811,000)

3 Identity Thief $6,319,000 ($116,530,000)

4 Dead Man Down $5,350,000

5 Snitch $5,100,000 ($31,855,000)

6 21 and Over $5,056,000 ($16,840,000)

7 Safe Haven $3,800,000 ($62,884,000)

8 Silver Linings Playbook $3,745,000 ($120,749,000)

9 Escape From Planet Earth $3,207,000 ($47,832,000)

10 The Last Exorcism Part II $3,120,000 ($12,083,000)

20 Wreck-It Ralph $409,000 ($187,912,00)

26 Rise of the Guardians $224,000 ($102,679,000)
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Friday, March 08, 2013

Calm After The Storm

The new head of Disney's movie studio charts a different course.

... Alan Horn, a 70-year-old industry veteran, has brought gravitas to the top of a studio embroiled in drama since 2009, when Disney Chief Executive Robert Iger filled the job with Rich Ross, a television executive who had no filmmaking experience. Mr. Ross lasted less than three years.

"There really is a feeling of stability and that is exactly what was needed," said Mr. Roth, who held Mr. Horn's job from 1994 through 2000. "A year or two ago you'd talk to agents and they couldn't figure out what Disney was up to." ...

Mr. Ross ruffled many feathers during his short tenure, including Stephen Spielberg's. It's okay to be a brusque and edgy if you get results. But when you don't, the long knives come out.

Another thing that Alan Horn did in his first weeks at his new job was pull the plug on Henry Selick's stop motion feature The Shadow King. (The San Francisco studio in which it was being made also got cancelled.) Mr. Horn might be considered more polished and diplomatic than Richard Ross, but he can still cancel movies (and movie crews) when he feels there's a need.
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Stalking

... always stalking.

A federal bankruptcy court today approved JS Communications’ stalking horse bid for the financially troubled Rhythm & Hues. With the South Korean media company now firmly in place to bid on the company, the auction process out of Chap 11 will begin. If no other bidders put their name in the hat, the VFX house will belong to JS Communications by the end of the month. However, court documents show that several other parties have in fact expressed interest in Rhythm & Hues but JS is the only one to have their name made pubic. The court also ordered Friday that utilities cannot be turned off at R&H’s HQ and that the company can pay pre-bankruptcy wages due to executives Prashant Buyyala, Keith Goldfarb and John Hughes if it chooses ...

We heard from sources inside that Chris Meladandri's Illumination Entertainment might be one of the companies in the running to pick up the R & H pieces. Time will tell.

(And we can totally understand why JS Commnications would be the only entity who desired to go pubic. Terrifying.)

Roh roh ...

... [T]he Committee of Unsecured Creditors questions whether the plans in place are really better than just "closing the Debtor's doors and conducting an orderly liquidation of the Debtor's assets."

Such a move would no doubt be a huge blow for Universal and Fox, as well as Legendary Pictures, all of which hope to have R&H still working on their big-budget films. The bankrupt VFX house is said to have drawn the interest of South Korea's JS Communications, which reportedly has signed a letter of intent to acquire the company. ...

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Thursday, March 07, 2013

On the Block

From Variety:

... [T]he “stalking horse” bid for bankrupt Rhythm & Hues Studios is due tomorrow. That bid will set the floor for the selling price.

Per bankruptcy court filings, further bids would have to be at least $250,000 above the stalking horse bid. Should another buyer outbid the stalking horse at auction, the stalking horse bidder will get a “break-up fee” of 1.5% of the selling price, capped at $150,000. To reach that cap, the sale price would have to be at least $10 million. That seems likely. ...

Judging from court documents, after its journey through bankruptcy, R & H will be doing lots more of its work in Canada (where state subsidies are higher than Canadian pines) and Asia with its rock-bottom wages.

Not pretty.
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If One Works ...

... two should be gangbusters.

On the heels of the breakout success of Sofia The First on Disney Junior, Disney Channel has ordered an animated series about a little older princess, voiced by The Middle‘s Eden Sher. The channel has given the green light to Star And The Forces Of Evil (working title), an animated comedy adventure about Star Butterfly (Sher), a fun-loving magical teen princess from another dimension ...

The series was created by young artist and writer Daron Nefcy, who serves as co-executive producer. She is a 2009 California Institute of the Arts graduate who is known in the Los Angeles underground art community. ...

