Glen Keane évoque la manière dont Kobe Bryant l'a inspiré pour Voyage sur la Lune :
Variety a écrit:
‘Over the Moon’ Director Glen Keane Remembers How Kobe Bryant Inspired his Latest Work By Jazz Tangcay
Animator-turned-director and producer Glen Keane remembers when basketball legend Kobe Bryant sat next to him as he prepared to animate the Oscar-winning short, “Dear Basketball.” The 2017 movie influenced his animation experience, which came in handy when working on his latest creation, “Over the Moon,” the Oscar animated film nominee about an adventurous Chinese girl who builds a rocket ship.
“Dear Basketball” was a love letter to the sport about a young man who lives out his dream of becoming a basketball player.
Keane says, “I told him he had the worst basketball player on earth animating him. He laughed and said ‘That’s good because everything you learn about basketball will come through studying me.’”
He had pulled together 20 greatest moments from Bryant’s career to watch and said he needed to understand what the player had been feeling in each of those moments.
Keane recalls, ”We watched his greatest plays as Kobe began to describe in detail his thoughts and feelings for each clip. He relived each incredible layup, 3 pointer and his signature fadeaway shot. I began to experience what I call in animation “living in the skin of the character.”
He used hand-drawn animation filled with fine pencil strokes to bring the story to life. Keane, who directed, produced and animated “Over the Moon,” experienced a similar feeling when it came to guiding the animation of the lead character in the film.
With very little knowledge of what life in China was like and having to live inside the skin of a 12-year-old girl, Keane says, “The first step in understanding Fei Fei was to go to China and discover her world. We visited a little water town similar to one Fei Fei lives in, we made mooncakes together, we visited a middle school classroom which we replicated in the movie and we ate dinner together in the home of one of our Shanghai artist’s family, which became the source of inspiration for the family dinner scenes in ‘Over The Moon.’”
It was important to Keane to accurately represent Netflix’s first “princess.” For that, he turned to producers Gennie Rim and Peilin Chou to ensure the Asian perspective was portrayed with careful insight.
“As we animated I learned about the deep cultural and generational roots that affect how Fei Fei would react in each circumstance. At Sony Imageworks, Gennie made sure we included as many Asian female animators as possible to bring their authentic perspective to each moment in the movie.”
Fei Fei, he underlines, is not a typical princess who lives in a castle — she is a princess for a new generation. He says, “She is a wonderful blend of intelligence, creativity, determination and love. We experience Fei Fei through the lens of her own Chinese culture and yet, no matter what culture we are born into we see our better selves through her.”
L'Oncle Walt et Pixie Tinkerbell aiment ce message
Nouveau podcast de Disney Movie Insiders autour de Raya et le Dernier Dragon. Dans cet épisode, les scénaristes Adele Lim et Qui Nguyen, et les acteurs Kelly Marie Tran et Izaac Wang sont présents pour discuter des coulisses : le processus d'écriture, l'enregistrement depuis chez soi et comment Raya a pris vie.
Le réalisateur, animateur et acteur voix Saul Blinkoff a son propre podcast, Life of Awesome. Et dans l'un de ses plus récents est intervenue Jodie Benson (voix originale d'Ariel) :
Aaron Blaise (co-réalisateur de Frère des Ours et animateur/superviseur sur des films comme La Belle et la Bête ou Le Roi Lion) va prochainement mettre en vente deux art books (sur son site), réunissant certains de ses dessins (non Disney) : Aaron Blaise: 100 Drawings et The Art of Aaron Blaise: Vol. 1 . Toutes les précommandes seront signées par l'artiste.
MadEye, Naudirasley, L'Oncle Walt et Brozen aiment ce message
Hommage à Ruthie Tompson, décédée paisiblement dans son sommeil dimanche à son domicile, à l'âge de 111 ans.
