tag:blogger.com,1999:blog-57790856574342670622024-03-13T15:15:56.122-07:00Women in Animation - Bay AreaThis is the blog for Women in Animation Bay Area. Check out what each chapter in the Bay Area is up to and find out more about upcoming events!Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.comBlogger44125tag:blogger.com,1999:blog-5779085657434267062.post-46978588137015990112017-06-16T10:53:00.000-07:002017-06-16T17:36:27.267-07:00WIA - Bay Area<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; font-style: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">June 15th, 2017</span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">There are some exciting things happening with WIA SF! In an effort to offer you even more WIA events in a variety of locations throughout the Bay Area, we're rebranding WIA SF to WIA Bay Area! This means that we are branching out to other locations and studios, and bringing additional leadership on board.</span></div>
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<a href="https://3.bp.blogspot.com/-8dgQ_G-DhCw/WUQaToAA_iI/AAAAAAAAAkY/kG8E4c99rfs2VWHumQjbbJrVarPhgOaDACLcBGAs/s1600/wiaBayArea_square_whiteBG.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="492" data-original-width="460" height="200" src="https://3.bp.blogspot.com/-8dgQ_G-DhCw/WUQaToAA_iI/AAAAAAAAAkY/kG8E4c99rfs2VWHumQjbbJrVarPhgOaDACLcBGAs/s200/wiaBayArea_square_whiteBG.png" width="186" /></span></a></div>
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<span style="background-color: transparent; color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div>
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<span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: transparent; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">With that, we are thrilled to announce the kickoff of our first new branch, </span><span style="background-color: transparent; font-size: 11pt; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>WIA Silicon Valley</b></span><span style="background-color: transparent; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">! It will be headed by two very talented ladies, Jen Dahlman and Haley Kannall. Jen and Haley bring a wealth of experience and passion to our organization. They've been attending our events for the past few months and have been wonderful to work with. Some of you had the chance to hear them speak at the MOANA Amy Smead Talk. Hopefully you all received the invitation to the first event being hosted by the WIA Silicon Valley branch. </span></span></div>
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<span style="font-family: "arial";"><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 14.666666984558105px; white-space: pre-wrap;">Learn more about Jen and Haley in the "Meet Our Leadership Team" tab!</span></span></div>
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Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.comtag:blogger.com,1999:blog-5779085657434267062.post-70784129628494155562015-08-14T16:28:00.001-07:002017-11-06T16:45:30.419-08:00HR Night at PIXAR Featuring Top Recruiters from ILM and PIXAR! <div>
<div>
On Wednesday, April 29th WIA SF hosted an HR night at Pixar. The featured speakers are both top recruiters in the industry, Lori Beck for ILM and Kim Diaz for Pixar. </div>
<div>
</div>
<div>
The night was fun, inspiring, and informative! </div>
<div>
</div>
<div>
We're excited to announce that for our next WIA SF meeting, we'll be hosting an HR night at Pixar on <b>Wednesday, April 29th</b>. This event is free for all current WIA SF members. <br /></div>
The event will feature presentations by top recruiters from Pixar, and ILM. <br /><br />Examples of topics covered are: </div>
<br /><div>
-Resume dos and don'ts<br />-Interview dos and don'ts<br />-Demo reel dos and don'ts <br />-Cover Letter format and who to address it to<br />-What to wear to an interview<br />-Not letting your nerves get the best of you<br />-Networking at Industry events like CTN<br /></div>
<div>
We'll also have plenty of time for Q&A, so bring your questions. <br /></div>
<div>
Schedule for the evening: </div>
<div>
<br />6:00-7:00pm - mix and mingle outside of the Presto Theater with drinks and light hors d'oeuvres provided by Luxo cafe. </div>
<div>
7:00-7:10pm - WIA SF updates</div>
7:10-7:50pm - moderated Q&A by HR representatives from Pixar and ILM<br />7:50-8:20pm - audience Q&AAnonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com2tag:blogger.com,1999:blog-5779085657434267062.post-85989097111235346542014-11-26T21:33:00.000-08:002017-11-06T16:45:30.485-08:00Darla K. Anderson: From Digital Angel to Producer and Beyond<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">On
Tuesday November 11<sup>th</sup> the Brooklyn Theater at Pixar Animation
Studios was filled to capacity with professionals, students and animation fans
as they eagerly anticipated the arrival of one of Pixar’s most well-known
members, Producer Darla K. Anderson. Ms. Anderson, who joined the studio in
1993, has the illustrious distinction of working on some of the animation
industry’s most beloved films. </span><span style="color: #1a1a1a; font-size: 11.0pt; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt; mso-hansi-font-family: Cambria; mso-hansi-theme-font: minor-latin;">Her accolades include winning the BAFTA award for <i>Monsters,
Inc. </i>and Producer of the Year in Animated Theatrical Motion Pictures
from the Producers Guild of America for <i>Cars. </i><span style="mso-bidi-font-style: italic;">She spoke to the entranced crowd with her
signature humor and drive about her story from growing up in Glendale,
California to becoming one of the film industry’s most respected Producers.</span></span></div>
<div class="MsoNormal">
<span style="color: #1a1a1a; font-size: 11.0pt; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt; mso-hansi-font-family: Cambria; mso-hansi-theme-font: minor-latin;"><span style="mso-bidi-font-style: italic;"><br /></span></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Hollywood Calling<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Darla
Anderson grew up with stars in her eyes. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Born
and raised in Glendale, California, she dreamed of starring in commercials and
TV, and being a part of the Hollywood scene. Her mother did not want her to be
part of the industry, believing it was not a great environment for children.
However young Ms. Anderson dreamed of being part of the film production world.
Her hero at the time, Jodie Foster, was the same age, and she envisioned
starring alongside Jodie in films and becoming fast friends.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Life Takes A Turn <o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Her
childhood dreams were cut short when at 13 her mother died tragically in a car
accident. Through a series of events young Ms. Anderson found herself homeless at
age 14. Knowing that the foster care system would not be a good alternative for
her, she slept on the couches of friends.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">During
this dark time she believed that life was not worth living and wondered if she
should simply give up. However she made a huge life decision to be in the game
and go for it.<span style="mso-spacerun: yes;"> </span>The loss of her mother,
she said, “makes you super confident and incredibly insecure.”<o:p></o:p></span><br />
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">She
decided to stay in high school in Glendale and then moved on to community
college, where she earned a $500 scholarship. Most of her professors were
retired from UCLA and USC so she received an excellent education at a fraction
of the cost. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">She
then went on to San Diego State where she earned a degree in environmental
design. “I’ve always thought with a Z axis,” she said. “I always thought in
3D.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">She
credits her determination and the mother of a close friend from college for
helping to keep her afloat. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“I’m
not sure where I would be in my life without these people,” she said, referring
to her friend’s family, particularly her friend’s mother. “She has
unconditionally loved me.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">I Wanna Be A Producer<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Upon
graduation all of her friends were getting jobs in sales and making lots of
money immediately out of school. By contrast Ms. Anderson’s path proved to be
far from linear. She traveled from odd job to odd job, from running an ice
cream store to even serving as a truant officer. This was in the 80s, where
yuppie-dom and earning as much as humanely possible was considered the standard
way to live. Ms. Anderson’s seemingly unconventional lifestyle baffled her
friends to no end. <o:p></o:p></span><br />
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">But
her life path would take another unexpected turn when at age 25 she met a guy
at a party and discovered that he was a producer for Primavera Video
Productions. It was at that moment that Ms. Anderson found her calling in life
– she would become a producer.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">She
promptly called Primavera and announced that she was a producer and would love
to work for their company. “They said thank you for your confidence we will
hire you as a PA go make that coffee over there. And that is how [I] started as
a PA,” she said.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Primavera
specialized in B movies, corporate videos and commercials, and Ms. Anderson
volunteered for every shoot. One day she saw a flying logo in the editing room,
the very early stages of 3D animation. And at that moment, she knew where she
wanted her film career to take her. “I was in love. Completely, utterly in love
with 3D animation,” she recalled. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">She
left Primavara and got a job at a small company called Angel Studios where she
served as executive producer of the four-person company. While at Angel she
often traveled to LA to sell ad agencies computer animation. “Back then nobody
liked computer animation. It was really a hard sell,” she said. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-C9Uuk3yRVTg/VHa3AhOsbfI/AAAAAAAAAeg/iMpUfGOij_s/s1600/DSC_0019.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-C9Uuk3yRVTg/VHa3AhOsbfI/AAAAAAAAAeg/iMpUfGOij_s/s1600/DSC_0019.JPG" height="212" width="320" /></a></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">The SIGGRAPH Moment<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">However,
this proved to be the right course of action. She attended SIGGRAPH, now a
stalwart gathering of the best and brightest in the animation and VFX industry,
but at the time a fledging gathering of a handful of people.<span style="mso-spacerun: yes;"> </span>“[There was] maybe 200 people employed in the
industry at that time, “ she said. “SIGGRAPH had one party in a hotel room held
by the guys at ILM.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">It
was at SIGGRAPH that Ms. Anderson first heard of the company that would make
her career: Pixar. At that time only three minutes of computer animation
existed, and the people at Pixar wanted to make a full-length movie. “No one
thought Pixar could do it,” she said.<span style="mso-spacerun: yes;"> </span>No
one, she recalled, but Pixar and her. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Going
on gut instinct, she packed up her two cats, quit her job before she was fired,
“rather be a bandit than be abandoned,” she remembered, and made it her goal to
move to San Francisco, work for Pixar, make 50 thousand a year and come out of
the closet. Once again, everyone thought she was nuts risking it all on a small
company that no one had heard of to work in computer animation, a medium that
at the time few had any faith in. “When I first came to Pixar nobody thought it
was a good idea. You’re doing what? You’re working in San Francisco?” she said.
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Ms.
Anderson, however, would not be deterred. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Journey to Pixar<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">When
she wanted a job, Ms. Anderson said, she would always call the president of the
company. She felt that, after losing her mom at such a young age, she had
nothing to lose, which enabled her to be “fearless with authority,” she said. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">That
fearlessness enabled her to pick up the phone and call then Vice President of
Pixar Animation Studios Ralph Guggenheim and invite him to lunch. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">She
had no money and “emptied out the change in my drawer to pay for lunch,” she
recalled. The experience proved to be invaluable, and she and Mr. Guggenheim
formed an excellent professional relationship. At the time however, there were
no jobs to be had, since the Disney deal with Pixar had not yet been
struck.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">This
information only stoked the fire in Ms. Anderson, and every six months she
would call Mr. Guggenheim to see what jobs were available. She even received a
thanks but no thanks letter from his assistant basically asking her to stop
applying. “But Ralph kept taking my phone calls so I ignored those letters,”
she said, figuring that if the boss keeps picking up the phone she was in great
shape. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">The Digital Angel Throws Her
Hat In The Ring <o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Two
years later her persistence paid off, and she joined Pixar in 1993 as producer
of the commercial group. Her hope was that she would be a producer for <i style="mso-bidi-font-style: normal;">Toy Story</i>, but she realized that she
would need to cut her teeth in commercials in order to prove that she was the
right person for the job. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Her
determination and the hard work of her group enabled Pixar to earn the funds
necessary to finance <i style="mso-bidi-font-style: normal;">Toy Story.</i> “Our
group of 25 people ended up getting <i style="mso-bidi-font-style: normal;">Toy
Story</i> out the door,” said Ms. Anderson. Mr. Guggenheim even honored her
work by bestowing her the title “Digital Angel” in the <i style="mso-bidi-font-style: normal;">Toy Story</i> credits, which she had often been called at her previous
job. <o:p></o:p></span><br />
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Toy Story</span></i><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"> proved to be a smash hit,
and enabled Pixar to move forward with their sophomore project, <i style="mso-bidi-font-style: normal;">A Bug’s Life.</i> For that film, Ms.
Anderson didn’t bother to throw her hat in the ring for the producer job
because she had only done commercials and knew nothing about marketing or
licensing. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">But
when she saw the applicants coming through the door, she experienced her second
epiphany. </span><br />
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“I don’t know what I’m doing but neither do they,” she thought. She
wrote to then Pixar CEO Steve Jobs and then Chief Technical Officer and now Walt
Disney and Pixar Animation Studios President Ed Catmull an email entitled “Deep
Thoughts” – a letter that basically pitched Ms. Anderson for the role of producer
at Pixar. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">During
the interview process she met with the top brass at Disney in order to prove
her mettle, since “Disney owned all of Pixar’s stuff at that time,” she said. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Her
enthusiasm impressed the executives at Disney, but she still needed more time
to learn the ends and outs of producing. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“Disney
loves charts and graphs and analysis – I love looking at that too but I cannot
produce it,” she said. She ended up getting an associate producer job rather
than a producer job when the process was complete. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">The
day she didn’t get the gig Mr. Jobs personally apologized to her. When she told
him she would accept the job he promptly asked, “Why would I say yes?”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“Because
A,” she said, “I have no leverage, and B, I have a lot to learn.” This was the
answer that Mr. Jobs wanted to hear. “Steve said they told him that if you were
the right person for the job I’d take it.”<o:p></o:p></span><br />
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">From Assistant Producer to
Producer<o:p></o:p></span></u></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">A Bug’s Life</span></i><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"> had to prove that Pixar was
not a one hit wonder, said Ms. Anderson.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Steve
Jobs had warned her that after you have the big hit you quite often have the
sophomore slump. “Then <i style="mso-bidi-font-style: normal;">Antz </i>came out
and there was a lot of pressure,” she remarked. “Every time I turned the
corner, [Steve] would say – hi Darla, is the film great yet? We all felt the
pressure. We have to make it great.”<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">The
Pixar team rose to the challenge, proving that Pixar had what it took to
sustain itself as a feature film company. And Ms. Anderson’s excellent work on <i style="mso-bidi-font-style: normal;">A Bug’s Life</i> led to her being named a producer
for many of Pixar’s future films, including <i style="mso-bidi-font-style: normal;">Monsters,
Inc. Cars, </i>and <i style="mso-bidi-font-style: normal;">Toy Story 3. </i>As a producer,
Ms. Anderson wears many hats and overseas all aspects production, but the key,
she says, is the story. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“My
central focus is story for obvious reasons,” she said. “Story is the most
important thing…Everything reports to story for me.”<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Story
is also her favorite part of the process because it’s so difficult. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“You
don’t ever have it. If you’re really trying to tell some truth it’s just a
beast that will wrestle you to the ground.” She adds that being a little ADD
makes for a good producer. “I get to jump from thing to thing and get paid for
it and not get in trouble.” <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“My
focus is this big creative bent,” she said. “Everyday is super hyper different.