Since half of the current crop of Cal Arts animation students are women, it's natural and good that Disney (who pretty much founded the place) is putting more women in positions of creative control. Brenda Chapman, academy award winner from another Disney division, is now directing a project at Lucasfilm, and Jennifer Lee is a co-director of Walt Disney Animation Studios' Frozen.
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Sony Changes

As a digital trade paper tells us:

Sony Pictures Digital Productions is bringing the studio’s sound department and Colorworks postproduction facility under its umbrella.

SPDP -- which also encompasses Sony Pictures Animation and Sony Pictures Imageworks -- now will include visual effects and computer animation, sound mixing and editorial and digital mastering, color grading, and film restoration.

Of course, computer animation IS a visual effect, but we'll let that go.

Sony Imageworks might have come under a union contract if the International had played its cards better those many years ago. Sony Pictures Animation (a new entity at the time) voted to "go union," while Imageworks did the reverse. A vigorous internal campaign argued that all the goodies -- profit sharing, 401(k) with a large match, and extensive medical benefits would go away if staff voted for the International's contract.

Most employees voted against the deal, but the minority that voted in favor must have persuaded the God of Fate to take stern action ... because a couple years later, many of Sony Pictures Imageworks' generous bennies went away, even as many SPI employees lost their jobs.
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Buying Star Wars

The Mouse's acquisition of Lucasfilm, per Bloomberg:

... At first Lucas wouldn’t even turn over his rough sketches of the next three Star Wars films. When Disney executives asked to see them, he assured them they would be great and said they should just trust him. “Ultimately you have to say, ‘Look, I know what I’m doing. Buying my stories is part of what the deal is.’ I’ve worked at this for 40 years, and I’ve been pretty successful,” Lucas says. “I mean, I could have said, ‘Fine, well, I’ll just sell the company to somebody else.’ ”

Once Lucas got assurances from Disney in writing about the broad outlines of the deal, he agreed to turn over the treatments—but insisted they could only be read by Iger, Horn, and Kevin Mayer, Disney’s executive vice president for corporate strategy. “We promised,” says Iger. “We had to sign an agreement.” ...

Lucasfilm, as you may know, has an animation division with an animated feature in work. Oscar winner Brenda Chapman helms the project. Whether there will be more features out of the division beyond this first one, I know not.

There are a number of veteran feature people up in San Francisco, working on the movie.
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Wednesday, March 06, 2013

Tight Schedule

... because the clock is winding down.

... Rhythm & Hues must find a buyer by mid-March if it is going to recover out of Chapter 11, the company said in a court filing this week. The El Segundo-based effects studio ... tapped Houlihan Lokey two weeks ago to help with a sale as it continued to operate in the short term.

Out of 80 entities contacted by the firm, at least 16 have signed nondisclosure agreements and commenced due diligence ahead of a sale hearing proposed for March 19. But according to court documents, the $17 million DIP loan from Universal and Fox and additional $4.9 million from Legendary allocated toward projects for each respective studio will run out by mid-month. If a buyer is not found by then, Rhythm & Hues says it will be unable to offset overhead costs and maintain staff necessary to secure and execute new work. ...

Employees not getting paid (or fed?) is old stuff for many scarred veterans working in visual effects. The company tanks, the paychecks bounce, and you clean out your cubicle and move on.

I was talking today with an IA staffer who makes his living organizing and negotiating. He said:

The visual effects industry is shaking out. I think it will end up like production coordinators on live-action shoots, where one guy has the truck and rents the equipment and hires crew. And the studio pays him.

That's how the visual effects industry will be: One guy with the software and hardware, hiring the crew to do the digital effects. The houses will be gone. It will be studios directly paying coordinators and crews. ..

Well, his guess is as good as anybody's. I tend to think it won't be so simple. There will be different models, and corporate conglomerates will use different approaches, depending on the size and complexity of the movies and their accompanying effects.

Handing responsibility to some effects wrangler might work on mid-level productions with a limited number of scenes needing work, but for big ticket blockbusters with wall-to-wall effects and hard release dates, it's going to take large staffs working lots of hours.

The conglomerates will move work to Vancouver or Montreal where subsidies are abundant and they can keep tabs on the crew, but they won't be shipping their high-budget darlings to some vfx sub-contractor in Mumbai, because face it: Diz Co. won't be willing to risk the worldwide holiday rollout of Star Wars X with an Indian sub-contractor who can't deliver elements on time.

