Studios shouldn’t rely just on IP-based content to make artistically bold choices, said director Jeff Rowe at Annecy.
“Right now, things like ‘Spider-Man: Across the Spider-Verse Sperverse’ are this Trojan horse – they are taking a well-known IP and using that to break artistic boundaries and move the medium forward. My hope is that the studios will take these kinds of risks also with original ideas.”
Rowe, now behind “Teenage Mutant Ninja Turtles: Mutant Mayhem,” spoke out at Variety’s “Breaking the Borders of Animation” panel, moderated by its chief film critic Peter Debruge.
“There are some borders being broken right there,” quipped Debruge, mentioning his well-received film.
As noted by Rowe, the pandemic got rid of some traditional barriers in animation, with artists from all over the world able to work on big productions from home.
“On ‘Ninja Turtles,’ we had one artist working in South Korea, another in Thailand,...
“Right now, things like ‘Spider-Man: Across the Spider-Verse Sperverse’ are this Trojan horse – they are taking a well-known IP and using that to break artistic boundaries and move the medium forward. My hope is that the studios will take these kinds of risks also with original ideas.”
Rowe, now behind “Teenage Mutant Ninja Turtles: Mutant Mayhem,” spoke out at Variety’s “Breaking the Borders of Animation” panel, moderated by its chief film critic Peter Debruge.
“There are some borders being broken right there,” quipped Debruge, mentioning his well-received film.
As noted by Rowe, the pandemic got rid of some traditional barriers in animation, with artists from all over the world able to work on big productions from home.
“On ‘Ninja Turtles,’ we had one artist working in South Korea, another in Thailand,...
- 6/13/2023
- by Marta Balaga
- Variety Film + TV
Charlie Kaufman is known for his mind-bending script work on projects like “Adaptation” and “Eternal Sunshine of the Spotless Mind.” But his next project will be entirely more genial – an original DreamWorks Animation feature called “Orion and the Dark,” coming to Netflix in 2024. The announcement was made at the Annecy International Animation Film Festival, as part of a larger DreamWorks panel.
Based on the book by Emma Yarlett, the project stars Jacob Tremblay as Orion, a scaredy-cat indoor kid (described in the official synopsis as “a ball of adolescent anxiety”) and Paul Walter Hauser as Dark, the living embodiment of the night and the thing Orion is most scared of. Director Sean Charmatz, a DreamWorks veteran of the “Trolls Holiday Special,” stressed that, even though it’s a DreamWorks movie on Netflix it “has all of the Charlie Kaufman stuff in it.” (Kaufman previously worked on “Kung Fu Panda 2” for the studio.
Based on the book by Emma Yarlett, the project stars Jacob Tremblay as Orion, a scaredy-cat indoor kid (described in the official synopsis as “a ball of adolescent anxiety”) and Paul Walter Hauser as Dark, the living embodiment of the night and the thing Orion is most scared of. Director Sean Charmatz, a DreamWorks veteran of the “Trolls Holiday Special,” stressed that, even though it’s a DreamWorks movie on Netflix it “has all of the Charlie Kaufman stuff in it.” (Kaufman previously worked on “Kung Fu Panda 2” for the studio.
- 6/13/2023
- by Drew Taylor
- The Wrap
Several of this year’s biggest animated films wanted to take bold stylistic risks that would set them apart from what audiences had come to expect from modern CG animation. On their quest to take the next leap forward, they turned to a style known for its warmth and imperfection — 2D animation.
“The Mitchells vs. the Machines,” “Luca,” “Raya and the Last Dragon” and “Flee” — all nommed for the animated feature Oscar — found something they needed for their stories in 2D. Whether the style matched the imperfection of the characters themselves, added warmth or established a different look for a specific sequence, it became a crucial inspiration.
In “The Mitchells vs. the Machines,” the filmmakers fell in love with concept art created by Lindsey Olivares, production/character designer, and decided they wanted a hand drawn, slightly off-kilter look for the movie. They needed to establish a new style that brought...
“The Mitchells vs. the Machines,” “Luca,” “Raya and the Last Dragon” and “Flee” — all nommed for the animated feature Oscar — found something they needed for their stories in 2D. Whether the style matched the imperfection of the characters themselves, added warmth or established a different look for a specific sequence, it became a crucial inspiration.