Marketing. Casting. Music. Putting together the right team.” <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Work/Life Balance: Reality
or Myth?<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“I
don’t have a career mantra – be honest, put yourself out there, go for it,”
said Ms. Anderson on her career goals. This assuredness and ability to stay
true to herself enabled Ms. Anderson to come out of the closet, earn her
stripes at Pixar and in 2008 marry fellow Pixar Producer Kori Rae. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">And
she admits that like many men and women, work/life balance can be a difficult
process.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“We
suck at it,” she said with a laugh. However both she and Ms. Rae have found
ways to encompass both their professional and personal lives. “We’re allowed to
talk about work until we get off the Bay Bridge.” She remarks that having a
spouse who also works in the film industry is helpful, as they understand what
it takes to get a film into production.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“We
compliment each other on advice. If you’re a producer you’re going to work a
lot of hours. We’re fortunate that we can work sane hours but it’s for four
years.”<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">On Being a Leader and a
Woman in the Industry<o:p></o:p></span></u></b></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Having
someone else in your corner, whether that is a spouse, mentor or friend, can
help navigate the difficult waters of the industry, particularly when it comes
to women and their history in film and animation.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“You
don’t want to be conscious of it but if I look back I can see if I were a guy
things might have panned out differently,” she said. Fortunately, her life
experiences, professional sponsorship, mentoring and friendship from
individuals like Mr. Jobs and John Lasseter,</span><span style="color: #424242; font-family: Arial; font-size: 13.0pt; mso-bidi-font-family: Arial;"> </span><span style="font-size: 11.0pt; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt; mso-hansi-font-family: Cambria; mso-hansi-theme-font: minor-latin;">Chief Creative Officer of Walt Disney
and Pixar Animation Studios</span><span style="font-size: 11.0pt; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 12.0pt; mso-hansi-font-family: Cambria; mso-hansi-theme-font: minor-latin;">,</span><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"> along with her character
and determination have enabled her to persevere through trying times.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“I
grew up as a tomboy and had friends who were boys. When Hilary [Clinton] ran I
woke up. The way the media was handling that bothered me. I rolled up my
sleeves and decided to start mentoring and speaking,” she said. Her mentorship
has included speaking and working with interns at Pixar, participating in
lectures across the country and helping women to make inroads in the industry. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">She
finds that both women and men are hard on themselves on the job, and that women
in particular punish themselves more when they make mistakes or do not speak
up, especially in meetings. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Working
alongside Mr. Jobs enabled Ms. Anderson to see the power and trust that were
created from speaking honestly on the issues.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“He
was very direct and he appreciated direct feedback,” said Ms. Anderson. “I’m
not afraid to say I didn’t get that. If I don’t understand it then everybody
didn’t get it or I need to hear it again. I think that’s universal for all of
us. You have unlimited silver bullets to use.”<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Also,
she has realized that the times she has received constructive criticism were
often a blessing in disguise. There have been times when colleagues have pulled
her to the side to address things she may have said, and Ms. Anderson
appreciates their candor.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“For
somebody like me, there’s a lot of great things I possess, but I need a friend
to tell me – maybe you shouldn’t say that,” she said. “When I get that
feedback, I think thank you, I want to become a better person.”<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">If
you fail she says, don’t apologize, just pick yourself back up. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“I’m
really hard on myself,” said Ms. Anderson. “I use that to drive myself. [So] I
would say lighten up and be kinder to yourself.”<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">No
matter a person’s gender, there is something that everyone can excel at,
concluded Ms. Anderson, whether that is working at Pixar or participating in
other creative endeavors. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“I
have this faith there’s a place for everybody. We’re all here for a reason. We
belong on a team,” she said. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">“I
want everybody to be ambitious. There’s enough for everybody.”<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Special
thanks to Darla Anderson and the staff at Pixar for helping us create this
excellent members only event!<o:p></o:p></i></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></i></b>
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">For more
information on Women in Animation San Francisco: <o:p></o:p></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></i></b>
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Visit us at
our home on the web at <a href="http://www.womeninanimationsf.blogspot.com/"><span style="color: windowtext; text-decoration: none; text-underline: none;">www.womeninanimationsf.blogspot.com</span></a>.<o:p></o:p></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">http://womeninanimation.wildapricot.org/page-1692569<o:p></o:p></span></i></b></div>
Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-64405625068491672332014-10-30T07:35:00.001-07:002017-11-06T16:45:30.416-08:00Women in Animation San Francisco Presents An Evening With Darla K. Anderson<div style="color: #222222; font-family: arial; font-size: small;">
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<span id="yui_3_16_0_1_1414686485839_83892" style="font-size: medium;">Women in Animation San Francisco Chapter is pleased to announce November's Members Only Event:</span></div>
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<b id="yui_3_16_0_1_1414686485839_83899"><span id="yui_3_16_0_1_1414686485839_83898" style="font-size: x-large;">An Evening With Darla K. Anderson </span></b></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-zFE0TWaa9pc/VFQ-ATSl9RI/AAAAAAAAAd4/ndQlJONkzwo/s1600/DarlaKAnderson.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-zFE0TWaa9pc/VFQ-ATSl9RI/AAAAAAAAAd4/ndQlJONkzwo/s1600/DarlaKAnderson.jpg" height="400" width="298" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo courtesy of The Hollywood Reporter</td></tr>
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<b style="font-size: xx-large;">Tuesday November 11th</b></div>
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<span style="font-family: arial, sans-serif; font-size: medium;"><b>Pixar Animation Studios</b></span></div>
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<b>6:15 pm - 7:00 pm Mix and Mingle<br />7:00 pm - 8:00 pm Talk and Q&A </b><span style="font-family: arial, sans-serif;"><br /></span></div>
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Light hors d'oeuvres and specialty cocktails will be served!</div>
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A Pixarian since 1993 and a member of Pixar's Brain Trust, Producer Darla K. Anderson is best known for her work on such beloved films as <i>A Bug's Life, Monsters, Inc. Cars,</i> and <i>Toy Story 3. </i></div>
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Her accolades include winning the BAFTA award for <i>Monsters, Inc. </i>and Producer of the Year in Animated Theatrical Motion Pictures from the Producers Guild of America for <i>Cars. </i></div>
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She also participated in the video project <i>It Gets Better</i>, an anti-bullying video that has garnered more than 1 million hits on YouTube. </div>
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<span style="font-family: arial, sans-serif;">Ms. Anderson will be speaking about her work within the animation industry. A Q & A session will immediately follow. </span></div>
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<span style="font-family: arial, sans-serif; font-size: 13px;">Please RSVP via email at <b><a href="mailto:womeninanimationsf@gmail.com" rel="nofollow" style="background: transparent; color: #196ad4; margin: 0px; outline: none; padding: 0px;" target="_blank" ymailto="mailto:womeninanimationsf@gmail.com">womeninanimationsf@gmail.com</a></b> by Friday November 7th and include your First and Last name as it appears on your photo ID.</span></div>
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<span style="font-family: arial, sans-serif; font-size: 13px;">Remember to <b>bring your Photo ID</b> to show at the Pixar security gate the evening of the event. </span></div>
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<b>*This event is open to all WIA members in good standing. As this is a members only event we do not have space available for guests at this time. </b><b>If this changes we will send out a second announcement.* </b></div>
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Pixar is located at 1200 Park Ave, Emeryville, CA 94608 <a href="https://www.blogger.com/null" rel="nofollow" style="background: transparent; color: #196ad4; margin: 0px; outline: none; padding: 0px; text-decoration: underline;">(510-922-3000</a>). The event will be held at Pixar's Presto Theater. </div>
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<b>Here are directions to Pixar Animation Studios' Presto Theater, where the Darla K Anderson Event will be held:</b></div>
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<b>Brooklyn Building <span style="background: rgb(255, 255, 204);">Presto</span> <span style="background: rgb(255, 255, 204);">Theater</span></b></div>
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<span style="background-color: white; color: black; font-family: arial, sans-serif; font-size: 13px;">When you get to campus and park you will walk </span><u style="background-color: white; color: black; font-family: arial, sans-serif; font-size: 13px;">past</u><span style="background-color: white; color: black; font-family: arial, sans-serif; font-size: 13px;"> the Luxo statue and Steve Jobs building down the walkway to the large building on your left. This is Brooklyn. We'll have our greeters right inside the door to help you sign in and direct you further. </span><br />
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There will be signs up on campus directing for the WIA meeting as well, so you can just watch for those. </div>
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<b>RSVP Today! See you on Tuesday November 11th!</b></div>
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Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com3tag:blogger.com,1999:blog-5779085657434267062.post-6323732522377312202014-10-01T18:04:00.000-07:002017-11-06T16:45:30.412-08:00National Film Board Of Canada Animation Event from ASIFA-SF<b>Hello Women in Animation SF members!
ASIFA-SF has invited us to their National Film Board of Canada Animation Event at the Walt Disney Family Museum this FRIDAY! Read the details below and be sure to RSVP to ASIFA-SF President Karl Cohen. </b><br />
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<span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 10pt;">THE NATIONAL FILM BOARD OF <u></u><u></u><u></u>CANADA<u></u><u></u> IN COLLABORATION<u></u><u></u><u></u></span></div>
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<span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 10pt;"> WITH ASIFA-SF AND THE DISNEY FAMILY MUSEUM PRESENT:</span><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold';"><u></u><u></u></span></div>
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<span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 20pt;">AN IN-PERSON EVENING WITH TWO REMARKABLE FILMMAKERS OF THE<u></u><u></u></span></div>
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<span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 20pt;">NATIONAL FILM BOARD OF <u></u><u></u>CANADA<u></u><u></u><u></u><u></u></span></div>
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<span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 16pt;">TORILL KOVE<u></u><u></u></span></div>
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<span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold';"><span style="font-size: small;">DIRECTOR OF THE ACADEMY AWARD® WINNING SHORT FILM <i>THE DANISH POET</i><u></u><u></u></span></span></div>
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<span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 16pt;">NICOLA <u></u>LEMAY<u></u><u></u><u></u></span></div>
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<span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold';"><span style="font-size: small;">DIRECTOR OF <i>NO FISH WHERE TO GO</i> WINNER OF FIPRESCI PRIZE @ <u></u><u></u>ANNECY<u></u><u></u> 2014<u></u><u></u></span></span></div>
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<span lang="EN-CA" style="color: black; font-family: 'Arial Rounded MT Bold'; font-size: 22pt;">FRIDAY</span><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 22pt;">, OCT. 3, 7 PM<u></u><u></u></span></div>
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<span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold';"><span style="font-size: small;">AT THE <u></u><u></u>WALT<u></u> <u></u>DISNEY<u></u> <u></u>FAMILY<u></u> <u></u>MUSEUM<u></u><u></u>, FREE!<u></u><u></u></span></span></div>
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<span style="font-size: large;"><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold';">PLEASE RSVP by <span class="aBn" data-term="goog_1695913185" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">6 pm, THURSDAY, OCT. 3</span></span> to: </span><span style="font-family: 'Arial Rounded MT Bold';"><a href="mailto:karlcohen@earthlink.net" style="color: #1155cc;" target="_blank"><span lang="EN-CA">karlcohen@earthlink.net</span></a></span><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold';"><u></u><u></u></span></span></div>
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<span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 10pt;">RSVPs will be confirmed. If the list is full there will be a waiting list. If your RSVP and can’t come, please tell us, so someone on the waiting list can have your seat.</span></div>
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<span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 10pt;"><u></u>THIS IS OUR INTERNATIONAL ANIMATION DAY EVENT<u></u></span></div>
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<b><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 14pt;">TORILL KOVE</span></b><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold';"><span style="font-size: small;"> will show her witty semi-autobiographical trilogy for the NFB. <i>My Grandmother Ironed the King’s Shirts (</i>2001) was nominated for an Academy Award® and <i>The Danish Poet</i> (2006) won the Oscar® for Best Animated Short. Her latest NFB film, <i>Me and My Moulton</i>, recounts memories of growing up in a creative and unconventional family in 1960s <u></u><u></u>Norway<u></u><u></u>. In addition to screening the three films, Torill will discuss the creative process of writing, storyboarding and animating shorts, using clips, sketches and storyboard panels from her past and current works.<u></u><u></u></span></span></div>
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<span style="font-size: small;"><b><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold';">NICOLA LEMAY</span></b><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold';"> has been an acclaimed collaborator with the NFB since 1999 as an animator, designer and director. Following his one-minute episode of NFB’s innovative </span></span><i><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 14pt;">Science Please!</span></i><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold';"><span style="font-size: small;"> TV series, Nicola will show his new film </span></span><i><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 14pt;">No Fish Where to Go</span></i><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 14pt;">,</span><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold';"><span style="font-size: small;"> co-directed with Janice Nadeau and winner of the FIPRESCI Prize at this year’s Annecy International Animation Festival. His presentation will address the challenges of adapting a renowned illustrated literary work into a powerful animated short.<b><u></u><u></u></b></span></span></div>
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<span style="font-family: 'Arial Rounded MT Bold';"><span style="font-size: small;">The program will also include three new NFB animations, including </span></span><b><span lang="EN-CA" style="font-family: 'Arial Rounded MT Bold'; font-size: 14pt;">Michèle</span></b><b><span style="font-family: 'Arial Rounded MT Bold'; font-size: 14pt;"> Cournoyer's</span></b><span style="font-family: 'Arial Rounded MT Bold';"><span style="font-size: small;"> <b><i>Soif</i></b>, a depiction of alcoholism in the bold, metamorphic graphic style of </span></span><i><span style="font-family: 'Arial Rounded MT Bold'; font-size: 14pt;">The Hat</span></i><span style="font-family: 'Arial Rounded MT Bold'; font-size: 14pt;">,</span><span style="font-family: 'Arial Rounded MT Bold';"><span style="font-size: small;"> her acclaimed study of sexual abuse; </span></span><b><span style="font-family: 'Arial Rounded MT Bold'; font-size: 14pt;">Marie-Josée Saint-Pierre’s</span></b><span style="font-family: 'Arial Rounded MT Bold';"><span style="font-size: small;"> </span></span><i><span style="font-family: 'Arial Rounded MT Bold'; font-size: 14pt;">Jutra</span></i><span style="font-family: 'Arial Rounded MT Bold'; font-size: 14pt;">,</span><span style="font-family: 'Arial Rounded MT Bold';"><span style="font-size: small;"> an animated short documentary about Claude Jutra, the celebrated French-Canadian director of live-action features, who committed suicide after becoming afflicted with Alzheimer's disease; and <b>Tali's</b> </span></span><i><span style="font-family: 'Arial Rounded MT Bold'; font-size: 14pt;">Bus Story</span></i><span style="font-family: 'Arial Rounded MT Bold';"><span style="font-size: small;">, winner of the Best Short Film award from the Annecy 2014 Junior Jury.<u></u><u></u></span></span></div>
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Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-91992333412985044902014-09-26T14:48:00.001-07:002017-11-06T16:45:30.495-08:00The Boxtrolls: A Seven-Year Journey Comes To The Screen A boy named Eggs. A Boxtroll named Fish. And a whimsical town that holds a dark secret. Thus begins LAIKA’s third feature film, <i>The Boxtrolls</i>, arriving in wide release Friday September 27th.
It’s a tale that both children and adults will enjoy, capturing the humor, oddness, charm and peril that LAIKA films are known for while also showcasing the latest advancements in the world of stopmotion filmmaking.
The venerable cast includes such stalwarts as Ben Kingsley, Dee Bradley Baker, Steve Blum, Nick Frost, Simon Pegg, Tracy Morgan, Elle Fanning, Fred Tatasciore, Maurice LaMarche and <i>Game of Thrones' </i>Issac Hempstead Wright.<br />
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ASIFA-Hollywood, in conjunction with Focus Features and the San Francisco Film Society, held a screening at San Francisco’s Metreon Theater on Tuesday September 23rd to highlight the upcoming release.
Watching the smoothness of the animation, the flow of the story and the marvelous detail, viewers may forget the thousands of hours, dozens of story drafts and herculean efforts required to create something so amazing, so lost will they be in the film itself.<br />
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Fortunately, CEO, Executive Producer and Lead Animator Travis Knight, Directors Graham Annable and Anthony Stacchi, Producer David Ichioka and Editor Edie Ichioka were on hand after the screening to reveal the secrets of the magic that went in to making the film the public will come to love.<br />
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<u>Crafting the Story </u><br />
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“It’s a coming of age story,” said CEO Travis Knight to the film crowd on Tuesday evening.<br />
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“At it’s core it’s like all LAIKA films, there’s something deeper at its’ heart.”
It all started seven years ago.<br />
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<i>Coraline</i> was in production and the LAIKA team had purchased the rights to <u>Here Be Monsters! </u>by Alan Snow, slated to be the studio’s second feature film. This proved to be a task of epic proportions, as the book spans 544 pages and includes a cavalcade of wildly imaginative characters like Cabbage people, Rabbit women, and of course, Boxtrolls.