No matter how you slice it, visual effects for high-end movies aren't going to become cheap or simple because Robert Iger or Sumner Redstone wills it to be so. The only way to ultimately control costs is have directors who know what they want, own the ability to communicate their desires to the effects staff before principal photography, and understand that fifteen do-overs of exploding rocket ships or rampaging space aliens will cause effects budgets to balloon ... regardless of how generous state subsidies are.




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Nicholas Hoppe, RIP

We note this sad news regarding longtime DreamWorks Animation employee Nicholas Hope, who was diagnosed with brain cancer about a year ago. There is now this from his wife:

It is very sad to announce that my husband Nicholas Hoppe has passed away yesterday March 4, 2013. He was a great man, irreplaceable friend and loving husband, father, brother and son, great architect, writer, animator and cowboy! He let out on his last breath: “I love you” and went to sleep with a smile on his face. Oh, it was my Titanic and was so hard to let him go! He loved his work, loved DreamWorks Animation Studio! He asked everybody to have a wonderful, fun and healthy life!

Thank you from the bottom of my heart for your support during this difficult time for us! Best wishes. Peace, love.

-- Kseniya Hoppe.



Mr. Hoppe was a longtime DreamWorks Animation employee. He contributed to many features there, including "Kung Fu Panda," "Kung Fu Panda 2," "How to Train your Dragon" and "Megamind." He worked in visual effects for twenty years, with stints at Disney, Digital Domain, House of Moves and Square, LA.

Our deep condolences to his wife and family.
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Hand-Drawn?

A think-piece by Brendon Connelly "Bleeding Cool" says:

... A question came from the floor [of the Disney 2013 shareholder meeting] about the studio’s future plans for hand-drawn animation. Here’s what CEO Bob Iger had to say:


"To my knowledge we’re not developing a 2D or hand drawn feature animated film right now. There is a fair amount of activity going on in hand drawn animation but it’s largely for television at this point. We’re not necessarily ruling out the possibility [of] a feature but there isn’t any in development at the company at the moment."

But this statement all depends on what you mean by hand drawn animation.

I know for sure that there’s at least one feature in development at Walt Disney Animation Studios that will require hand drawn animation in the way that Paperman did. The new film doesn’t quite use the same techniques as Paperman but part of the process, at least as it stands, allows – requires, even – animators to draw images rather than model them.

To my mind, this constitutes hand drawn animation. ...

Brendon C. is parsing words here. So let me define terms and parameters:

A hand-drawn animated feature is a long-form movie that looks like Snow White, Dumbo, Gulliver's Travels, 101 Dalmations, Beauty and the Beast and/or Lion King. Can we agree on that? It's called "hand drawn" because you can see the lines created by artists with pencils, ink pens, and paint brushes. Otherwise referred to as "hand drawn."

With me so far? Good.

Ron Clements and John Musker are developing a feature at Walt Disney Animation Studios, and it has "elements" of hand-drawn animation in it. (That's about all I'm going to say.) Does it look like any of the features named above?

Don't think so. Doesn't even look like Paperman.

So you can say: "Yes! A hand-drawn animated feature!" and be technically ... sort of ... right.

But if somebody goes into a theater thinking they'll see a Disney animated feature in the "Nine Old Men" style, they'll be disappointed. Because it will bear more resemblance to one of the new CG features we've come to know and love.

However. I'm happy to tell you that the studio is working on hand-drawn shorts. But that's a couple of clicks distant from a hand-drawn feature.
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Tuesday, March 05, 2013

Europe's Cartoons

Animation steadily expands in the EU.

... Fifty-six projects and pics are due to be presented to producers, distributors and sales agents at the 15th Cartoon Movie.

Europe’s top animated feature co-production forum kicks off its three-day run Wednesday in Lyon, France.

Cartoon Movie delivers a take on the multiple moving parts of European animated feature production, as it reaches out to consolidate synergies with the vidgame sector.

The numbers of participants are up. Some 255 attended the first edition in 1999, more than 700 are expected this year plus 120 distributors, 20% up on 2012 and 60% more than 2009.

The number of movies for the rugrat crowd are also up as Europe’s growing animation sector evolves.

“After decades of Pixar, now ‘Rango’ and ‘Wreck-It Ralph,’ which are really solid movies, audiences have matured,” said Philip Einstein Lipski, at Denmark’s Einstein Film (“Ronal the Barbarian”).

“European producers, who live in a public support eco-system, are finally catching up, becoming more ambitious to at least try to make films that match the American movies in terms of story and character.”