Ella avait commencé sa carrière aux Walt Disney Studios en tant que peintre dans le département Ink & Paint, et a continué à jouer des rôles majeurs dans les vérifications finales, la planification des scènes et au département de la caméra. Tompson a travaillé pour The Walt Disney Company pendant près de 40 ans, prenant sa retraite en 1975 après avoir terminé de travailler sur Les Aventures de Bernard et Bianca (1977). Employée avec la plus longue histoire avec Walt et Roy O. Disney, Tompson a été nommée Disney Legend — l'honneur prestigieux décerné à des personnes en reconnaissance de leurs contributions extraordinaires à The Walt Disney Company— en 2000.
thewaltdisneycompany.com a écrit:
OCTOBER 11, 2021
Remembering Disney Legend Ruthie Tompson
Ruthie Tompson, who began her career at The Walt Disney Studios as a painter in the Ink & Paint Department, and went on to major roles in final check, scene planning and the camera department, passed away peacefully in her sleep Sunday at her home at the Motion Picture and Television Fund in Woodland Hills, California. She was 111 years old. Tompson worked at The Walt Disney Company for nearly 40 years, retiring in 1975 after completing work on The Rescuers (1977). Among her many accomplishments, she became one of the first three women invited to join the International Photographers Union, Local 659 of the IATSE, in 1952. The employee with the longest history with Walt and Roy O. Disney, Tompson was named a Disney Legend—the prestigious honor bestowed upon individuals in recognition of their extraordinary contributions to The Walt Disney Company—in 2000.
“Ruthie was a legend among animators, and her creative contributions to Disney—from Snow White and the Seven Dwarfs to The Rescuers—remain beloved classics to this day,” said Bob Iger, Executive Chairman and Chairman of the Board, The Walt Disney Company. “While we will miss her smile and wonderful sense of humor, her exceptional work and pioneering spirit will forever be an inspiration to us all.”
“Ruthie was a true Disney Legend,” added filmmaker Leslie Iwerks. “As a young girl who began as an ‘extra’ in the 1920s Alice Comedies—she was directed by Walt Disney himself and watched over the shoulders of Roy O. Disney and [Disney Legend] Ub Iwerks, working the silent cameras—and living to 111 years old, she was the one person still alive who had known Walt Disney since his earliest Hollywood years.”
“Ruthie and I had great times together; she was fun, wacky, sharp as a whip, talented, and a dear friend to our Iwerks family,” Iwerks continued. “I’ll never forget the road trip with Ruthie in my convertible driving up to the Grand Opening of the Walt Disney Family Museum, Thelma and Louise-style, two happy girls on a fun adventure with a happy ending. She will be greatly missed.”
Born in Portland, Maine, on July 22, 1910, Tompson was raised in Boston, Massachusetts. Her family moved to California in 1918, arriving first in Oakland on November 11, Armistice Day, which marked the end of World War I. Tompson’s association with Disney began long before she was a studio employee. As a child growing up in Hollywood in the 1920s, she lived a short distance away from the fledgling Disney Bros. Cartoon Studio on Kingswell Avenue.
As she recalled in a 2010 oral history with Disney’s Animation Research Library, “I was walking by the storefront, and there were two ladies in the window painting. I never saw this before, so I stopped to look. And every day, I had to stop and see what they were doing. Curiosity almost killed this cat. I did it so often that somebody came out and said, ‘Why don’t’ you go inside and watch them?’ I think it was Walt because he roamed around quite a bit. I saw how the fellows flipped the drawings. [Disney Legends] Les Clark and Ub Iwerks were there, and Roy was in the back shooting what the girls were painting over backgrounds. As a kid, I was fascinated. I’d sit on the bench beside Roy, he had an apple box for me to sit on, and as it got late, he would say ‘I think you’d better go home. Your mother probably wants you to come home for dinner.’ Walt would engage all of the kids in the neighborhood and take pictures of us running and playing and doing things, for animation purposes. He always gave us a quarter or fifty cent piece, and, of course, I went right to the candy store for licorice.”
Tompson later attended Hollywood High School. At age 18, she took a job at Dubrock’s Riding Academy in the San Fernando Valley, where Walt and Roy frequently played polo. Walt offered Tompson a job as a painter in the Ink & Paint Department, where she helped put finishing touches on the studio’s first full-length animated feature, Snow White and the Seven Dwarfs (1937). That film became her favorite to revisit over the years alongside younger generations in her family. “We worked into the night, day after day, until we got it exactly right!” she later said.