Whittling down the ideas created by author Alan Snow proved to be a feat in itself.<br />
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Director Anthony Stacchi’s mantra became “throw everything out but the title and see what comes back. After six drafts there were still Cabbage heads and a giant rabbit destroying the city.”<br />
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Director Graham Annable, a board artist on <i>Coraline</i> and <i>Paranorman</i>, helped the team craft what would become the beginnings of the tale after boarding a scene between the boy protagonist Eggs (voiced by Issac Hempstead Wright) and his surrogate Boxtroll family Fish (voiced by Dee Bradley Baker) and Shoes (voiced by Steve Blum). “Within three months we got rid of everything before and after [that scene.]”<br />
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The scene became the bedrock of the film, and although it did not make it into the finished film, it provided a blueprint for everyone on the team to rally behind.<br />
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<u>Stopmotion Animation and Rapid Prototyping – Past Meets Future </u><br />
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One of LAIKA’s best known traits is its ability to bring lifelike performances using both traditional stop motion techniques while also embracing advanced technology.<br />
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“The movie really happens through the conversation with the animators,” said Graham. “We would visit the animators on the set everyday or every two days.”
At LAIKA all animation is done on 1s (as opposed to 2s and 4s, which is more common for 2D and CG animation).<br />
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“You get one rehearsal on 2s and 4s. Rehearsals are best described as Hansel and Gretel breadcrumbs,” said Stacchi. Ideas are mapped out, then the animators animate by moving the character by hand, recording it, then moving again, a painstaking process resulting in 30 to 45 frames a day.<br />
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One of the ways that LAIKA has emerged as a powerhouse player in the industry is by embracing a technique known as rapid prototyping. This process allows an individual to instruct a computer to create a 3D printing of an object, for example, Eggs’ head, and also allows artists to design and texture the object using the computer.<br />
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“They’re meant to do one-offs,” said Knight. “We’re using it as a mass production device.”
For example, there were hundreds faces created just for the character Eggs alone, and hundreds more created for the other titular characters of <i>The Boxtrolls</i>, enabling the animators to switch out expressions of the characters, creating more variety for them to showcase in the film. Often faces were printed in two halves so that the artists could mix and match, creating a wider variety of facial features.<br />
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After years of developing, modifying and experimenting with this technology, the LAIKA team has found a myriad of ways to bend it to suit the company’s needs.<br />
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“Our painter figured out how to get the printer to get certain kinds of colors it didn’t want to print,” said Knight as an example.<br />
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“The company is full of MacGyvers,” added Stacchi.
“It’s like something out of Star Trek, it shouldn’t exist,” remarked Knight. “When the machines rise against us this is what they’ll be using…until then we’ll use it to make cartoons.”<br />
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<u>Putting It All Together – Editorial and Stereo 3D</u><br />
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Editorial’s job is to take the story reel created by the storyboard artists and essentially put together a film. Once the story reel is approved, they take footage from the animators and begin to craft the movie. It is a painstaking process, and one that is not done until it is done.<br />
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“It is a tsunami of amaterial at all times. You’re not just a tube the material pass thorugh. You are required to make it beter than when it first came thorugh,” said Editor Edie Ichioka.<br />
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“Everyone who touches it plusses it – it si always changing, it’s a dynamic process.”<br />
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“Dailies last all day – material comes through editorial all day,” said Producer Daivd Ichioka.
And unlike many films created in the past few years, <i>The Boxtrolls</i> was shot in stereo, in order to give it an authentic 3D look.<br />
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“We don’t do 3D in post,” remarked Ichioka.
“When you shoot it with stereo you see the whole world as it was built,” said Knight.<br />
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<u>And Finally…The Dance Sequence </u><br />
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In the film Eggs and his new friend Winnie (voiced by Elle Fanning) attend a party where dozens of individuals perform a complicated waltz. It’s a spectacular sequence that proved to be an amazing feat to animate.<br />
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“We presumed the most difficult scene would be the robot smashing the whole town, but was the dance sequence,” said Graham. “It took all 18 months of the shooting schedule for 2 minutes of dancing.”<br />
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The LAIKA team used two choreographers form the Portland Ballet and brought in dancers, and filmed their entire dance from every convieable angle in order to study the realistic and beautiful moments of dance.
All of the effort and detail, from the artistry to the technology, was in service to the characters within the film.<br />
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“[We] Try to bring more naturalism to the movements. We have to push the performance of the puppets, to show they have emotions, aspirations and hopes and dreams,” said Knight.
LAIKA’s continual push to create engaging stories, coupled with their technical logical advancements, is showcased in vivid color in their third feature film.<br />
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“The artists at LAIKA can do anything, they’re brilliant,” said Knight.<br />
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<i>Special thanks to the LAIKA, Focus Features, San Francisco Film Society and ASIFA for arranging the screening for animation professionals and fans alike. </i><br />
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<i>The Boxtrolls opens today, September 26th, at a theater near you. </i><br />
<i><br /></i>
<i>And if you’d like to know about Women in Animation and our upcoming events, visit us on Facebook: </i><br />
<i><br /></i>
<i>And follow us on Twitter:
</i>Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-81643943584362534162014-09-14T10:29:00.000-07:002017-11-06T16:45:30.481-08:00Women, Wine and Animation ILM President Lynwyn Brennan Shares her Story at the Walt Disney Family Museum <div class="MsoNormal">
<span style="font-family: inherit;">Animation professionals, students and fans were in high
spirits on Thursday August 28<sup>th</sup> at the Walt Disney Family Museum to
hear President of Industrial Light and Magic Lynwen Brennan share her tales of
entering the animation and VFX industry. Having served as President for the
past 15 years, Ms. Brennan shared her wealth of knowledge with warmth and humor
to the crowd of over 100. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">Early Beginnings <o:p></o:p></span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b></div>
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<span style="font-family: inherit;">“I have been extraordinarily lucky,” Ms. Brennan stated. Her
Welsh heritage instilled in her the belief that women could do anything. Her
grandmother worked as a scullery maid, and was smart and self-assured and
taught her daughter the same life lessons. Her Grandmother’s efforts and hard
work enabled her mother to attend excellent grammar schools and become the
first person, male or female, in her family to attend college. Her mother
taught for 40 years and later became a principal of the school. Her mother had
““nothing but the highest degree of effort and kindness and respect for
everyone,” said Ms. Brennan. And she taught her that “there is nothing you
cannot do.”<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">The Fall That
Changed Her Life<o:p></o:p></span></u></b><br />
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<span style="font-family: inherit;">Her mother’s faith and courage in her abilities enable her
to overcome one of the most difficult periods in Ms. Brennan’s life. During her
early adulthood, while visiting an amusement park with friends Ms. Brennan fell
off a rollercoaster. The accident fractured her leg so severely that it
resembled jelly on the inside according to doctors. <o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The doctors informed her mother that her foot would need to
be amputated, but the Ms. Brennan’s mother would have none of that. Her mother
massaged her foot and leg for hours, then commanded the doctor to bring in a
different ultrasound machine when the first did not show a positive result “Because the first was obviously not working,” said Ms. Brennan. Finally a tiny
pulse appeared in her foot, and after her first surgery, Ms. Brennan awoke to
see her mother grinning ear to ear and her foot securely intact. <o:p></o:p></span></div>
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<span style="font-family: inherit;">“I told you if you want something enough nothing is
impossible,” her mother stated.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">Turning Point<o:p></o:p></span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b></div>
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<!--StartFragment-->
<span style="font-family: inherit;">As her leg healed that year Ms. Brennan was
forced to reevaluate her goals. She spent the year in and out of the hospital,
eventually receiving six surgeries and physical therapy to regain the ability
to walk. She spent the year bored, laying on the sofa, watching movies with her
brother to pass the time. That time spent would serve as another turning point.
She and her brother began to discuss movies and storytelling, what made films
work and not work. Her brother had started a small VFX company, and seeing Ms.
Brennan’s interest, appointed her as head of marketing. </span><br />
<span style="font-family: inherit;"><br />
</span><br />
<span style="font-family: inherit;">“I was the only one so
I was head of myself,” Ms. Brennan said. In order to get excellent bids they
had to give the appearance of being a large corporation. They did this by
working diligently, seven days a week, and their work paid off whenILM became one of their clients. They worked on such films
as<i> Death Becomes Her</i> and <i>Jurassic Park.</i> And they were able to secure the bid by
listening to everything ILM wanted and coming through, said Ms. Brennan.</span><br />
<br />
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<span style="font-family: inherit;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Even though Ms. Brennan greatly enjoyed working for the
company and their clients, a part of her wondered when she would return to her
original path. She had gone to school for science, not film, and in the back of
her mind she still planned to return to that original goal. In 1995 they sold
the company to AVID, but not without a little sadness mixed with the pride of
selling the company.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">“It was hard to see the company you put your heart and
soul into go into a large corporation,” said Ms. Brennan. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Later she worked at Autodesk, which she enjoyed, but with no
intention of staying. She rented everything, including furniture, believing
that she would soon return to her original goal. Her brother’s advice enabled
her to realize that her goals had changed, and that VFX and film was a great
fit for her.</span><br />
<span style="font-family: inherit;">“It is better to regret doing something than to regret not doing
it,” she recalled him saying. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<b><u><span style="font-family: inherit;">Industrial Light
and Magic <o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">It was this advice, coupled with her courage that she could
do anything, and that anything was possible, that led her to ILM. She was
mentored by many strong and smart women, including Gail Curry, and learned one
of the best pieces of advice that she implements daily. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">“If there’s a tough choice make the one that’s the best for
the artists Gail told her,” said Ms. Brennan. In order to do this, one must
know the artists, who they are, what they stand for and what is important in
their lives. “Know every artists names, their kids names, their spouses name
and where applicable their pets,” said Ms. Brennan. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<b><u><span style="font-family: inherit;">Inspiration All
Around<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Unbeknownst to her, she was being groomed to become the next
President of ILM. She agreed to do the job on two conditions, that the previous
president would stay for six months and that they could reevaluate how she was
doing. <o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">At ILM the majority of executive leadership are women,
stated Ms. Brennan, and they inspire, challenge, argue and keep the right side
of sane. Her boss, Kathleen Kennedy, is one of those inspirations. “The word
‘can’t’ is not in her vocabulary,” said Ms. Brennan. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<b><u><span style="font-family: inherit;">Life At The
Company<o:p></o:p></span></u></b><br />
<b><u><span style="font-family: inherit;"><br /></span></u></b></div>
<div class="MsoNormal">
<span style="font-family: inherit;">Being one of the top-tiered VFX and animation studios in the
world is a heavy undertaking that Ms. Brennan enjoys each day. <o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<!--EndFragment--><span style="font-family: inherit;">“There isn’t a typical day,” said Ms. Brennan.
ILM, because of its offices around the world, is a 24 hour operation. However
there are a few things that do occur each day. She starts the day off with a
conference all in London, followed by watching the dailies for every project in production, bidding on what’s coming in, calling
clients, checking the finances for each
show and projecting how many people will be needed for a project.<!--EndFragment--></span><br />
<span style="font-family: inherit;"><br /></span>
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<span style="font-family: inherit;">When asked what the hardest film is that they’ve worked on,
Ms. Brennan responded with a laugh, “Whatever we’re doing right now is the
hardest. Whatever we’re doing right now is the one that’s not going to get
made.”<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">At the time each project has its own challenges. This past
summer, <i>Transformers 4, Teenage Mutant
Ninja Turtles</i> and <i>Lucy</i> were all
coming down the pipeline and were completed within weeks of each other.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">“All
converged at one time and that was terrifying,” said Ms. Brennan. “But there were all so last month I have other worries now.”</span></div>
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<span style="font-family: inherit;"><o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">Working Together:
Mentoring and Beyond<o:p></o:p></span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b></div>
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<span style="font-family: inherit;">Mentoring was one of the things that enabled Ms. Brennan to
get to where she is today. She found mentors on purpose and some came to her,
seeing in her an ability to work diligently to get things done. The two most
important things she recommended, when seeking out a mentor, is to have both
confidence and integrity. <o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">Trust your gut and never question your integrity, said Ms.