“Feature film animation in Europe really only started with Michel Ocelot’s ‘Kirikou and the Sorceress’ about 15 years ago,” agreed Cartoon Movie general director Marc Vandeweyer.

“It’s taken 10 years to train professionals, to put everything in place — strong concepts, pacy adventure, graphics. The last two to three years have seen a quality leap in results.” ...

Most of Europe's animated product has (thus far) failed to break out into world markets:

"... Some higher-end Euro animation has underperformed in ever-tougher international pre-sales markets causing, most notably, Luc Besson’s EuropaCorp to pull out of toonpic production altogether. ..."


It's not enough to get your movie produced. It also must turn a profit, so you can make the next one. The animated features from those pesky American entertainment conglomerates continue to bite at Europe's heels.
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Sophia the Second

Season, that is.

If America's two-to-five-year-olds were reading this, they would surely be rejoicing: Disney Junior has given a second season to its hit animated "Sofia the First."

This show has been kicking butt since the premiered of the pilot. I found out a while ago that more episodes had been ordered; at the time, mum was the word. ...

CG animation has made steady inroads on the small screen. Computer Images aren't the game changers on broadcast and cable that they've been on theater screens, but there seems to be more of them all the time. (Hand-drawn animation on the t.v. still holds its own.)

But Disney can, apparently, open its own mint with the Sofia franchise. The show's long-form premiere broke records, the series is galloping along, and now this:

... The TV movie Sofia the First: Once Upon a Princess is set to be released Tuesday on DVD by Walt Disney Studios, while an exclusive Sofia the First product line is in Disney Stores and a full line including apparel and toys will launch at major retailers nationwide in the summer. ...

Walking through the Sofia unit a couple of days ago, the crew was happy that a large number of new episodes had been ordered, since it means they've got longer-term jobs. (When other animation studios are going through rough patches, it's nice to reside on an island of stability.)

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Monday, March 04, 2013

Collateral Marketing and March Box Office

Gina Hall in the Biz Journal informs us:

A few weeks ago at the Founders Forum, Jeffrey Katzenberg stressed the importance of ancillary content on top of DreamWorks Animation's feature film output. True to Katzenberg's word, DWA has licensed its upcoming release "The Croods" to Rovio Entertainment, the creators of "Angry Birds," to create a mobile game based on the feature.

Rovio, which previously adapted its "Angry Birds" game to the DWA bird-themed feature "Rio," worked closely with DWA's in-house animators to expand "The Croods" pre-historic world into the realm of mobile games. ...

My confidence would be higher in Gina if she knew that Rio was a Blue Sky Studios production. (Oh well.)

This has got to be a nervous time for studios large and small. Last March, Hunger Games was a huge hit, but this year, Jack the Giant Slayer appears to be an unfolding disaster.

Next Friday, Disney will have a lot riding on its Oz the Great and Powerful. (Thus far, reviews and audience tracking are positive.) However ...

Comparisons between "Oz" and "Jack" seem inevitable because of their budgets, fantasy themes and most of all, the proximity of their release dates. Advance tracking shows "Oz" heading for an opening far better - with maybe $70 million - than the $27 million "Jack" managed.

But with that $200 million budget, it's no lock that "Oz," which stars James Franco, will wind up a major money earner. ....

And two weeks later comes The Croods, a feature DWA hopes is its comeback picture. Projections are for it to open in the $35-$45 million range domestically, which would probably carry it beyond the $103 million domestic take that Guardians rang up.

Assuming The Croods reaches $150 million in the U.S. and Canada, while making twice this amount across the rest of the world, then the movie will move into the black. As David Lieberman says:

If The Croods is a success, then investor concerns about the company “will fade,” Lazard Capital Markets Barton Crockett says. But a miss “would amp concerns about a creative crisis, and the big cash drain that results when movies misfire.” Good box office sales may not be good enough. Barclays’ Chris Merwin says the company needs “an exceptional performance” — he expects Croods to generate $150M domestically

Personally, I think the cave persons will do considerably better than Rise of the Guardians. Sight gags and physical humor -- and The Croods has plenty of both -- are audience pleasers.

For DreamWorks Animation's sake, let's hope this is the case.




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Spanish Renaissance

As Variety tells it:

For crisis-slammed Spain, feature animation offers film production a lifeline.