Tompson was soon promoted to final checker, reviewing the animation cels before they were photographed onto film. By 1948, she again transferred to animation checking and scene planning. “After I got into scene planning, that was the part where I felt like I was really a part of the institution, because I was helping the animators and I was helping the background painters,” she once said. As Bob Broughton, former Disney supervisor of special photographic effects, later recalled, “Ruthie was mechanically inclined. She was excellent at figuring out the mathematical and mechanical logistics of camera moves.”
As a result of her adept skill at guiding camera movement for animated films, Tompson was invited to join the International Photographers Union, Local 659 of the IATSE. As animator and Disney Legend Floyd Norman would later recall, “I’ve often said, Ruthie was our computer before computers were invented. Whatever the technical problem, Ruthie could usually solve it.”
In addition to Snow White and the Seven Dwarfs, Tompson worked on such feature films as Pinocchio (1940), Fantasia (1940), Dumbo (1941), Sleeping Beauty (1959), Mary Poppins (1964), The Aristocats (1970), and Robin Hood (1973). After dedicating nearly 40 years to The Walt Disney Company—and working on virtually every Disney animated feature up through The Rescuers—Tompson retired from the Company in 1975. Although she worked on projects for other studios for another 10 years, she later said, “It is always my Disney experience that is filled with truly unforgettable memories.” Given her storied history with the Company, Tompson would fondly tell people, “Mickey Mouse and I grew up together.”
A lifelong fan of two things—Disney and the Los Angeles Dodgers—Tompson last year shared some words of wisdom with D23 to mark her milestone 110th birthday. “Have fun,” she said. “Try to do as much as you can for yourself. Remember all the good things in life.”
Mindy Johnson, Disney historian and author of Ink & Paint: The Women of Walt Disney’s Animation, said, “The best way to describe Ruthie is simply ‘remarkable.’ She was perhaps the last link from the earliest origins of animation in Hollywood. Ruthie was a living witness and vital contributor to the progress and growth of the animation industry as we know it today.”
Calling her a “trailblazer,” Johnson said Tompson will be missed dearly. “In addition to conducting Ruthie’s oral history at the Academy, in 2017 I was honored to feature Ruthie as part of a landmark celebration recognizing the contributions of women to early animation at the Academy of Motion Picture Arts and Sciences. We are indebted to her ingenuity and so deeply blessed to have known her,” she said. “It will continue to be one of my greatest joys to honor and celebrate the accomplishments of this remarkable woman! She was a true treasure and a dear friend. I’ll miss her quick wit, warm laughter and entertaining Dodger updates!”
Tompson is survived by two nieces, Judy Weiss and Calista Tonelli, and a nephew, Pierce Butler III. Donations can be made in Tompson’s name to the Motion Picture & Television Fund.
Dash, Skyam, MadEye, Naudirasley, L'Oncle Walt, Brozen et Romplay aiment ce message
[...]Tompson a travaillé pour The Walt Disney Company [...]
Ruthie Tompson n'a jamais travaillé pour The Walt Disney Company. Elle a travaillé pour Walt Disney Productions. Sinon, on est anachronique ou révisionniste mais, en tous les cas, inexact.
Le duo iconique John Musker / Ron Clements reprend du service et passe chez Warner Bros Animation! Leur prochaine collaboration sera une adaptation de Metal Men de l'écurie DC Comics.
Hommage à Ralph Eggleston, réalisateur du court-métrage Drôles d'oiseaux sur une ligne à haute tension, pour lequel il avait remporté l'Oscar du Meilleur court métrage d'animation. Il est décédé d'un cancer le 28 août 2022 à 56 ans.
Naudirasley, L'Oncle Walt et Brozen aiment ce message
C'est tellement inspirant ! Moi qui dessine beaucoup, voir des artistes et leur bureau me motive et m'inspire. C'est la caverne d'Alibaba pour moi Il n'y a pas d'autres mots pour l'exprimer. Merci pour cette vidéo très intéressante !