Brennan. It was this trusting in her gut that enabled her to change
from her original science field after graduating from university to embarking
on adventures in film.</span><br />
<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">“I definitely have an unusual path into it. My gut told me
‘go this path’ even though your plan was this way,” she said. <o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">She also expounded on the idea of likeability, something
that women often feel they must conform to in order to be successful in
business. <o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">“If by wanting to be liked means showing kindness and
respect – there’s no downside to that,” said Ms. Brennan. Empathy doesn’t mean
you want to be liked but that you want to treat your employees well, she
continued. <o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">“Just because you care about someone doesn’t make you weaker,
you do it because it makes you human,” she stated. <o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">And What About
That Little Upcoming Film Star Wars?<o:p></o:p></span></u></b></div>
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<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">No conversation with an ILM veteran would be complete
without finding out a little about the upcoming <i>Star Wars</i> film. </span><o:p></o:p></div>
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“It’s set in space,” replied Ms. Brennan to the ecstatic
crowd. “There’s a robot called R2D2 in it. And that’s all you’re getting from
me.”<o:p></o:p></div>
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<i>And for more info on Women in Animation San Francisco visit our Facebook Page at:<br /><br /><a href="https://www.facebook.com/wiasf">https://www.facebook.com/wiasf</a><br /><br />and Twitter at:<br /><br /><a href="https://twitter.com/WIASanFrancisco">https://twitter.com/WIASanFrancisco</a></i></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com1tag:blogger.com,1999:blog-5779085657434267062.post-12886743396631331452014-08-25T11:37:00.000-07:002017-11-06T16:45:30.278-08:00Women, Wine, and Animation<div class="p1">
You are invited to a private event at the Walt Disney Family Museum on <b>THURSDAY, AUGUST 28th </b>hosted by <b>Women in Animation San Francisco. </b></div>
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<br /></div>
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<b>Schedule for the evening: </b></div>
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5:00P - 8:00P Mary Blair and other WDFM galleries open, mix and mingle with other professional and student Bay Area women in animation while sipping wine and enjoying music </div>
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8:00P - 9:00P Talk by guest speaker<b> Lynwen Brennan - The President of ILM</b></div>
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9:00P - 10:00P Enjoy some more mingling, more music, and more wine! </div>
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<br /></div>
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Tickets are only $15 for WIA members, $20 for non-members. (This is a special discounted admission price for the Mary Blair and WDFM exhibits just for this event.) </div>
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**We need your support! All proceeds go directly to the Women in Animation SF chapter. </div>
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<br /></div>
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<b>Tickets include: </b></div>
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- Entrance into all WDFM galleries including "Magic Color Flair: The World of Mary Blair"</div>
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- An exclusive talk with Lynwen Brennan, President of ILM </div>
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-<b> </b>Music and OPEN WINE BAR!!</div>
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- The invaluable opportunity to meet other professionals just like you from Pixar, ILM, Dreamworks and Women in Animation members throughout the Bay Area. </div>
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<br /></div>
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Tickets are available for purchase through the link below, space is limited: </div>
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<span class="s1"><a href="http://www.eventbrite.com/e/women-wine-and-animation-tickets-12641506085">http://www.eventbrite.com/e/women-wine-and-animation-tickets-12641506085</a></span></div>
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<br /></div>
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For more information, or to join WIA: </div>
<br />
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<span class="s1"><a href="http://www.womeninanimation.org/#%21join/ca7y">http://www.womeninanimation.org/#!join/ca7y</a></span></div>
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<br /></div>
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Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-33727533695465401602014-04-14T22:55:00.001-07:002017-11-06T16:45:30.347-08:00WALT DISNEY FAMILY MUSEUM HOSTS WOMEN IN ANIMATION PANEL: Luminaries in the industry showcase how to succeed and thrive in the fun and challenging world of television and feature film animationThe ILM theatre was a buzz on Saturday March 15th as animation veterans Jenny Lerew, Brenda Chapman, Claire Keane and Lorelay Bove regaled the packed house with stories of their work on films like <i>The Lion King, Frozen, The Prince of Egypt, Tangled</i> and <i>Peabody and Sherman.</i><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-oDvJL3CYINE/U0zG3hkUCXI/AAAAAAAAAaQ/c9H6o7k9UWs/s1600/MB_Audience_WIA.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-oDvJL3CYINE/U0zG3hkUCXI/AAAAAAAAAaQ/c9H6o7k9UWs/s1600/MB_Audience_WIA.jpg" height="265" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Audience members at the Women in Animation panel. </td></tr>
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Presented by the Walt Disney Family Museum in conjunction with their latest exhibit, <i>MAGIC, COLOR, FLAIR: the world of Mary Blair,</i> WDFM’s public programs manager Mary Beth Culler and exhibition curator, animation director, and author John Canemaker introduced the Women in Animation panel. <br />
<br />
Jenny Lerew, director of the hit 90s television show <i>Animaniacs, </i>author of <u>The Art of Brave</u> and most recently, storyboard artist for <i>Peabody and Sherman,</i> moderated the event for the over 200 animators and animation fans in attendance.<br />
<br />
<u><b>DISCOVERING ANIMATION: CALARTS AND BEYOND</b></u><br />
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Lerew kicked off the talk by answering a question she is often asked, usually by men, “Why aren’t there more women in animation?”<br />
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“It's a good question,” said Lerew. “I can tell you why this woman is in animation. Like all of us, I loved cartoons and I also grew up as an artist, I loved to draw." However, animation was not on her radar, until she learned about California Institute of the Arts, or CalArts, in high school. <br />
<br />
In fact, Lerew first learned about Brenda Chapman through CalArts in 1987 after seeing her student film <i>A Birthday.</i> The film, about an old woman remembering her birthday as a little girl, made quite an impression on Lerew, and helped encourage her to tell her own stories. <br />
<br />
"Now there are hundreds of places you can go and it's on everyone's radar,” said Lerew.<br />
<br />
Brenda Chapman learned about CalArts from a friend of a family friend who worked at Disney Feature Animation. At the time story was not even offered as a course, so students learned from the upperclassmen. In 1987 she earned a spot as a trainee at Disney, where she was frankly told “they were happy to have you. We needed a woman that's why you're here. And you have six months to prove yourself.”<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-xe9TcHjnc3Q/U0zG8vkffoI/AAAAAAAAAaY/E9LciZzHp0k/s1600/MB_Panelists_WIA.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-xe9TcHjnc3Q/U0zG8vkffoI/AAAAAAAAAaY/E9LciZzHp0k/s1600/MB_Panelists_WIA.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Brenda Chapman, Claire Keane, John Canemaker, Jenny Lerew and Lorelay Bove at the event. </td></tr>
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Prove herself she did, working as a story artist on <i>Beauty and the Beast</i> and <br />
<i>The Lion King</i> at Disney, and later becoming the first woman to direct an animated film for DreamWorks' <i>The Prince of Egypt. </i><br />
<br />
Lorelay Bove, another CalArts grad, recalled being enthralled by the film <i>Fantasia </i>at age eight, a film, she discovered, that was not as beloved by her fellow classmates. <br />
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“Everyone at school hated it, but I loved it,” recalled Bove. Along with Disney films, she also experience art by spending time in her father’s art studio, where he worked as an abstract painter. <br />
From a young age she knew she wanted to work at Disney, something that most people she knew in her native Spain did not understand. After moving to the states with her family, her father found out about CalArts. She applied, was not accepted, but did not let that deter her. She studied at another college for three years, reapplied to CalArts, was accepted, and later served as an intern at both Pixar and Disney. <br />
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Bove then took a job as a visual development (Viz Dev) artist at Disney, working on <i>The Princess and the Frog, Wreck-It-Ralph</i> and this fall’s upcoming super hero adventure <i>Big Hero Six. </i><br />
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Claire Keane took a different path, attending graphic design school and creating a storybook as her thesis.<br />
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"What I loved the most was all the research,” said Keane. <br />
<br />
She loved creating developmental drawings, but did not believe that there was a way for her to create what she wanted for film. That was, until a conversation with her father, animator Glen Keane, changed her mind. <br />
<br />
“Claire, that exists,” said Keane, laughing as she recalled her father’s words. “We have visual development artists at Disney.” <br />
<br />
His advice inspired Keane to apply to Disney, where she worked as a Viz Dev artist on both <i>Tangled </i>and <i>Frozen</i> before leaving to work on her children’s book that will be released in 2015.<br />
<br />
<b><u>CREATING A FILM: ONE DRAWING AT A TIME</u></b><br />
<br />
Each of the panelists along with moderator Lerew shared some of their favorite studio work, and a few of their personal projects, enabling the audience to glimpse a behind the scenes look at what goes into making a film. <br />
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“I can only work from what I know,” said Keane. “Anytime I start drawing something I don't have an emotional connection to I can't draw it. My hand just draws in circles.”<br />
<br />
In order to create that emotional connection between herself and Rapunzel from <i>Tangled,</i> Keane stayed home one weekend documenting everything that she did, while at the same time imagining all of the activities Rapunzel would engage in if she were unable to leave her own home. <br />
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“Maybe she had an imaginative imagination,” said Keane. “What would her paintings look like in the dark. Happiness? Fear of the outside world? Chores? Make her bed, make candles, brush her hair. Fascination with birds -- they fly, they don't get eaten by monsters, they return.”<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-VhZJVbxlIfs/U0zIfMg_5oI/AAAAAAAAAas/oOY4dSMoL8I/s1600/MB_Stage_WIA.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-VhZJVbxlIfs/U0zIfMg_5oI/AAAAAAAAAas/oOY4dSMoL8I/s1600/MB_Stage_WIA.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Claire Keane discusses her artistic process while at Disney.</td></tr>
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The practice allowed her to get into Rapunzel’s head and see the world the way that the character would. <br />
<br />
Lerew showed her boards and animatic from a scene of <i>Peabody and Sherman, </i>the first scene to be animated for the film. In the scene, Sherman reluctantly tells Mr. Peabody of an altercation he experienced at school. Lerew showed both the storyboards, as well as the final animation of the scene, to highlight the similarities<br />
<br />
and differences between what goes into the boards and the final product. <br />
<br />
Bove showed backgrounds from Sugar Rush, the racing game that serves as a turning point in last year’s hit film <i>Wreck-It-Ralph. </i>Her designs were inspired by Spanish homes that “looked like candy.” In fact, research is one of the best parts of the job.<br />
<br />
“[We] went to a candy convention in Germany that was three stories tall. The Comic Con of candy,” said Bove.<br />
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Chapman showed boards from <i>Beauty and the Beast</i> where Belle nurses the Beast’s wounds, as well as the scene from <i>Brave </i>where Queen Elinore and Princess Merida clash and Merida slices through the family tapestry. <br />
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“This is the crux of the movie, it sets the scene,” explained Chapman of the scene from <i>Brave. </i><br />
Mom is trying to do her best, and the daughter is trying to exert her independence, according to Chapman, and both are right and wrong. <br />
<br />
“Most fairytales involve moms or stepmoms that are either horrible or dead. I wanted to show a family,” said Chapman.<br />
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<u><b>QUESTIONS FROM THE AUDIENCE</b></u><br />
<br />
The panelists also took time to answer questions from the audience, ranging from what studios look for in a portfolio, and both Keane and Bove agreed that it was better to show your best work than a ton of everything. <br />
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“Put in the best work that represents you,” said Keane. “Focus on the character or environment and make that image say what you want it to say.”<br />
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The panelists also addressed what it is like seeing your creation as merchandise. <br />
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“For the most part it’s very positive,” said Chapman. “If I can make one little kid forget their problems at home, then I’ve done my job.” <br />
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Chapman also addressed the darker side of merchandising, recalling the now famous incident of the change in Merida’s design from Pixar heroine to the more traditional Disney princess look. <br />
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“The ‘princessing’ of Merida was not good, I put up a stink about that,” said Chapman.<br />
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They also addressed the lack of female representation in film, and what creators can do to rectify the situation. <br />
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The key, said Keane, is to have “someone who is grounded in reality. No more clichés – that’s any character in animation, not just women.”<br />
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Chapman, and the other women on the panel, are living proof that animation will continue to inspire. Now when she goes to lecture at CalArts, 52% of the women are students. <br />
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“Just do it,” said Chapman. “First, learn how to work in the studio system. Then, learn how to make your mark.”<br />
---<br />
<i>Special thanks to the Walt Disney Family Museum for planning the event and providing the photographs, ILM for hosting, Jenny Lerew, Brenda Chapman, Lorelay Bove and Claire Keane for discussing their work and life through animation and John Canemaker for curating the WDFM exhibit.</i><br />
<i><br />And you can see more of the artists’ works on their websites:</i><br />
<br />
<i>John Canemaker</i><br />
<i><a href="http://www.johncanemaker.com/" target="_blank">http://www.johncanemaker.com/ </a></i><br />
<br />
<i>Brenda Chapman</i><br />
<i><a href="http://brenda-chapman.com/">http://brenda-chapman.com/</a></i><br />
<br />
<i>Lorelay Bove</i><br />
<i><a href="http://lorelaybove.blogspot.com/">http://lorelaybove.blogspot.com/</a><br /> </i><br />
<i>Claire Keane<br /><a href="http://claireonacloud.com/">http://claireonacloud.com/</a></i><br />
<i><br />Jenny Lerew<br /><a href="http://blackwingdiaries.blogspot.com/">http://blackwingdiaries.blogspot.com/</a></i><br />
<i><br />And visit the Walt Disney Family Museum to see their latest exhibit:<br /><a href="http://www.waltdisney.org/mary-blair" target="_blank">MAGIC, COLOR, FLAIR: the world of Mary Blair</a> through September 7, 2014<br /><br />For information on Women in Animation San Francisco and animation events happening around the San Francisco Bay Area:</i><br />
<i><br />Visit our Website:</i><br />
<i><a href="http://www.womeninanimationsf.blogspot .com" target="_blank">www.womeninanimationsf.blogspot .com</a></i><br />
<i><br />Join our Facebook Group: <br /><a href="https://www.facebook.com/wiasf">https://www.facebook.com/wiasf</a></i><br />
<i><br />And follow us on Twitter: <br />@WIASanFrancisco</i>Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com1tag:blogger.com,1999:blog-5779085657434267062.post-71468824106077270432014-04-04T18:41:00.000-07:002017-11-06T16:45:30.422-08:00Intern Fridays: Disney Intern Nicole Ridgwell<div class="MsoNormal">
<span style="font-family: Arvo; font-size: normal;"><span style="background-color: white; line-height: 18.479999542236328px;"><i>Intern Fridays features interviews with former Interns at animation, film, and video game studios. Today we bring you Nicole Ridgwell, former intern at Walt Disney Animation Studios. Enjoy and stay tuned for future Intern Friday Interviews!</i></span></span></div>
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<b>What is your current job title and where do you work?</b></div>
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I’m finishing my last year at Academy of Art University studying animation. I also teach music lessons and play in a band called Sioux City Kid. </div>
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<b>What does your job entail?</b></div>
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I teach private violin lessons and preschool music classes, and I teach a program called Music Together where kids and their families participate in group classes. I just finished a pacific northwest tour with my band, where I sing and play violin.</div>
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<b>What inspired you to become an animator and a musician?</b></div>
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I’ve always loved art and music. My family lived in a trailer without electricity when I was a kid, so I spent most of my time painting and playing violin. In high school I got involved in theatre, music and art. I became inspired after seeing how deeply my philosophies were influenced by what I watched. Once I graduated I spent about a year as a professional musician playing in bands and teaching. The lifestyle was really fun but I knew I wanted something more; I wanted to leave my mark on the world. I realized that animation combines everything I love together; painting, drawing, music, acting, and collaboration. A good animator can make people laugh, make them cry, and can change the way they see the world. I applied to Academy of Art University and moved to San Francisco, and have been here ever since.</div>
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<b>Where did you study?</b></div>
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I’ll be finishing my BFA in animation this winter at Academy of Art University. I also took classes at Animation Mentor and The Animation Collaborative in Emeryville.</div>
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<b>Why did you choose to apply to Walt Disney Animation Studios for the internship?</b></div>
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As a kid, I was hugely inspired by Disney films. My family had no TV but our neighbors had almost every animated film on a giant shelf in their living room. I remember lying on their rug watching <i>Aladdin</i> on repeat, then running outside to pretend we were flying on a magic carpet. Disney films nurtured my imagination. The first three years I lived in San Francisco I worked as an actress at The Cinderella Company, playing Disney princesses at kid’s events. It was an incredible experience, seeing how much Disney inspires kids and affects their worldviews. Ever since then I think working for Disney has hovered in the back of my mind.</div>
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<b>What did you submit for your portfolio and how did you prepare for the submission?</b></div>
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I submitted my demo reel, letters of recommendation, resume, cover letter, and drawings online in Disney’s careers section. I prepared by asking teachers that I respected to write letters of recommendation as early as possible, and I made sure my portfolio had only my strongest drawings. I included gesture drawings, animal drawings, and a few illustrations. Same thing with my demo reel- I only included my best work. I included a two person dialogue, single person dialogue, pantomime, and a body mechanics sequence.</div>
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<b>What do you believe separated you from others who were also applying for the internship?</b></div>
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I was shocked when I got the call; I’m still not entirely sure why they picked my reel over all the others. Our mentors at Disney mentioned to us that they picked Reece (the other intern) because his reel was hilarious and made them laugh, and they picked mine because they felt my acting was genuine. I think the best thing to separate yourself from other candidates is to animate shots that are personal to you. I don’t choose shots based on what studios want to see, I choose shots based on what I want to animate. I think that’s what makes my reel unique. </div>
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<b>What was the interview process like for the Disney internship?</b></div>
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There actually wasn’t any interview process. I was animating in lab at Academy when I got a call from Matt telling me the internship was mine if I wanted it. The next day I started planning my trip to LA! </div>
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<b>What department did you intern in and what specific tasks did you accomplish as an intern?</b></div>
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I was one of two CG animation interns in an eleven person group composed of visdev, story, modeling, rigging, texturing, TD, production, and animation interns. Disney had a giant room devoted to talent development on the first floor of the building where we worked. As a summer intern group, we made a minute and a half short film from scratch- all the way from story through lighting and sound. While technically my only job was to animate, all the interns were very involved in the whole film-making process. In addition to the film we also worked on outside projects with our mentors.</div>
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<b>What was the best and most unexpected thing you encountered as an intern for Disney?</b></div>
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The culture. I had never worked at an animation studio before, and coming from a background as a musician and actor, I was expecting it to be a high stress environment. But while everyone does work hard, it is one of the most fun places I’ve ever been. Everyone is so friendly, helpful, and kind. My mentor Michael went completely above and beyond his duty, often visiting me multiple times a day to give feedback, and sending me music playlists to listen to while I worked. I felt welcomed and included from the moment I stepped into the building and looked up at Mary Blair’s art hanging all over the walls.</div>
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<b>How did the internship prepare you for your current career?</b></div>
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I definitely have a lot more speed and confidence in my school assignments than I did before I went to Disney. I think the biggest thing that changed about my work is appeal. I really learned there that you can’t let the rig dictate what shapes you make. I also learned a lot about how to work with a team and hit deadlines.</div>
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<b>What is your opinion on paid versus unpaid internships?</b></div>
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I believe internships should be paid. It’s a tough question because I know any chance to get your foot in the door is a rare opportunity these days. I am lucky enough that I’ve never been in a position where I had to work without getting paid.</div>
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<b>What advice do you have for aspiring artists who want to intern at a studio or game company?</b></div>
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Be yourself! Make sure your work is unique to you and your interests. Work hard and don’t give up. It’s a competitive industry but don’t believe it when they say that your reel doesn’t get seen if you send it cold. I sent my reel to Disney cold and it still got chosen. If you are going to an art school, make sure you go beyond their curriculum in your studies. Take outside classes and motivate yourself to learn as much as you can. </div>
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Thank you so much for interviewing me, it’s been an honor!</div>
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<i>Thank you Nicole for the interview! You can view Nicole's work at her website:</i><br />
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<a href="http://nicoleridgwell.blogspot.com/"><i>http://nicoleridgwell.blogspot.com/</i></a></div>
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<i><br /></i></div>
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<i>And at Vimeo/Twitter:</i></div>
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<a href="https://vimeo.com/nicoleridgwell"><i>https://vimeo.com/nicoleridgwell</i></a></div>
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<a href="https://twitter.com/nicoleridgwell"><i>https://twitter.com/nicoleridgwell</i></a></div>
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<i>And for more info on Women in Animation San Francisco visit our Facebook Page at:<br /><br /><a href="https://www.facebook.com/wiasf">https://www.facebook.com/wiasf</a><br /><br />and Twitter at:<br /><br /><a href="https://twitter.com/WIASanFrancisco">https://twitter.com/WIASanFrancisco</a></i></div>
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Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com1tag:blogger.com,1999:blog-5779085657434267062.post-58269458670489072632014-02-26T10:06:00.002-08:002017-11-06T16:45:30.405-08:00Scare School 101 - PIXAR talks Monsters University at Stanford campus<div class="separator" style="clear: both; text-align: center;">
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Scare School 101 was in session on February 10th at Stanford’s Annenberg Auditorium as students and professionals across the Bay Area enjoyed members of Pixar’s <em>Monsters University</em> team discuss how they created the film. The speakers of the evening, Supervising Technical Director Sanjay Bakshi, Technical Lighting Lead Steven James, Lighting Technical Director Scott Clifford, Animator Allison Rutland and Effects Supervisor Jon Reisch discussed how they used their technical prowess to tell the MU story.<br />
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“The story always comes first. If the point is important we have to figure out how to do it,“ said Sanjay. “For example, with movies like Nemo, we had to figure out how to do water. “
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“We have big challenges but they also have to serve the story. So we try,” said Scott.