The local toon biz’s flagship is Enrique Gato’s Indiana Jones parody “Tad, the Lost Explorer,” the third Spanish film in a row to open Cartoon Movie. Studiocanal-sold, “Tad” snagged $40 million worldwide through Feb. 17, becoming Spain’s highest-grossing Spanish toon ever ($24.6 million), distribbed by Paramount.

“Spain’s film sector now accepts animation as part of its industry,” says “Tad” writer-producer Jordi Gasull at El Toro. ...

New state incentives may goose animation investment. For the moment, most Spanish film producers must look for most — perhaps as much as 60% — of their budgets abroad. But animation breathes optimism into a Spain plagued by recession and piracy.

“Spanish genre filmmakers have made movies with international impact. The same could happen in animation,” Garcia says. ...

Spain has a long history in animation.

Some little while ago (like decades), Pete Young and I wrote Katie Caterpillar, an animated feature bankrolled by Mexico's Televisa, but animated in Spain. It didn't cause global turnstiles to spin at white heat, but it did well enough in South and Central America.

So Spanish filmmakers have been creating animated product for a long time. Tad, the Lost Explorer appears to be the kind of movie that will goose Spain's animation industry. In a country that has 26% unemployment, any ray of sunshine is welcome.
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Sunday, March 03, 2013

Warners' Indie Animation

Among our fine, entertainment conglomerates, Disney has two animation studios doing theatrical cartoons, and Fox (News Corp.) is tied in with two (Blue Sky Studios and DreamWorks Animation). Viacom has lost DWA but is launching Paramount Animation, and of course controls Nicktoons. Then there is Sony, with Sony Pictures Animation/ Sony Pictures ImageWorks. And Universal has an ongoing partnership with Chris Meledandri's Illumination Entertainment

Among the majors, only Time-Warner has no subsidiary doing long-form, theatrical animation. (Warner Bros. Animation focuses on television and direct-to-video product; Cartoon Network lives inside its cable channel. Warner Bros. Feature Animation and Turner Animation closed in the 1990s) But T-W is still in the feature animation game. In the recent past it's partnered with Animal Logic in Australia, and now this:

... Indie animation The Nut Job [is] the first feature from Canadian-based ToonBox and Korea-based Redrover, in association with Warner Bros-based Gulfstream Pictures.

Disney and Pixar veteran Peter Lepeniotis is directing the feature based on his own 1995 short Surly Squirrel from a script by Lorne Cameron (Brother Bear, Over The Hedge), about a mischievous squirrel who plots to rob a nut store with his rat friend Buddy. ...

The pic is currently in production aiming for a 2013 release.

Paramount has done well with Tad, the Lost Explorer, so why wouldn't Warners travel a similar route? The big, live-action epics they've rolled out this year have been misfiring, so maybe it's a good idea to try making some money with a lower budget indie.

At leas they won't be blowing through $300 million.
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Cheese, Tomatoes, and All the Fixings



R & H might be close to making significant changes, but employees still need to be fed.

The Animation Guild, Local 839 of IATSE—coordinating with digital artist Dave Rand, who was instrumental in assembling the visual effects demonstration held on Oscar Sunday—provided 64 pizzas for lunch Saturday at VFX house Rhythm & Hues.

R&H is the company behind the majority of the Oscar-winning VFX in Life of Pi, which filed for bankruptcy protection on Feb. 13.

A note with the pizza read: "Heard you were hungry," and was signed, the Animation Guild....

Always happy to help out.

Meantime:

Warner Bros. is weighing whether or not to pull two projects from bankrupt visual-effects company Rhythm & Hues Studios. ... The studio declined to offer a statement.

A couple of weeks ago, Warenr Bros. was definitely, for sure going to yank its projects. So that it might now be on the fence about moving on is (maybe) progress.

We'll see.

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The Foreign Ticket Accumulation

Regarding foreign box office, Bruce baby hangs onto the top spot (barely), while live-action fairy tales of various vintages performed well.

A Good Day To Die Hard narrowly captured the No. 1 box office spot in its fourth weekend on the foreign theatrical circuit and crossed the $150-million total overseas mark ($162.3 million). ... Playing at 1,824 locations, Jack the Giant Slayer rolled up a total of $13.7 million -- more than a $7,500 per-screen average. ...

Hansel and Gretel: Bounty Hunters grossed $15.2 million on the weekend overall at more than 3,500 locations in 54 territories and lifting its total overseas take to $127.2 million. ... The Hobbit: An Unexpected Journey registered a gangbusters $37.3 million in China in 10 days, propelling the Peter Jackson fantasy epic -- which opened offshore in December -- to a $700-million foreign gross total. ...