Dans les années 90, certains artistes de Walt Disney Feature Animation Florida avaient monté un petit groupe, et jouaient aux fêtes de Noël.
Aaron Blaise a écrit:
Back in the nineties we had a little band at Walt Disney FeatureAnimation Florida and we would play at the Christmas parties. It was a lot of fun. Here's a little video from our soundcheck courtesy of Jim Jackson. Our little band would grow and contract but in this video from 1994 we have James Parris on Keyboards, Chadd Ferron on bass, Barbara Pourior on Drums, Adeboye Adegbenro on sax and cow bell, The lovely Jim Jackson on vocals, and then Ted Ty and myself on guitars.
Burny Mattinson, qui était Disney Legend, animateur, réalisateur, producteur, et scénariste, est décédé aujourd'hui à l'âge de 87ans. Mattinson était le plus ancien cast member de l'histoire de The Walt Disney Company et devait recevoir un prix (le premier du genre) pour marquer ses 70ans de services le 4 juin.
The Walt Disney Company a écrit:
Remembering Disney Legend Burny Mattinson
Disney Legend Burny Mattinson, who worked as an animator, director, producer, and story artist at Walt Disney Animation Studios during an unprecedented 70-year career, passed away Monday, February 27, at Canyon Oaks Nursing and Rehabilitation Center in Canoga Park, California, following a short illness. He was 87 years old.
Mattinson was the longest-serving cast member in the history of The Walt Disney Company and was due to receive his 70th anniversary service award (the first ever) on June 4.
Among Mattinson’s achievements were a solo directing credit on the animated featurette Mickey’s Christmas Carol (1983), which returned Mickey Mouse to the silver screen for the first time in 30 years, and a role as producer as well as co-director of the 1986 Disney feature The Great Mouse Detective.
Jennifer Lee, chief creative officer, Walt Disney Animation Studios, said, “Burny’s artistry, generosity, and love of Disney Animation and the generations of storytellers that have come through our doors, for seven decades, has made us better—better artists, better technologists, and better collaborators. All of us who have had the honor to know him and learn from him will ensure his legacy carries on.”
Academy Award-winning Disney director Don Hall said, “For almost 30 years, I’ve had the privilege to work alongside Burny Mattinson, from Winnie the Pooh to Big Hero 6 to, most recently, Strange World. I have marveled at his artistry, enjoyed his good humor, and sat enraptured by his stories of Disney history. At 18 years old, he followed his dream of working at Walt Disney Animation Studios, and for almost 70 years he lived that dream every day, inspiring all of us who had the good fortune to follow in his footsteps. I love him dearly.”
Mattinson was still working full-time at Walt Disney Animation Studios as a story consultant and mentor at the time of his passing. Long before Strange World (2022) and Big Hero 6 (2014), he worked as an artist on such classics as Lady and the Tramp (1955), One Hundred and One Dalmatians (1961), The Sword in the Stone (1963), The Jungle Book (1967), and The Rescuers (1977). He served as a key member of the story team on contemporary Disney classics including Aladdin (1992), Beauty and the Beast (1993), The Lion King (1994), Pocahontas (1995), The Hunchback of Notre Dame (1996), Tarzan (1997), and Mulan (1998). He served as the story supervisor on the 2011 theatrical feature Winnie the Pooh and contributed to the 2007 Goofy short How to Hook Up Your Home Theater.
For decades, Mattinson worked to pass along the Disney legacy by inspiring new generations of storytellers and filmmakers. “Burny was the Renaissance man of Disney Animation,” said legendary Disney animator Eric Goldberg, a close friend and colleague of Mattinson’s. “He literally did everything that could be done at the studio—assistant animator, animator, story artist, producer, and director of many films that made an indelible mark on our collective appreciation of the Disney ethos. He was also, when he started, traffic boy to Walt, giving Walt his weekly spending cash.”