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<strong>THE THREE CHALLENGES FACING THE TECHNICAL TEAM</strong>
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Supervising Technical Director Sanjay Bakshi kicked off the evening by presenting the three main challenges facing the technical team:
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1. More characters than ever before.
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2. Furry monsters with clothes. <br />
3. Movie will be challenging to light and render.
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In order to solve challenge one, the team built an army of Monster students and faculty by creating dozens of variations of characters from the original film.
An example of which was the character Fungus. Eight Fungus variations were created, each one with a different shape and silhouette to give variety, as well as with different controls built into the rig.
The team used a parts library consisting of items like horns wings spikes, plates, and knobs to further vary the multiple Fungus’ looks. This process was repeated many times over with other characters from the first film, as well as when making brand new characters for MU.
All of the Monsters were given a unique name as well in order to track them in the production database. Naming them descriptively proved to be a challenge, so they were named after members of the Pixar crew. Sanjay even pointed out a furry orange monster given his namesake. <br />
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<strong>ANIMATION: BRINGING SULLY TO LIFE</strong>
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Animator Allison Rutland then stepped up to the podium to share the process of how she brings a character to animated life. She animated James Sullivan, or Sully to his friends. As she described to the eager crowd, Sully’s physicality is important to him. He’s a 1,000-pound monster, but younger, slimmer and with shorter horns than his future self in Monsters, Inc. It was important for her to explore the different shapes composing Sully in order to enable him to retain his monstrous shape.
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“[His] head had to be level with body to keep him monster-y so he didn’t look like a duded in a suit,” she explained. <br />
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Allison then walked through the process of how she animated Sully for his first scene on screen, when he enters the classroom and overshadows Mike’s attempts to impress the teacher for the first time.
The first step in the process is to receive the layout from the layout department, said Allison. The layout team blocks in where the character needs to move as well as the other characters and props in the scene.
Next, she received the shot breakdown from director Dan Scanlon. The importance of the scene, she explained, was not only to get Sully from point A to point B, but more importantly, to show the character of Sully.
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“He lacks confidence so he acts cocky,” said Allison. Before creating her shots, she writes down the dialogue in order to figure out the subtext of the scene.
“Yeah he’s my Dad,” she said, stating one of Sully’s iconic lines, meaning, “I love telling people this but I pretend it’s not big deal.”
Next, she figures out the rhythm of the statement. “Larger words may equal larger poses. Pauses show character thought processes,” she explained. <br />
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She observed how Dan Scanlon imitated Sully’s lines, shot her own reference, and made thumbnails to figure out staging. Then Alison showed the audience her blocking pass – from pose to pose, as a means to figure out if it will work. Once blocking is approved she animates the character.
The story reel and layout team had Sully put both hands behind his head. She had him put hands on a chair in a triangle pose to take up more space and appear more in control.
Finally she showed the scene of Sully entering the room, sitting down, borrowing a pencil and picking out his teeth, a triumph of animation.
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<strong>GLOBAL ILLUMINATION: GETTING THE LIGHTS TO WORK</strong><br />
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Lighting Technical Lead Steven James then explained the fascinating and sometimes complicated process of lighting a feature film. Monsters University required a complete rewrite of the tools needed to create realism in lighting.
The Pixar lighting tools required two main things:
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1. A high level of control
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2. A powerful system
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Each character possessed 10 different sets of lights, for example, key light, bounce light, eye highlights and rim lights. Each set required at about 30 lights. In addition to this, each character had their own lighting rig, and when added together, each of these lights became the visual equivalent of crazed spaghetti.
The complexity of the lighting set up required a unique technical solution. To meet that solution, the GI Team created physically based lights – lights based on particular shapes, like disks and squares. They also created a paint system to create color texture and added color ramps.
This process allowed them to use a single dome light with paint textures to create beautiful lights that simplifies the number of lights needed, saves money and increases productivity.
The render time more than doubled so that the artists could do more creative and less technical work, explained Steve.
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<strong>3679 POINTS OF LIGHT – LIGHTING THE TOXICITY CHALLENGE </strong><br />
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One of the funniest scenes of Monsters University is the first challenge Oozma Kappa faces – the Toxicity Challenge. In this scene, all of the fraternities and sororities must run through a darkened sewer tunnel filled with urchins that flicker light and inflict painful welts when touched. It’s a clever scene, and one that proved to be particularly complicated to master.
As Master Lighting Artist Scott Clifford explained, this is the type of scene that “makes a computer cripple to its knees.”
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“We have to pay attention to how we do it, in a non standard lighting set up so computer car render property,” he explained.
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Lights have to act as a crowd but be individually direct-able so that the main action – the relationship of Mike and Sully, can be seen by the audience. For this reason, the lighting department needed to be able to control which urchins lit up at specific times during the scene. And on top of this, the render time needed to be efficient.<br />
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“Let the urchins light the scene!” explained Scott. <br />
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The first attempt to solve this challenge was to combine the shading of the urchin with sphere lights, and ray tracing shadows with geometry. This proved to be a huge fail, said Scott, resulting in three days of rendering.
He went back to the drawing board, and realized to get the scene to work, he would need to encompass four things: <br />
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1. Optimization
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2. Model Complexity
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3. Boundary volume hierarchy for lights
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4. Changed sphere lights to not illuminate urchins
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Scott wrote a script to fix this --- distance based optimization that simplified the shot pipeline. In fact, he wrote several scripts, each one created to solve specific problems, until the toxicity challenge played the way it needed to in order to enhance the story.
Scott’s process, along with the processes of Sanjay, Allison and Steven, highlighted the main point of the evening – there will always be challenges. The key is to come up with a creative solution and to seek out the assistance of your fellow team members.
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CLOSING THOUGHTS</strong>
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At the end of the evening, the speakers took questions from the audience to further explain their process and working at Pixar and their road to reaching the studio.<br />
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“For animation the most important thing is to find a mentor in the early years,” said Allison. They also explained that it is often not a linear path to get to the studio, or any studio for that matter.<br />
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“You may think you want to do this and but you may have to do all these other things first,” said Scott. “It’s amazing the path you can take if you’re willing to do whatever it takes. Be interesting. Do your own stuff.” <br />
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<em>Special thanks to Stanford Design Initiative and Pixar's Jon Reisch, Sanjay Bakshi, Scott Clifford, Steven James and Allison Rutland for helping Women in Animation San Francisco put together such a fantastic event.
Women in Animation San Francisco is a chapter of Women in Animation, a nonprofit dedicated to helping women succeed in the animation industry.
And for more info on Women in Animation San Francisco visit our Facebook Page at: https://www.facebook.com/wiasf
and Twitter at: https://twitter.com/WIASanFrancisco</em>Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-59545906239320199742014-02-25T20:19:00.000-08:002017-11-06T16:45:30.408-08:00Guest Columnist Jenny Lerew: A Commentary on Women in Animation In the 1970s there was one must-have for every aspiring
young animator's bookshelf: Christopher Finch's oversized, heavy and beautiful <i>The
Art of Walt Disney.</i> Illustrated books detailing the history of animation,
and more specifically, the Disney Studio, were almost nonexistent at the time;
and at over 400 pages the Finch book was something I pored over for hours. I'd
already fixed on the idea of being an animator, seeing it as the perfect career
to marry my love of drawing, film, and performance.<span style="mso-spacerun: yes;"> </span>I considered animation to be "the illusion of
life": turning lines on a page into characters that lived and breathed in
an invented world of color, design and graphic imagination.<br />
<br />
Every page of Finch's book was filled with story sketches,
animator's roughs, background paintings, and photographs– not just of Walt
Disney, but also of his artists working at their desks, drawing just as I did
and looking not much older than I was. But they were working on such
memorable films as <i>Snow White, Pinocchio, </i>and <i>Bambi. </i> Decades before I was
born they'd managed to achieve the gold standard: working at the greatest
animation studio in the world on films whose influence would long outlive them.<br />
<br />
The old images fascinated me and I wanted to know more about
them. One was particularly striking.<span style="mso-spacerun: yes;">
</span>It showed a young woman, Retta Scott, animating on <i>Fantasia. </i> While
far from being an expert in either social history or 1930s studio-hiring
practices, I knew that a woman employed as an animator in those days was rare,
and that this had been the case from the beginning. The form of cartooning
which preceded and inspired animated cartoons and newspaper comic strips, also
had many more men than women employed in the field, and this disparity carried
over into the new medium of animated cartoons. With rare exceptions,
cartooning/animation work became a "guy's thing," though the intended
audience for the cartoons and comic strips was both male <u>and</u> female.<br />
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So, by the mid-1930s, it seemed that any woman with artistic
talent or experience who applied to a studio for work in animation was limited
to a career in the "ink and paint" department, doing the crucial but
creatively stultifying tasks of tracing animators' drawings on celluloid and
painting the underside. This was by necessity an assembly-line sort of job, and
while the women who did it were rightfully proud of their skills, the work
certainly didn't allow for individual expression.
But there was Retta Scott, engaged in what was a traditionally
male job. She was an anomaly—a female animator! I later learned that
Scott had worked in the story department as well as in animation, and in fact, there
had been other women assigned to the story and development departments,
including Sylvia Moberly-Holland, Bianca Majolie, and most famously, Retta's
friend Mary Blair, whose career and influence would extend further than many of
her colleagues'. <br />
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In the 1930s and '40s, a confluence of talent, opportunity,
timing and connections were required for a talented woman to land a creative
job at Disney.<span style="mso-spacerun: yes;"> </span>This was also true
for the men but to a lesser degree. It's impossible to know how many women who
aspired to be animation artists were actively discouraged from trying, but
certainly some were, as evidenced by the Disney Studio's 1930s form letter sent
in response to women inquiring about jobs as artists. It stated that
"women do not do any of the creative work in connection with preparing the
cartoons for the screen, as that work is performed entirely by young men."
While clearly untrue when one considers the placement of the women previously
mentioned, the letter nonetheless expressed the company's attitude towards the
idea of women artists in general.<br />
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This was unfortunate since not only were women at the Studio
making artistic contributions, their work was also having a positive impact on
the history of animation. The work of Mary Blair, in particular, caused a
transformation in the look of Disney animation, and the opportunity for her to
create stunning art was due to the direct involvement of Walt Disney, whose
appreciation of her unique style and sensibility was not hindered at all by her
gender. But Blair was a stunning exception; for most women, the opportunities
to achieve personal distinction in animation were simply not available. Had it
been otherwise, it's anyone's guess who else might have made her mark as Blair
was able to.<br />
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Throughout my working life I've been asked the question,
"Why aren't there more women in animation?" and I've never had an
answer. I can only speak for myself and explain why I do what I do—a
story that differs little if at all from that told by my female and male
colleagues. But while the question still gets asked, things have changed
more rapidly in recent years than ever before. As a student at Calarts in the
late 1980s, I was in a class where the guys far outnumbered the girls, and for
the first decade or so I was able to tick off the names of all the other
females who were somehow involved in animation.<br />
<br />
Now, there are so many women working in the field that I
can't begin to keep track of them all– many working as I do in story, but also
in visual development, animation, character design, and every other classification.
Online blogs by aspiring female animation students are even more numerous, and from a
cursory check, show ever-increasing sophistication and range in personal style
and storytelling ability. <span style="mso-spacerun: yes;"> </span>It's a
wonderful state of affairs for my industry and for everyone who's involved with
the art of animation, and it'll be fascinating to see what the future will look
like when a picture of a woman creating animation will draw no special notice
at all.<br />
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<i><a href="http://www.imdb.com/name/nm0503521/?ref_=fn_al_nm_1" target="_blank">Jenny Lerew</a> is an animation story artist whose numerous film and television show credits
include Animaniacs, Bee Movie, Shrek 2 and the soon to be released Mr. Peabody
& Sherman. She is also the author of <a href="http://www.chroniclebooks.com/titles/the-art-of-brave.html" target="_blank">The Art of Disney/Pixar Brave</a> available through Chronicle Books. </i></div>
<i>
</i><br />
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<i>You can see her at the upcoming <a href="http://www.waltdisney.org/node/1224/0" target="_blank">Panel Discussion: Women in Animation</a> hosted by the Walt Disney Family Museum and held at ILM on Saturday, March
15th. </i></div>
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</i><br />
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<i>For more information on Jenny Lerew please visit her website
at <a href="http://blackwingdiaries.blogspot.com/" target="_blank">http://blackwingdiaries.blogspot.com/</a>
or follow her on Twitter <a href="https://twitter.com/blackwingjenny" target="_blank"><span style="color: windowtext; text-decoration: none; text-underline: none;">@blackwingjenny</span></a></i></div>
<i>
</i><br />
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<i>Thank you to Jenny and the Walt Disney Family Museum for
making this article and the upcoming talk possible. </i></div>
Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-37337479892291741532014-02-24T20:23:00.000-08:002017-11-06T16:45:30.355-08:00Walt Disney Family Museum Presents TALK | Panel Discussion: Women in Animation March 15th @ ILM<h2>
This Just in!</h2>
Due to the overwhelming response to the upcoming <b>Women in Animation Panel hosted by the Walt Disney Family Museum</b> the venue has been moved to the <b>Lucasfilm/ILM Premier Theater</b><br />
<br />
and ticket sales have been increased to accommodate more people.<br />
<br />
Anyone interested in purchasing a ticket to this highly anticipated presentation can visit the <b>Museum’s website at <a href="http://www.waltdisney.org/node/1224/0" target="_blank">www.waltdisney.org. </a></b><br />
<br />
Schedule for March 15th:<br />
<br />
<b>11am-12:30pm </b>– <b>Presentation at Lucasfilm/ILM Premier Theater </b><br />
(Metered parking available at the Museum or side streets by Lucasfilm, or in the Lucasfilm garage for $5.00)
[Lucasfilm/ILM is located in the Letterman Digital Arts Center at One Letterman Drive, just inside the Lombard Gate on the eastern end of the Presidio. It is a 15min. walk (.6 miles) from the Museum.] <b>TALK | Panel Discussion: Women in Animation
Sat, Mar 15 |11am</b>
Four top female animators discuss how women have found success
working in a male-dominated industry, their personal struggles and
triumphs, their thoughts about the career and influence of artist Mary
Blair, and the future of women in animation. Featuring moderator Jenny
Lerew and animators Brenda Chapman, Lorelay Bove, and Claire Keane.