In the meantime, animated features hold up their end of the piano.

Wreck-It Ralph came up with $4 million in 68 territories, raising Ralph’s foreign gross total to $247.9 accumulated over 18 rounds. Worldwide take is $435.2 million. ... Paramount’s Tad-The Lost Explorer, $15 million in Latin American markets; Universal’s Ted, $324.5 million ...

And Rise of the Guardians, now at the end of its foreign slog, collected $200,300,000 overseas.
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Saturday, March 02, 2013

Niche Players

The Big Players latched onto CG animated features a while ago, and now all of the big entertainment conglomerates release animated long-forms that cost anywhere from $70 million (the Chris Meledandri model) to $200 million (the Disney/Pixar model).



But it turns out the marketplace has more than enough room for smaller pretenders to the animation throne:

Par, UIP Add to Tad Treasure in Latin America

Spanish toonpic Tad, the Lost Explorer is fast becoming one of Europe’s biggest toon hits of the past few years, “Tad’s” B.O. trove underscores the breakout opportunities for indie toons — from the U.S. or abroad — targeting family auds.

Bowing Aug. 31 in Spain to a stellar $3.6 million gross. Paramount swooped on a further 13 territories, 12 in Latin America, after pic’s first frame in Spain.

Now it’s payback time. Opening Feb. 1, “Tad” grossed $6.1 million in Mexico through Feb. 24. In Peru, “Tad” has dug up a chart-topping first 10-day $1.5 million. Also opening No. 1 in neighboring Chile, “Tad” has mined $691,652 at local wickets for UIP. It is also No. 1 in Ecuador.

“Tad’s” total worldwide trawl through Feb. 24 stood at just above $40 million ...

If I were a visual effects shop fighting for survival, I would be looking to build a niche presence in lower budget animated and hybrid features. (You know, owning content?)

To rely on visual effects sub-contracting exclusively doesn't work real well if you're interested in staying in business.
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B.O. Plenty

Now with Add On.

Actually, the box office is not near enough for the big-bucks Jack the Giant Slayer that Time-Warner launched on Friday:

The year's first tentpole [is] on course for a weekend opening in the $24 million to $25 million range, not enough considering the movie cost nearly $300 million, including a $195 million production budget. ...

Moviegoing was soft overall in North America on Friday, with new entries 21 & Over and The Last Exorcism Part II placing No. 2 and No. 3, respectively, with a modest $3.4 million and $3.3 million. ...

The problem for our fine, entertainment conglomerates is, it's fine to swing for the fences with big-budget extravaganzas, but when the opening weekend's grosses end up being like an Adam Sandler comedy, then the big extravaganza inevitably turns into a big write-down.

Not particulalry good for the overall health of the business.

The Friday Scorecard

1) JACK THE GIANT SLAYER --$7,710,000

2) 21 AND OVER -- $3,340,000

3) THE LAST EXORCISM PART II -- $3,250,000

4) IDENTITY THIEF -- $2,700,000 ($100,427,000)

5) SNITCH -- $2,100,000 ($18,810,000)

6) SAFE HAVEN -- $2,020,000 ($52,813,000)

7) SILVER LININGS PLAYBOOK --$1,560,000 ($111,140,000)

8) ESCAPE FROM PLANET EARTH -- $1,297,000 ($37,784,000)

9) A GOOD DAY TO DIE HARD -- $1,180,000 ($56,304,000)

10) DARK SKIES -- $1,088,000 (10,985,000)

Add On: Jack earns $28 million in its opening frame, not particularly good for a movie that cost $300 mill to make and launch.

As our friends at The Hollywood Reporter tell it:

There was no fairy tale ending for Bryan Singer's 3D fantasy-adventure Jack the Giant Slayer at the weekend box office, where the year's first big-budget tentpole topped the domestic chart with a dismal $28 million.

All that money ... all that CGI ... vaporized in forty-eight hours.