Speaking of Mattinson’s art, Goldberg added, “Burny was low-key, charming, inventive, and superbly gifted as a draftsperson and a storyteller. His storyboards were beautifully acted and wonderfully atmospheric, which I first encountered when I joined the studio for Aladdin. The more I saw of his work, the more I became in awe of his breadth of talent. I value his cheerful friendship and lasting inspiration to me and so many other animation artists. He will be missed, but not forgotten.”
Burnett Mattinson was born in San Francisco on May 13, 1935, the first of two children. Before he was 6 years old, his mother took him to the San Francisco Orpheum Theatre, where he saw Walt Disney’s Pinocchio. “Ever since I saw that film, this was my dream—to work in this business,” Mattinson once recalled. “So, I worked every day, drawing.”
His father, a drummer with Horace Heidt’s Big Band, moved the family to Los Angeles after the band’s demise in 1945, and Mattinson continued drawing through his school years. By the time he was 12, he was skillfully drawing Disney-style cartoons, and he kept dreaming of being a Disney artist.
After his high school graduation, his mother drove him to Burbank and dropped him off at the Studio gate. A kindly guard took a look at the teenager’s portfolio and called the head of the personnel department. Mattinson got an interview and a job, beginning in the mailroom. Six months later, and with no formal art training, he started work as an in-betweener on Lady and the Tramp.
He was promoted to assistant animator under Disney Legend Marc Davis on Sleeping Beauty and continued in that capacity on One Hundred and One Dalmatians. When that film ended, he began a 12-year stint with Disney Legend Eric Larson, working on a variety of projects including Walt Disney’s Wonderful World of Color television series (1961-1979), The Sword in the Stone, Mary Poppins (1964), The Jungle Book, and The Aristocats (1970).
After completing an eight-week internal training program, Mattinson became an animator on Robin Hood (1973) and a key animator on Winnie the Pooh and Tigger, Too (1974), working with Disney Legend Ollie Johnston. Disney Legend Frank Thomas saw Mattinson’s thumbnail sketches and asked him to help on storyboards for The Rescuers. “Storyboards are as close to direction as you can get,” Mattinson later said. “You’re telling cameras where to go, what’s happening onscreen, where to cut, and really making a blueprint for the film.”
Inspired by a Disneyland Records Christmas album, Mattinson brazenly sent it, along with a note containing an idea for a film, to Ron Miller, then head of the studio. The next day, Mattinson was summoned by Miller. Mattinson feared that his boldness had been a gaffe, but was pleasantly surprised when the studio chief agreed with his idea, assigning the startled animator to direct Mickey’s Christmas Carol, which he also produced. This success led to his contribution as producer and director on The Great Mouse Detective.
“Animation is 75 percent thinking and 25 percent drawing,” Mattinson once said. “Everything must be carefully thought out first. Our animators not only have to think like actors but also figure out how to get that performance across on paper and on the screen. Our characters pause to think and connive. You can see it in their eyes.”
He added, “The important thing to remember about good animation is that less is more. Moving the characters too much is the sign of a real amateur. We put our efforts into more subtle, carefully thought out actions that communicate the point clearly and in an entertaining way.”
Mattinson was named a Disney Legend in 2008. He set the cast member longevity record on March 5, 2018, when he passed the previous record—held by Disney artist, Imagineer, and Disney Legend John Hench—of 64 years, eight months, and 29 days (or 23,651 days).
When asked to reflect on his long Disney career at the half-century mark, Mattinson said, “I mean, 50 years is a long time, but I still feel like that 18-year-old kid that came here back in ’53, you know? I never feel like I’ve gotten old.”
Mattinson is survived by his wife, Ellen Siirola; his son, Brett Mattinson, and his wife, Kelly, and their two children; and his daughter, Genny, her husband Larry Ellena, and their two children. Funeral services will be private, and he will be laid to rest at Forest Lawn, Hollywood Hills. In lieu of flowers, donations can be made to the MPTF (Motion Picture and Television Fund) in Woodland Hills, California.
Sujet: 
Mar 23 Mar 2021 - 21:34
Il n'y a pas d'autres mots pour l'exprimer. Merci pour cette vidéo très intéressante !