<b>Presented in conjunction with the special exhibition MAGIC, COLOR, FLAIR: the world of Mary Blair.
</b><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://lh6.googleusercontent.com/proxy/8tG_fZcghdLXzaP25tDtXgKeAAcRGNtOcokJrSKa9DvLZGf7ZiE7xn2NlHQ7V8JcThGtuVXvqC6Gz0H9f8se9nEmhGG_7F0BwXe6Xztq4jVppLm9G46cKJWf9Pyk7PBI5dKT8_d28z-_tnQrUBbH8TZsVW2NZR5HpRqnLhRCX8aw" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" src="http://www.waltdisney.org/sites/default/files/styles/uc_product_full/public/2014.03_talk_womeninanimation.jpg" height="382" width="382" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Courtesy of the Walt Disney Family Museum</td></tr>
</tbody></table>
<b>1-1:30pm – Signing at The Walt Disney Family Museum (lower level)
</b>3-5pm – Learn from the Masters class with Brittney Lee (Learning Center)
10am-6pm- Museum hours;<br />
<br />
<b>New exhibition, MAGIC, COLOR, FLAIR:</b> the world of Mary Blair open to the public in the Special Exhibition Hall<br />
<br />
<b>WORKSHOP | Learn from the Masters with Brittney Lee
Sat, Mar 15 | 3-5pm | </b>limited to 15 students per class | ages 18+
Join visual development artist Brittney Lee as she discusses and demonstrates
her process of working with cut-paper. Learn some basic paper-sculpting and
construction techniques and create a small original work of your own.<br />
<br />
Please contact publicprograms@wdfmuseum.org if you have further questions.
<i> </i><br />
<br />
<i><b>Thank you to our friends at the Walt Disney Family Museum for creating and hosting this amazing event!</b> </i><br />
<br />
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<div id="yui_3_13_0_ym1_1_1392615649356_6173" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13.333333969116211px;">
<span id="yui_3_13_0_ym1_1_1392615649356_6172" style="color: #333333;"><span id="yui_3_13_0_ym1_1_1392615649356_6171" style="font-size: 14px;"><span id="yui_3_13_0_ym1_1_1392615649356_6170" style="font-family: arial, 'helvetica neue', helvetica, sans-serif;"><span class="yiv1594671598mc-toc-title" id="yui_3_13_0_ym1_1_1392615649356_6187">Bay Area </span><span id="yui_3_13_0_ym1_1_1392615649356_6169">Women
in Film & Media (BAWIFM) is pleased to present "Women of
Dreamworks," an exclusive panel highlighting the talented women behind
successful DreamWorks films.</span></span></span></span>
</div>
<span id="yui_3_13_0_ym1_1_1392615649356_6145" style="background-color: white; color: #505050; font-family: verdana, geneva, sans-serif; font-size: 14px; line-height: 21px;"><img height="260" id="yui_3_13_0_ym1_1_1392615649356_6144" src="https://gallery.mailchimp.com/d63315f60e0f40b2e9163e23d/images/DW_anim.skg_boy_moon_only_blue_circle_r.jpg" style="border: 9px solid rgb(255, 255, 255); display: inline; height: 260px; line-height: 14px; outline: none; width: 400px;" width="400" /></span><br />
<div id="yui_3_13_0_ym1_1_1392615649356_6215" style="background-color: white; color: #222222;">
<span style="font-family: Arial; font-size: small;"><span id="yui_3_13_0_ym1_1_1392615649356_6214"><span id="yui_3_13_0_ym1_1_1392615649356_6213"><span id="yui_3_13_0_ym1_1_1392615649356_6211" style="color: #333333;">What’s
the magic behind highly-successful animated films such as the “Shrek”
saga, “Madagascar,” “Kung Fu Panda,” “Mr. Peabody & Sherman” and
many more? Come and discover it first-hand at the “Women of DreamWorks”
event on February 27th.</span></span></span></span>
</div>
<span style="font-family: Arial; font-size: small;"><span style="color: #333333;"> Join
Us at the DreamWorks North California headquarters for a panel
discussion with Gail Currey, Head of PDI-DreamWorks; Holly Edwards,
Associate Producer of “Mr. Peabody & Sherman”; and Lara Breay,
Producer of “The Penguins of Madagascar.” These established animation
professionals will discuss their roles at PDI DreamWorks and give
attendants an exclusive behind-the-scenes look of their upcoming
releases. This is a special co-ed event and open to the general public.<br />
<br />
<span id="yui_3_13_0_ym1_1_1392615649356_6216" style="font-weight: 700;">ALL ATTENDEES MUST REGISTER ONLINE AND PURCHASE TICKETS IN ADVANCE BY <span id="yui_3_13_0_ym1_1_1392615649356_6277">FEB 24, 2014.</span> SPACE IS LIMITED. IF YOU ARE NOT REGISTERED IN ADVANCE, YOU WILL NOT BE ADMITTED</span>. </span></span><br />
<br />
<span style="font-family: Arial; font-size: small;"><span style="color: #333333;">Visit the BAWIFM site for more information and to register for this fantastic event:</span></span><br />
<span style="font-family: Arial; font-size: small;"><a href="http://bawifm.org/events?eventId=851678&EventViewMode=EventDetails" target="_blank"><span style="color: #333333;">http://bawifm.org/events?eventId=851678&EventViewMode=EventDetails </span></a><br />
</span>Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-89733073772984972492014-02-19T10:32:00.000-08:002017-11-06T16:45:30.488-08:00Searle in America at Cartoon Art Museum Saturday February 22ndIf you love Ronald Searle and excellent caricatures, then join Pixar Storyboard Artist Matt Jones as he presents the life of art of one of the
greatest artists of our time. Details below!
<br />
<h2>
SEARLE IN AMERICA: Reception and presentation with exhibition curator MATT JONES</h2>
<h1 style="text-align: center;">
<b>Saturday, February 22, 2014</b></h1>
<div style="text-align: center;">
<b>6:00-9:00pm<br />
</b></div>
<h2>
<a href="http://cartoonart.org/2014/01/searle-in-america-reception-and-presentation-with-exhibition-curator-matt-jones/searle/" rel="attachment wp-att-6616"><img alt="" class="aligncenter size-medium wp-image-6616" src="http://cartoonart.org/wp-content/uploads/2014/01/searle-300x173.jpg" height="173" title="searle" width="300" /></a></h2>
<br />
<br />
The Cartoon Art Museum celebrates the life and art of Ronald Searle
with Aardman/Pixar story artist Matt Jones, a lifelong Searle fan and
longtime publisher of the Ronald Searle Tribute blog, with a special
presentation on Saturday, February 22, 2014, from 6:00-9:00pm. Jones
will discuss Searle’s artwork and his legacy, and will discuss his
forthcoming Searle-related projects during a slideshow presentation at
7:00pm. Searle fans will have the opportunity to view the exhibition
prior to Jones’s lecture, and a catalog signing will immediately follow
his presentation.<br />
<br />
Visit the link to order tickets: <a href="http://cartoonart.org/2014/01/searle-in-america-reception-and-presentation-with-exhibition-curator-matt-jones/" target="_blank">http://cartoonart.org/2014/01/searle-in-america-reception-and-presentation-with-exhibition-curator-matt-jones/ </a><br />
<span style="font-size: medium;"><br />
</span>Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-36546411049032940512014-02-19T10:18:00.002-08:002017-11-06T16:45:30.350-08:00Siggraph Presents: Shadertoy HackathonACM Siggraph is hosting the first ever Shadertoy Hackathon!
Check out the details below to register for this FREE event happening on March 19th.
<br />
<h1 class="main-title">
Siggraph Presents: Shadertoy Hackathon!</h1>
<a href="http://san-francisco.siggraph.org/files/2014/02/s3-copy.png"><img alt="s3 copy" class="alignleft size-medium wp-image-1401" src="http://san-francisco.siggraph.org/files/2014/02/s3-copy-360x225.png" height="225" width="360" /></a><br />
<br />
The
first world-competition to find out who can write the best shader in 60
minutes! Bring your laptop, or compete remotely. Since 2009, Shadertoy
allow developers all over the globe to push pixels from code to screen
using WebGL, which is built to provide the computer graphics developers
and hobbyists with a great platform to prototype, experiment, teach,
learn, inspire and share their creations with the community. Shadertoy
will host the first Hackathon in San Francisco. We’ll provide tables,
chairs, awards, and beer! So you’ll regret not attending it in person.
It will be fun. We will propose a shader idea at the beginning of the
Hackathon, and post it via our twitter account <a href="http://www.twitter.com/shadertoy">@shadertoy</a> as
well as for remote participants, and will let people code for one hour.
We will stream the process on the big screen for everybody’s enjoyment.
Please visit <a href="http://www.shadertoy.com/events">www.shadertoy.com/events</a> for updates.<br />
<br />
Visit <a href="http://san-francisco.siggraph.org/">http://san-francisco.siggraph.org/</a> to register for the event. Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-23301478357255391482014-02-02T17:27:00.001-08:002017-11-06T16:45:30.331-08:00The 41st Annual Annie AwardsLast night ASIFA-Hollywood hosted the 41st Annual Annie Awards at UCLA's Royce Hall. I had the honor to attend supporting our PIXAR team and my husband, Jon Reisch who supervised the Annie Award nominated Monsters University FX Team!
The night was full of laughs, heartfelt acceptance speeches, and the honor of seeing women in animation on stage to accept the student film aard as well as the two top awards of the night!<br />
<br />
Here's a recap of the night's events:
<br />
<br />
Patrick Wharburton (a.k.a. The Tick) kicked off the night as our deep-voiced comedic host. <br />
<br />
<br />
Chloris Leachman quickly stole the show however kissing the winners and smoothing down their hair to make sure they were camera perfect.<br />
<br />
The very first winner of the night was for Best Student Film. An extremely excited Viola Baier exclaimed "I lost my shoes!" when she reached the stage. Baier, a student at Filmakademie Baden-Wuerttemberg won for her piece Wedding Cake.<br />
<br />
It was an honor to see the great June Foray present her namesake award to legendary costume designer Alice Estes Davis. Alice is famous for her work with Walt Disney, who employed her to develop costumes for films, television, and theme parks. Seeing these two iconic women on stage together was the highlight of the night.<br />
<br />
The Windsor McCay Award was presented to three iconic individuals, Steven Spielberg, Phil Tippett, and Katsuhiro Otomo. Otomo spoke first utilizing a translator to relay his funny and humble remarks. He said that he is used to working by himself behind his computer so to be addressing a room with so many people was terrifying and he couldn't wait for it to be over. He also expressed his surprise in receiving the award as he doesn't watch his films once created and he was surprised that others do. He said, he should go back and watch them.<br />
<br />
Next up was the ridiculously talented and unique Phil Tippett. In his expected style he spoke off the cuff, relaying stories from the old days, holding nothing back. When the music started to play indicating his time was up he just waved his hand and said "oh, turn that thing off...I'm going to talk over it anyway..." And, they complied. Around ten minutes later he wrapped up sharing his advice to students to "Be subversive."<br />
<br />
Finally, Steven Spielberg was recognized for his contributions to animation including Tin-tin, The Animaniacs,Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-80519155914676386032014-01-25T16:55:00.003-08:002017-11-06T16:45:30.433-08:00Head of Animation Lino DiSalvo Talks Art of Frozen at Walt Disney Family Museum Enthusiasm for <a href="http://www.disneyanimation.com/projects/frozen" target="_blank"><i>Frozen</i></a> was palatable at the sold out <i>Frozen</i>: <i>Art of Animation</i> talk Friday night at the <a href="http://www.waltdisney.org/" target="_blank">Walt Disney Family Museum</a>. <a href="http://www.imdb.com/name/nm1863341/?ref_=fn_al_nm_1" target="_blank">Lino DiSalvo</a>, head of animation for the film and a Disney vet with over 15 years of experience at the company, led the audience on a fantastic and sometimes harrowing journey through the process of creating Disney’s 52nd animated feature film.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-mh5RuSjx81k/UuRbdyvHHhI/AAAAAAAAAXk/ycQg10qZiMY/s1600/Frozen-movie-poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-mh5RuSjx81k/UuRbdyvHHhI/AAAAAAAAAXk/ycQg10qZiMY/s1600/Frozen-movie-poster.jpg" height="400" width="270" /></a></div>
<b>A Musical for Even Non-Musical People</b><br />
<br />
“We watched every musical ever created,” DiSalvo said with a laugh as he chronicled the storytelling process. “[And] I started this journey hating musicals.”<br />
<br />
It wasn’t the music he hated. DiSalvo grew up on classic Disney musicals and loved film. It was the “yearning look into the horizon” that truly bothered him.