WEEKEND DOMESTIC BOX OFFICE

1. Jack The Giant Slayer 3D (Legendary/Warner Bros) NEW [Runs 3,525] PG13 -- Friday $7.6M, Saturday $12.2M, Weekend $26.0M

2. Identity Thief (Universal) Week 4 (Runs 3,230) R -- Friday $2.7M, Saturday$4.2M, Weekend $9.7M, Cume $107.5M

3. 21 And Over (Relativity) NEW [Runs 2,771] R -- Friday $3.3M, Saturday $3.6M, Weekend $9.1M

4. The Last Exorcism Part II (CBS Films) NEW [Runs 2,700] PG13 -- Friday $3.2M, Saturday $3.2M, Weekend $7.9M

5. Snitch (Summit/Lionsgate) Week 2 [Runs 2,511] PG13 --Friday $2.1M, Saturday $3.5M, Weekend $7.5M (-43%), Cume $24.2M

6. Escape From Planet Earth 3D (Weinstein) Week 3 [Runs 3,110] PG -- Friday $1.3M, Saturday $3.3M, Weekend $6.6M, Cume $43.1M

7. Safe Haven (Relativity) Week 3 [Runs 2,951] PG13 -- Friday $2.0M, Saturday $2.9M, Weekend $6.2M, Cume $57.0M

8. Silver Linings Playbook (Weinstein) Week 16 [Runs 1,836] R -- Friday $1.5M, Saturday $2.7M, Weekend $5.6M, Cume $115.2M

9. A Good Day To Die Hard (Fox) Week 3 [Runs 2,589] R -- Friday $1.1M, Saturday $2.1M, Weekend $4.4M, Cume $59.5M

10. Dark Skies (Weinstein) Week 2 [Runs 2,313] PG13 -- Friday $1.0M, Saturday $1.6M, Weekend $3.5M, Cume $13.4M

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Friday, March 01, 2013

Cost Saving

So what did they expect?

Movie visual effects (VFX) artists working in B.C. say post-production companies are taking advantage of the province's tax credits, then subcontracting out work to China and India.

Visual effects companies ... receive tax credits currently set at 33 per cent of labour costs in B.C.

But under pressure to keep costs down, many VFX companies are underbidding for work, undercutting each other and outsourcing projects to countries with cheaper labour.

What's amazing here is that parts of the media still pretend surprise that film producers are searching for the best deals they can lay their hands on for their visual effects, wherever those deals are.

This is the way it's been for two decades. And these people are only now waking up to the ongoing reality? If our fine entertainment conglomerates could get the Gibraltar apes to work on their movies, and get Britain to give a nice tax rebate, that's what everybody would be doing.

It's really simple, friends and neighbors. Our shining beacons of free enterprise are beyond happy to have somebody else pay for their movies, then pocket 100% of the profits.

Good old laissez faire capitalism.

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Pixar Lite?

DisneyToons Studio continues the drum-beating for its new franchise.

Yesterday, a new trailer for Disney's animated Cars spin-off Planes arrived, and it looked like a weak imitation of Pixar.

Now the straight-to-DVD foundation of this film has been solidified as the House of Mouse has just sent over a press release saying that comedian and part-time actor Dane Cook (Dan in Real Life, Mr. Brooks) is providing the voice for Dusty, a small town crop dusting plane who longs to enter the most epic around-the-world air race despite his fear of heights. Originally Jon Cryer was supposed to take the role, but fell away from the project, and we weren't sure whose voice was in the trailer. ...



Actually, it's not "Pixar lite." It's Disney Blue, Disney Red, or Disney Yellow.

Disney Blue would be the Pixar Emeryville studio.

Disney Red would be the Riverside Drive facility in Burbank a.k.a. Walt Disney Animation Studios (Why plural? There's only one).

And Disney Yellow would be DisneyToon Studios on Sonora Avenue in Glendale, the interior of which is decked out to mimic its Pixar sibling. (This Diz Col division is plural, I guess, because of the overseas contractors.)

Blue and Red make movies for the big screen; Yellow handles the direct-to-video operation. But when Mouse Central sniffs more dollars in a theatrical release, well then hey! DisneyToon gets itself a theatrical movie to chew on. (There is a long, honored practice in this regard.)

Planes has been in the pipeline for a while now. I was looking at design work years ago when I trudged through the studio. Elevating a direct-to-video title to the AMC circuit and the big screen isn't new for Disney. Jungle Book 2 went the multiplex route, a decade ago, as did Return to Neverland before it.

Most of Planes was animated overseas, but a small crew of animators were in Glendale, executing many of the money shots. Disney is being pretty smart with its Toon franchises: As Tinkerbelle has catered to little girls, so will Planes go after the young male demographic. (Think merchandise, merchandise, and MORE merchadndise ... in the form of small metal planes.)

The name of the game is moolah.
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