He, along with the many other individuals who enabled the film to become a reality, wanted something more heartfelt for their heroines and the other characters.<br />
<br />
He wanted the emotion of the characters to be so organic that they could not help but sing. “The scenes that worked in these films with singing, [there was] no other way for the character to convey the emotion they felt,” said DiSalvo. The dynamic duo of Tony Award winning scribes Kristen-Anderson Lopez and Robert Lopez enabled that vision to become a reality.<br />
<br />
“They were awesome,” said DiSalvo.<br />
<br />
<br />
<b>Adventures in Compelling Storytelling – Elsa’s Journey </b><br />
<br />
Two of the other great challenges when creating the film were crafting the story and dealing with a tight production schedule. <i>The Snow Queen </i>remained on Disney’s radar for years, but it was not until Chris Buck and Jennifer Lee signed on as directors and Lee hemmed the version of <i>Frozen</i> that is now in theaters that the film truly clicked. One of the toughest parts was getting the story right. Their goal was to create a compelling narrative devoid of cliché. One major issue was that Elsa, the snow queen herself, played too much like a villain. This made it difficult for the staff to want to root for her by the end of the film.<br />
<br />
“It’s a 90 minute film and you want to like the characters,” said <a href="http://www.imdb.com/name/nm3389669/?ref_=fn_al_nm_1" target="_blank">Wayne Unten,</a> supervising animator for Elsa. “To get her to the mountain top for<i> ‘Let It Go’ </i>you have to show what she’s been through. The villain part wasn’t working.” The story came together when Lee showed the staff the bond that needed to exist between Elsa and her sister Anna, and how that bond would ultimately save them.<br />
<br />
“The film is family love, not romantic love,” said DiSalvo, crediting Lee with bringing to light the theme of the film. “Everyone in the room said that’s the film we have to make.”<br />
<br />
To further illustrate the importance of this point, the directors held a “Sister Summit,” said DiSalvo, where every woman on the team brought in their sister to sit and talk about what it was like living with a sister. This provided a wealth of information to everyone on the crew and helped solidify in their minds the type of relationship they wanted Elsa and Anna to experience.<br />
<br />
<b>Time Waits For No One </b><br />
<br />
Another major challenge was the release schedule. Originally slated for a 2014 release, the studio made the decision to release the film a year early in order for <i>Frozen</i> to be released for the Thanksgiving season, and to give Disney’s next animated release, <a href="http://www.imdb.com/title/tt2245084/?ref_=fn_al_tt_1" target="_blank"><i>Big Hero 6</i></a> a chance to shine during the following holiday season.<br />
<br />
“When we went from 14 to 13 everybody freaked out,” said DiSalvo. “When we calmed down, we figured out how we were going to do this.” They succeeded in finishing the film by being efficient, said DiSalvo, solidifying the story, making solid acting choices, and overall working with some of the most talented individuals in the industry.<br />
<br />
<b>Life at Walt Disney Animation Studios </b><br />
<br />
Audience members got a rare look into the inner workings of the Disney studio in Burbank, including photos of the story room, animator’s offices and the coup de resistance, a giant 'A' where animators who have completed their first film sign their names alongside revered Disney veterans like Glen Keane.<br />
<br />
“The building says animation but it should say collaboration because that’s what we do,” said Unten.<br />
<br />
DiSalvo explained the process of filmmaking at the studio, starting first with the three touchstones of what Disney strives for in all of its films: compelling stories, believable worlds and appealing characters. He also touched on five aspects of the making of <i>Frozen</i> that were crucial during the visual development, story and animation processes. These five enabled the artists to stay true to the character of the film and create a compelling story.<br />
<br />
<b>Truth in Acting </b><br />
<br />
“Truth in Acting, “ said DiSalvo, “was the most repeated phrase during the entire production.” Disney brought in an acting coach who helped the staff delve into what defined each of the characters on screen. This included imagining the lives of the characters before and after each incident in the film. By pulling the bits and pieces from the characters lives, the artists were then able to achieve a stronger emotional core for Elsa, Anna and the other characters.<br />
<br />
Along with working with an acting coach, the staff also hosted "Inside the Actor Studio" sessions with the voice actors, taking notes and recording how they sang so they could infuse the same level of resonance and emotion in the animated characters. The acting sessions with the acting coach along with working closely with the voice actors, as well as the animators acting out and thumbnailing character moments themselves, allow the heroines, heroes and villains of the film to be fully fleshed out characters instead of caricatures.<br />
<br />
<b>Casting and the Emotional Crescendo Board </b><br />
<br />
The film crew created a “crescendo board,” said DiSalvo, a literal board mapping out the conflict and resolution of every scene in the film. This allowed them to track the highs and lows experienced by the characters so that they could build to pivotal sequences in the film without giving away too much information early on. It was crucial to follow the board to ensure that the artists build up the character to a specific emotion.<br />
<br />
“The goal is believability,” said DiSalvo. “We don’t want it to be real. We want it to be believable.”<br />
<br />
<b>Research </b><br />
<br />
Every film requires hands on research, especially one set in a world of snow and ice. Disney sent the animators to Wyoming to explore what it would truly be like to live in a snow-covered kingdom. This led to crazy scenarios, including the animators tromping around in full length wool skirts to see just how difficult it would be for Anna to maneuver around. They also held races in the snow and soon discovered that it is incredibly difficult to run in knee-deep snow without falling on your face.<br />
<br />
<b>Hand-drawn and CG Tests </b><br />
<br />
Collaboration with hand drawn artists, according to DiSalvo, is one of the most fun things about the film-making process.<br />
<br />
The story team, visual development artists and animators worked closely together to flesh out the character arcs of the characters in the film. Among the many artists who helped flesh out the characters were Bill Scwab and Jin Kim, who DiSalvo credited for helping to bring some of the great expressions of the characters to life.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-v2R83njZAKo/UuRZKTu29BI/AAAAAAAAAXU/xqXYzGUVjtY/s1600/elsa_jinkim.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-v2R83njZAKo/UuRZKTu29BI/AAAAAAAAAXU/xqXYzGUVjtY/s1600/elsa_jinkim.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Elsa character designs by <a href="http://cosmoanimato.blogspot.com/" target="_blank">Jin Kim</a></td></tr>
</tbody></table>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-jgmy2fG44JU/UuRaX67uXfI/AAAAAAAAAXc/pWdUMqOi4uI/s1600/anna-1a.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-jgmy2fG44JU/UuRaX67uXfI/AAAAAAAAAXc/pWdUMqOi4uI/s1600/anna-1a.jpg" height="207" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anna character designs by <a href="http://cosmoanimato.blogspot.com/" target="_blank">Jin Kim</a><br />
<br />
<br /></td></tr>
</tbody></table>
<br />
<br />
<br />
The animators then went on to create screen tests to show the emotional range of the characters. These tests were later used as teaser trailers, including the ones below for Elsa, Olaf, Kristoff and Sven.
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/ZC9VZmwX4Kk" width="560"></iframe>
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/UOcTm8U_7MY" width="560"></iframe>
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/UrjtgvLe1oc" width="560"></iframe>
<br />
<br />
<b>Acting in Animation </b><br />
<br />
“If you can capture that little truth you’re on your way to something honest there,” DiSalvo said about the acting process. Each day the animators gathered in a room to watch the dailies, where the supervisors and directors watched their shots and gave notes. It was in dailies where DiSalvo and the team could analyze the acting, subtext and gesture of the characters to make sure that they flowed well within the story. “As animators we flesh out what the character is thinking and feeling,” said Unten.<br />
<br />
“If there’s no heart behind the animation, then you’re just animating for the sake of animating,” said DiSalvo. For this reason the analysis went beyond the typical animation critique, which often focuses more on mechanics, such as fixing pops and improving arcs, and more about the acting.<br />
<br />
<b>Bringing the Characters to Life </b><br />
<br />
The high attention to acting and drama paid off for one of the most pivotal turning points in the film, the <i>‘Let It Go’ </i>sequence, when Elsa transforms from Queen of Arendelle to the Snow Queen herself. Unten spent five weeks animating the sequence, spending his days supervising his animation team and his nights animating the sequence.<br />
<br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/moSFlvxnbgk" width="560"></iframe>
<br />
<br />
“Each of us has different methods,” said Unten, “but the goal is the same, to create amazing characters.” His method included watching recording sessions with Tony award-winning actress and voice of Elsa Idina Menzel, acting out expressions himself, thumbnailing his ideas, animating the sequence, receiving notes from COO of Walt Disney and Pixar Animation Studios John Lasseter, and animating again. It is a painstaking process, but one deserving of the time.<br />
<br />
“It’s not just a music video, every line means something,” said Unten.<br />
<br />
<b>Parting Words </b><br />
<br />
The evening ended with DiSalvo and his team fielding questions from the eager members of the audience, who included everyone from students and professionals to small children.<br />
<br />
DiSalvo gave a particularly good piece of advice to students, who are often inundated with cynicism from the industry.<br />
<br />
"These movies are a hard journey," said DiSalvo, and he credited the talent of his staff for making Disney a great place to work and make films. <br />
<b> </b><br />
“I think <i>Frozen </i>is a great example of artists believing in each other,” said DiSalvo.<br />
<br />
And it is this belief that will continue to inspire future artists and animators the world over.<br />
<br />
<i>Special thanks to Walt Disney Animation Studios, the Walt Disney Family Museum, Head of Animation Lino DiSalvo, Animator Amy Smeed, Animation Supervisors Wayne Unten and Jason Figliozzi and Walt Disney Animation Studios Director of Talent and Development and Outreach and Women in Animation Secretary Dawn Rivera-Ernster for this excellent event. </i><br />
<br />
<i>And for more info on Women in Animation San Francisco visit our Facebook Page at:<br /><a href="https://www.facebook.com/wiasf" target="_blank">https://www.facebook.com/wiasf</a><br /><br />and Twitter at:<br /><a href="https://twitter.com/WIASanFrancisco">https://twitter.com/WIASanFrancisco</a></i><br />
<div class="wysiwyg_viewer_skins_WRichTextNewSkintxtNew" height="96" id="WRchTxt7-bt2" style="left: 732px; min-height: 96px; position: absolute; top: 360px; visibility: visible; width: 220px;" width="220">
<div class="font_8">
<b><span class="color_16">Secretary Dawn Rivera-Ernster </span></b></div>
<div class="font_8">
<span class="color_16">Director of Talent Development and Outreach at Walt Disney Animation Studios</span></div>
</div>
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<div class="font_8">
<b><span class="color_16">Secretary Dawn Rivera-Ernster </span></b></div>
<div class="font_8">
<span class="color_16">Director of Talent Development and Outreach at Walt Disney Animation Studios</span></div>
</div>
Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-30718190660723000762013-11-29T13:21:00.002-08:002017-11-06T16:45:30.343-08:00Intern Fridays: Interview with Lead Puppet Maker and Costumer Eliza Ryus<div class="MsoNormal">
<i>Intern Friday features interviews with former Interns at animation, film, and video game studios. Today we bring you Eliza Ryus former intern at <a href="http://foncocreative.net/index.html" target="_blank">Fonco Creative Services</a> and now Lead Puppet Maker and Costumer. Enjoy and stay tuned for future Intern Friday Interviews!</i></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
<b>What is your current job title and where do you work?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I'm the Lead puppet maker and costumer at Fonco Creative
Services.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>What does your job entail?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I make stopmotion and live action puppets and costumes for
animated shorts, commercials, and trailers. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://4.bp.blogspot.com/-SncDdVNE450/UpkFC9XcdaI/AAAAAAAAAV8/kANJbbsgPQE/s1600/ElizaRyus_Photo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-SncDdVNE450/UpkFC9XcdaI/AAAAAAAAAV8/kANJbbsgPQE/s400/ElizaRyus_Photo.jpg" width="400" /></a><b>What inspired you to become an artist?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The cartoons I watched as a child. I saw Looney Tunes when I
was 5 and decided that's what I wanted to do. Of course that's changed a lot in
the years since but still in the same vein. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Where did you study?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I received my BFA at The School of the Art Institute of
Chicago and my MFA at Academy of Art University in San Francisco. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Why did you choose the studio to apply for the internship?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I actually fell into my internship with Margo Mitchell Media
and Marvel Comics by being friends with the guy who had it before me. <br />
<br />
When he
graduated, he recommended me for the job. My internship at Fonco started because I was introduced to
the head of the studio by my professor and my mentor recommended me for the
job.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>What did you submit for your portfolio and how did you
prepare for the submission?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For Marvel and MMM I was working directly for a freelance
artist and helping with Marvel book pages so I went to his studio and showed
him some work on a slide show on my laptop (2007).</div>
<div class="MsoNormal">
When I applied for Fo I had a website he could look at.
Nowadays I keep my work on an iPad.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>What do you believe separated you from others who were also
applying for the internship?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Being personable. I believe being friendly and easy to work
with has made a large difference did me. I make friends easily and that has
helped me more than anything else. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>What was the interview process like for the internship?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Very casual on both counts. We sat and talked about movies
and comics we were into, art and making stuff then I was offered the job.
Pretty simple considering how nervous I was. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>What department did you intern in and what specific tasks
did you accomplish as an intern?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I interned for a colorist so I did the flat color layouts
for a little throwback indie comic for Marvel. So a lot of Photoshop work.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At Fonco it's always something new. When I was an intern, I
was put to work making puppets for our original content and every puppet was
completely different than the last so I had to wrangle it a totally new way
with new materials every time. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>How did the internship prepare you for your current career?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At MMM working on a Marvel book I learned a lot about the
pipeline and deadlines and efficiency. </div>
<div class="MsoNormal">
At Fonco I was an intern for my first year and I worked
really hard, always tackled a challenge with a clear head and got along with
everyone I worked with and that slowly got a real lead position there. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>What is your opinion on paid versus unpaid internships?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I think internships should be paid. I worked for years as an
intern at many places. We worked overtime a lot and were usually given the
hardest tasks just because we were interns and “needed to learn the ropes.” I
was always glad to have the experience, but I was still a student and working
40 hour weeks unpaid and because it's such an important opportunity you can't
take the time off to get a second job to pay your rent. Also I believe most
employers are unaware that in order to get the 'class credit' interns are paid
in, students still have to pay the same amount as they would for a regular
class. So essentially interns pay a couple thousand dollars to work for a
company that can't even cover their rent. So yes, I believe they should be
paid. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>What advice do you have for aspiring artists who want to
intern at a studio?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It's the best way to get a job after school, but it doesn't
always pan out. Sometimes you really are just free labor and if you're an
unpaid intern, do one year, do it well, get the credit and resume line and move
on. If there isn't a job at the end of that year, hop from company to company.
If you're going to be unpaid, get as many good connections as you can at
different places, be friendly and work hard but don't get taken advantage of.
Knowing a lot of people in other places is always helpful and they usually know
each other and can recommend you if a paid job pops up somewhere. You want to
be fondly remembered. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Thank you Eliza for the interview! Check out more of Eliza's work at: </i></div>
<div class="MsoNormal">
<i><a href="http://www.elizaryus.com/">www.elizaryus.com</a></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>And for more info on Women in Animation San Francisco visit our Facebook Page at:<br /><a href="https://www.facebook.com/wiasf" target="_blank">https://www.facebook.com/wiasf</a><br /><br />and Twitter at:<br /><a href="https://twitter.com/WIASanFrancisco">https://twitter.com/WIASanFrancisco</a></i></div>
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Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-40321640255087694172013-11-22T10:21:00.001-08:002017-11-06T16:45:30.358-08:00Intern Fridays: Interview with visual development artist Callie MacDonell <div class="separator" style="clear: both; text-align: center;">
<i style="text-align: start;">Intern Friday features interviews with former Interns at animation, film, and video game studios. Today we bring you Callie MacDonell former intern at Marvel. Enjoy and stay tuned for future Intern Friday Interviews!</i></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-z0WEF-4_9dw/Uo-f8Z8jMEI/AAAAAAAAAVk/k-HMI7UQ0Uo/s1600/image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-z0WEF-4_9dw/Uo-f8Z8jMEI/AAAAAAAAAVk/k-HMI7UQ0Uo/s320/image.jpg" width="317" /></a></div>
<b><br /></b>
<b><br /></b>
<b><br /></b>
<b><br /></b>
<b><br /></b>
<b>What is your current job title and where do you work? </b><br />
Currently I'm finishing up my master's in Visual Development and doing freelance projects whenever I<br />
can.<br />
<br />
<b>What does your job entail? </b><br />
A lot of student loans?<br />
<br />
<b>What inspired you to become an artist? </b><br />
I can't pin it down to a single event. I was always a dreamer and very imaginative, which as many<br />
people can attest to, can make fitting-in a bit difficult as a young child. When I found out I could<br />
express myself through art and get praised for it, my confidence grew. When I was eleven and took a<br />
tour of the animation house where they were working on Mulan, I decided that I wanted to be involved<br />
in animation. I saw it to be an excellent way to tell my stories while still drawing. I never really stopped<br />
pursuing that goal.<br />
<br />
<b>Where did you study?</b><br />
My undergrad was at The Art Institutes International Minnesota and I graduated with a BS in Media<br />
Arts and Animation. Right in time for the recession.<br />
<br />
<b>Why did you choose the studio to apply for the internship? </b><br />
I chose Marvel because, though I had always been a fan of animated TV shows involving Marvel and<br />
DC characters, I had also just started to really appreciate comics as an art form. I had also just finished<br />
up an internship with a woman named Trina Robbins who is an author and artist who worked on many<br />
Wonder Woman comics back in the day. I catalogued original illustrations and comic strips that<br />
featured female comic-strip artists. In order to preserve them for Trina's book about woman in the<br />
comic and illustration industries, I was able to touch a part of history and know that there were many<br />
women before me who wanted the same things out of life. So, looking around at internships, I felt<br />
emboldened to apply to larger studios. I also figured with the success of the Marvel films, now was the<br />
time to try and join their team.<br />
<br />
<b>What did you submit for your portfolio and how did you prepare for the submission? </b><br />
I submitted 10-15 pages from my portfolio and catered it to what they were looking for in the creative<br />
services department, which was mainly digital artwork. They also wanted a cover letter and resume.<br />
Luckily, I was well prepared for writing them thanks to the classes in my undergrad.<br />
What do you believe separated you from others who were also applying for the internship?<br />
Knowing what I know about the internship now, I'd say that it was my technical skills, my eye for color<br />
and composition, and the clean and polished layout of my portfolio. I also read and re-read my cover<br />
letter to make sure that it offered enough information without being too long-winded.<br />
<br />
<b>What was the interview process like for the internship?</b><br />
I received an email saying that they would like to interview me for a job and that the internship would<br />
be in five days at their office in New York. I wrote them back saying that I was excited but, unfortunately I couldn't go to them because I was in San Francisco. After a nerve-racking day of<br />
waiting, I received a response email apologizing and got scheduled for an over the phone interview.<br />
The interview was between me and two of my bosses: one from the HR department and one from the<br />
creative department. They asked me about my skills, my strengths and weaknesses, and asked me to<br />
walk through the process of creating one of the works in my portfolio.<br />
<br />
<b>What department did you intern in and what specific tasks did you accomplish as an intern? I </b><br />
was a part of the Creative Services team. My job entailed many jobs but, most of them involved<br />
merchandising. I would have to adjust or color correct artwork that would be used later on different<br />
products. I created new and interesting repeating patterns using marvel characters to be used on fabric<br />
for backpacks, clothes, towels, ect. I would also create style sheets, creating different hypothetical<br />
products using the Marvel graphics at my disposal. A few times I was also called in to painstakingly<br />
trace original Marvel artwork in order to create a vector image while still being true to the original<br />
artist's work.<br />
<br />
<b>How did the internship prepare you for your current career?</b><br />
Though I'm still freelance and looking<br />
for a career, I gained a lot of knowledge that is helping me in my process. I learned not only a lot of<br />
technical skills but, also a lot about color and merchandising.<br />
<br />
<b>What is your opinion on paid versus unpaid internships? </b><br />
I loved working at Marvel but, I did have<br />
to move across the country in order to take the internship. Looking at the Marvel office in Downtown<br />
Time Square, I couldn't help wonder why a multi-million dollar company couldn't afford to pay me<br />
even minimum wage when I worked 30 hours a week. I'm very very grateful to have worked for the<br />
company though, and I would not have made any other decision. I do hope that in the future that large<br />
companies will understand the burden of student loans and pay their interns for their hard work.<br />
What advice do you have for aspiring artists who want to intern at a studio? Make sure you only<br />
put your best forward. Spend the extra time and money on a professional looking website. When you<br />
write your resume and cover letter be sure to cater them to your audience and read up on the "dos and<br />
don'ts" of making professional cover letters and applications. Also, DO NOT be a quite person who only does their job. Make friends and put yourself out there.<br />
<div>
<br />
<i>Thank you Callie for the interview! Check out Callie's portfolio here: </i><br />
<span style="font-size: small;"><i><span style="font-family: 'times new roman','new york',times,serif;"><br /></span></i></span>
<br />
<div>
<span style="font-family: times new roman, new york, times, serif;"><i><a href="http://calliemacdonell.daportfolio.com/">calliemacdonell.daportfolio.com</a></i></span><br />
<div style="font-family: 'times new roman', 'new york', times, serif;">
<br /></div>
</div>
<br />
<i>And for more info on Women in Animation San Francisco visit our Facebook Page at:<br /><a href="https://www.facebook.com/wiasf" target="_blank">https://www.facebook.com/wiasf</a><br /><br />and Twitter at:<br /><br /><a href="https://twitter.com/WIASanFrancisco">https://twitter.com/WIASanFrancisco</a></i></div>
Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-42031639397126453442013-11-11T13:23:00.001-08:002017-11-06T16:45:30.362-08:00Women Direct! is coming to Newport Beach Mark your 2014 calendars because Women Direct! is coming to the Newport Beach Film Festival:<br />
<a href="http://www.blogger.com/goog_789231946"><img alt="" class="alignright size-full wp-image-5179" height="216" src="http://www.newportbeachfilmfest.com/2013/wp-content/uploads/2013/10/womendirectlogo1.jpg" title="womendirectlogo" width="668" /></a><br />
The 15th annual event is now accepting submissions and is spotlighting women directed films.<br />
Check out the link below for more details:<br />
<br />
<a href="http://www.newportbeachfilmfest.com/2013/women-direct/">http://www.newportbeachfilmfest.com/2013/women-direct/</a>Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-12313727774999700882013-11-11T13:20:00.001-08:002017-11-06T16:45:30.274-08:00Persistence of Vision Thursday, November 21st, 7:00 PM - one night only in SF!<span style="color: black;"><i>Persistence of Vision -- </i>the untold story of visionary animator Richard Williams and the greatest animated film <i>never</i> made
-- will be having its highly-anticipated Northern California premiere
at the Christopher B. Smith Rafael Film Center in San Rafael on
Thursday, November 21st, 7:00 PM, for one screening only!: <a href="http://bit.ly/PoVsrfc" target="_blank">http://bit.ly/PoVsrfc</a></span>
<br />
<div style="font-family: arial,sans-serif; font-size: 13px;">
<b><span style="color: black;"><br /></span></b></div>
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<b><span style="color: black; font-size: medium;"><br />
</span></b></div>
<div style="font-family: arial,sans-serif; font-size: 13px; text-align: center;">
<b><span style="color: black; font-size: medium;">PERSISTENCE OF VISION </span></b></div>
<div style="font-family: arial,sans-serif; font-size: 13px; text-align: center;">
<span style="color: black;"><br /></span></div>
<div style="font-family: arial,sans-serif; font-size: 13px; text-align: center;">
<span style="color: black;"><br />
</span></div>
<div style="font-family: arial,sans-serif; font-size: 13px; text-align: center;">
<span style="color: black;"><img alt="Inline image 2" height="382" src="https://mail.google.com/mail/u/0/?ui=2&ik=077c5dadf3&view=att&th=14229589a1ae278a&attid=0.0.1&disp=emb&realattid=ii_13da4881d064fe6c&zw&atsh=1" width="420" /><b><br />
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<span style="color: black;"><br /></span></div>
<div style="font-family: arial,sans-serif; font-size: 13px;">
<div>
<span style="color: black;"><b>SYNOPSIS:</b><br />
<br />Striving to make the best animated film of all time, visionary and
acclaimed animator Richard Williams (three-time Oscar-winning animation
director of <i>Who Framed</i> <i>Roger Rabbit</i>) spent nearly three decades of his life toiling away on his masterpiece, <i>The Thief and the Cobbler</i> -- only to have it torn from his hands. </span></div>
<div>
<span style="color: black;"><br /></span></div>
<div>
<span style="color: black;">Using
incredible animation from Williams' lost epic, rare archival footage,
and exclusive interviews with various artists and animators who worked
on the ill-fated magnum opus, young filmmaker Kevin Schreck brings this
legendary, forgotten chapter of cinema history to the screen for the
very first time.</span></div>
</div>
<div style="font-family: arial,sans-serif; font-size: 13px;">
<span style="color: black;"><br /></span></div>
<div style="font-family: arial,sans-serif; font-size: 13px;">
<span style="color: black;">Called a "Herculean accomplishment" (<i>indieWIRE</i>), a "suspenseful portrait [and] superb documentary" (<i>The Seattle Times</i>), and a "fascinating slice of film history" (<i>Variety</i>), <i>PERSISTENCE OF VISION </i>is the "gripping" (<i>The Globe and Mail</i>), untold story of the greatest animated film <i>never</i> made.</span></div>
<div style="font-family: arial,sans-serif; font-size: 13.333333969116211px; text-align: center;">
<span style="color: black;"><br /></span></div>
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<span style="color: black; font-size: medium;"><b>SCREENINGS & TICKETS:</b> </span></div>
<div style="font-size: 13.333333969116211px;">
<span style="color: black; font-size: medium;"><br />
</span></div>
<div>
<span style="color: black; font-size: medium;"><b>Christopher B. Smith Rafael Film Center</b></span></div>
<div>
<span style="color: black; font-size: medium;"><b><br />
</b></span></div>
<div>
<b style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="color: black; font-size: medium;">1118 Fourth Street (Between A & B)</span></b></div>
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<span style="color: black;"><b style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: medium;"><br />San Rafael, CA 94901</span></b></span></div>
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<span style="color: black; font-size: medium;"><b>Tickets: <a href="http://bit.ly/PoVsrfc" target="_blank">http://bit.ly/PoVsrfc</a></b></span></div>
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<b><span style="color: black;"><span style="font-size: medium;"><i>Thursday, November 21st, 7:00 PM</i></span></span></b></div>
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<b><span style="color: black;"><span style="font-size: medium;"><i>ONE SCREENING ONLY!</i></span></span></b></div>
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<b><span style="color: black;"><span style="font-size: medium;">Followed by Q&A w/director Kevin Schreck</span></span></b></div>
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<span style="color: black;">*****</span></div>
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<span style="color: black; font-size: medium;"><b>TRAILER: </b> <a href="https://vimeo.com/38413085" target="_blank">https://vimeo.com/<wbr></wbr>38413085</a></span></div>
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<span style="color: black; font-size: medium;"><b>FACEBOOK:</b> <a href="https://www.facebook.com/PersistenceOfVisionOfficialDocumentaryPage" target="_blank">https://www.<wbr></wbr>facebook.com/<wbr></wbr>PersistenceOfVisionOfficialDoc<wbr></wbr>umentaryPage</a></span></div>
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<span style="color: black;"><b style="font-size: large;">TWITTER:</b><span style="font-size: medium;"> </span><span style="font-family: arial, sans-serif; font-size: medium;"><a href="https://twitter.com/PoVDoc" target="_blank">https://twitter.com/<wbr></wbr>PoVDoc</a></span><br />
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<span style="color: black;">*****</span></div>
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<span style="color: black;">Director Kevin Schreck is available for interviews for press purposes.</span></div>
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<span style="color: black;">We hope to see you at the movies!</span></div>
Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-79534194492762666262013-11-11T13:17:00.002-08:002017-11-06T16:45:30.426-08:00Special Member Event: Meet Lauren MacMullan and see "Get A Horse!" on November 18th @ ILMGreetings WIA-SF Members!<br />
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ILM has invited Women in Animation to a
special screening of the new Disney animated short "Get A Horse!"
featuring special guest -- Director Lauren MacMullan!</div>
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<b>The screening will be held on Monday November 18th at noon. ILM has reserved 50 spots for WIA members. </b></div>
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<img alt="http://www.insidethemagic.net/wp-content/uploads/2013/08/Get_A_Horse-550x404.jpg" height="306" src="http://www.insidethemagic.net/wp-content/uploads/2013/08/Get_A_Horse-550x404.jpg" width="420" /></div>
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Ms. MacMullan's directorial credits include <i>Avatar: The Last Airbender, The Simpsons and King of the Hill. </i></div>
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If you're a member would like to attend please RSVP by Wednesday November 13th and put <b>ILM RSVP</b> in the subject line.</div>
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See you there!</div>
Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-19674767404279025882013-11-11T13:13:00.002-08:002017-11-06T16:45:30.324-08:00Members Only Meeting November 13th @ Pixar Animation Studios Greetings members! We are excited to announce that our guest speaker for our upcoming meeting will be Associate Producer Nicole Grindle.
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<a href="http://3.bp.blogspot.com/-qaj78j-8NUk/UoFHvSeUS_I/AAAAAAAAAUE/m_FYpjJCw7g/s1600/nicolebio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="344" src="http://3.bp.blogspot.com/-qaj78j-8NUk/UoFHvSeUS_I/AAAAAAAAAUE/m_FYpjJCw7g/s640/nicolebio.jpg" width="640" /></a></div>
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We'll start the night out with drinks/snacks and some time to socialize. We're looking forward to meeting and welcoming all of our newest members!
Following Nicole's talk we'll have updates on future WIA SF Events in the works. One hint for now: Christmas is right around the corner...do you have your party hat?<br />
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A moment for service: Women in Animation are also women who know how important it is to share with those less fortunate. At the meeting we'll be accepting canned good donations to be distributed to soup kitchens and homeless shelters around the Bay Area. Bring your canned goods or non-perishable items with you to the meeting and we'll take care of the rest.<br />
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If you're a member and able to attend the event on Wednesday, November 13, please RSVP to
womeninanimationsf [at] gmail [dot] com so we can add you to the security list.<br />
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**You won't be allowed through security unless you have RSVP'd.<br />
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Looking forward to seeing you there!
Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0tag:blogger.com,1999:blog-5779085657434267062.post-18028784186360713892013-10-25T17:38:00.001-07:002017-11-06T16:45:30.315-08:00Intern Fridays: Interview with Stop-Motion Animator Ellen Yu<i>Intern Friday features interviews with former Interns at
animation, film, and video game studios. Today we bring you <b>Ellen Yu</b>, former intern at Starburns Industries. Enjoy and stay tuned for future Intern Friday Interviews! </i><b></b><br />
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<a href="http://3.bp.blogspot.com/-pNBZnKekYAA/UmsN1ad2uAI/AAAAAAAAASk/ghv9ovpI8NI/s1600/ellenyu.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="258" src="http://3.bp.blogspot.com/-pNBZnKekYAA/UmsN1ad2uAI/AAAAAAAAASk/ghv9ovpI8NI/s400/ellenyu.jpg" width="400" /></a></div>
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<b>What<span style="font-size: small;"> is your current jo</span>b title and where do you work?</b><br />
<span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;">I
am currently a freelance illustrator based out of Burbank. I recently
interned for <a href="http://www.starburnsindustries.com/Site/Starburns_Industries.html" target="_blank">Starburns Industries</a> for the stop-motion feature
film Anomalisa.</span><br />
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<b>What does your job entail?</b><br />
<span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;"> I was an art intern on the production.</span><br />
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<b>What inspired you to become an artist?</b><br />
<span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;">I
have many inspirations stemming from anime and independent short films. I
love the work of Studio Ghibli, Don Hertzfeldt, Jiri Trnka, Bretislav
Pojar, and many more.</span><b><br clear="none" style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;" /> </b><br />
<b>Where did you study?</b><br />
<span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;">I studied Character Animation at the California Institute of the Arts.</span><br />
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<b>Why did you choose the studio to apply for the internship?</b><br />
<span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;">There aren't many stop-motion internships to choose from. I was fortunate
enough that the Anomalisa production aligned to when I was available.</span><br />
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<b>What did you submit for your portfolio and how did you prepare for the submission?</b><br />
<span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;">I
submitted my fabrication portfolio for puppets and my film reel. The
reel showed parts of my Senior film and projects that I worked on.</span><br />
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<b>What do you believe separated you from others who were also applying for the internship?</b><br />
<span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;">Truthfully,
I think availability was the key. This wasn't for a paid position, but I
do think having prior work experience in your field will help you get a
job faster. It's a lot easier to obtain work if you have previous jobs
to back you up.</span><br />
<span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;"> </span><b><br />What was the interview process like for the internship?</b><br />
<span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;">The interview process was very quick. The company looked at my portfolio and told me the guidelines to the internship.</span><br />
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<b>How did the internship prepare you for your current career?</b><br />
<span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;">I
originally started out as a puppet intern, but was switched over to
help in the graphics department. I created miniature labels and graphics
for props in the movie. At the tail end of my internship, I track read
the eyebrows and mouth sets for the 3-D printed faces using Dragon.</span><br />
<span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;"> </span><b><br />What is your opinion on paid versus unpaid internships?</b><br />
<span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;">I
hope every internship is paid. Sometimes studios don't offer pay due to
budget constraints. Internships allow connections. If you do get a
chance and can afford to intern unpaid, I would give it a try.</span><br />
<b><br />What advice do you have for aspiring artists who want to intern at a studio?</b><br />
<big><small><span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;"><span style="font-family: 'times new roman', 'new york', times, serif; font-size: 16px;">I advise that students intern while in college. A lot of internships don't allow you to intern without proof of college credit. I hesitated to intern during school because of my school work and all of the classes I wanted to take. I would suggest interning during the summer with help from family or interning somewhere you are locally from. </span></span></small></big><br />
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<i>Thank you Ellen for the interview! Check out Ellen's reel and portfolio here: </i><br />
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<span style="font-size: small;"><i><span style="font-family: 'times new roman','new york',times,serif;"><a href="http://vimeo.com/62231883" moz-do-not-send="true">http://vimeo.com/62231883</a></span></i></span><br />
<span style="font-size: small;"><i><span style="font-family: 'times new roman','new york',times,serif;"><a href="http://eyu-animation.blogspot.com/" moz-do-not-send="true">http://eyu-animation.blogspot.com/</a></span></i></span></div>
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<i>And for more info on Women in Animation San Francisco visit our Facebook Page at:<br /><a href="https://www.facebook.com/wiasf" target="_blank">https://www.facebook.com/wiasf</a><br /><br />and Twitter at:<br /><br /><a href="https://twitter.com/WIASanFrancisco">https://twitter.com/WIASanFrancisco</a></i>Anonymoushttp://www.blogger.com/profile/00894591990284948107noreply@blogger.com0