In “The Mitchells vs. the Machines,” the filmmakers fell in love with concept art created by Lindsey Olivares, production/character designer, and decided they wanted a hand drawn, slightly off-kilter look for the movie. They needed to establish a new style that brought...
- 3/17/2022
- by Karen Idelson
- Variety Film + TV
For Netflix’s The Mitchells vs. the Machines, produced by Sony Pictures Animation, the idea of “Katie Vision” was bounced around for a bit, until production designer Lindsey Olivares got her hands on one of their animation tests. Director Mike Rianda said, “One weekend without telling anyone, she just stole some animation and drew on the screen and made it just with the crappy Photoshop she had on her computer. It was so exciting to see basically the super-expensive animated movie that some teenager had graffitied all over.”
The story of The Mitchells vs. the Machines is told from the perspective of Katie Mitchell, an aspiring film student. “Katie Vision” was used to give the film the aesthetic of an eager film student.
Deadline: When I spoke to the director, Mike Rianda, he mentioned that you came up with the idea for “Katie Vision.”
Lindsey Olivares: There was some...
The story of The Mitchells vs. the Machines is told from the perspective of Katie Mitchell, an aspiring film student. “Katie Vision” was used to give the film the aesthetic of an eager film student.
Deadline: When I spoke to the director, Mike Rianda, he mentioned that you came up with the idea for “Katie Vision.”
Lindsey Olivares: There was some...
- 3/16/2022
- by Ryan Fleming
- Deadline Film + TV
Netflix owned the Annie Awards on Saturday, picking up 20 of the night’s 31 competitive trophies during the virtual show. The streamer’s “The Mitchells vs. the Machines” was named best animated feature, topping the film categories with eight wins while “Arcane” ruled the TV side with nine, including best TV/media – general audience.
Neon’s animated documentary “Flee,” by Jonas Poher Rasmussen, was named best indie feature.
In addition to the top film award, “Mitchells,” from Sony Pictures Animation for Netflix, won awards for writing, FX, character design, production design, voice acting and editorial. The victory could give it an edge at the Academy Awards, with final Oscar voting set to start Thursday.
“This team never settled for anything that wasn’t original, bold or new and they broke the rules,” said Christopher Miller, who produced the film along with his Lord Miller partner Phil Lord and Sony Pictures Animation’s Kurt Albrecht.
Neon’s animated documentary “Flee,” by Jonas Poher Rasmussen, was named best indie feature.
In addition to the top film award, “Mitchells,” from Sony Pictures Animation for Netflix, won awards for writing, FX, character design, production design, voice acting and editorial. The victory could give it an edge at the Academy Awards, with final Oscar voting set to start Thursday.
“This team never settled for anything that wasn’t original, bold or new and they broke the rules,” said Christopher Miller, who produced the film along with his Lord Miller partner Phil Lord and Sony Pictures Animation’s Kurt Albrecht.
- 3/13/2022
- by Terry Flores
- Variety Film + TV
Netflix’s “The Mitchells vs. the Machines” dominated the 49th annual Annie Awards on Saturday, winning eight awards to only three for Disney’s “Encanto.” While “Mitchells” from Mike Rianda and Jeff Rowe has won more critics’ awards than “Encanto,” the Disney film has won virtually every Hollywood guild award and is the prohibitive favorite to win the Oscar for Best Animated Feature.
“Mitchells” won in every one of the eight categories in which it was nominated at the Annie Awards, including Best Feature, Best Direction, Best Writing and Best Voice Acting (Abbi Jacobson). The three wins for “Encanto” – for character animation, music and storyboarding – came in categories in which “Mitchells” was not nominated.
Netflix won an additional 12 awards in the 13 TV categories, nine of them for “Arcane.” Overall, the company was nominated in 25 categories and won in 20 of those.
The result was reminiscent of Annie ceremonies in 2009 and 2011, when...
“Mitchells” won in every one of the eight categories in which it was nominated at the Annie Awards, including Best Feature, Best Direction, Best Writing and Best Voice Acting (Abbi Jacobson). The three wins for “Encanto” – for character animation, music and storyboarding – came in categories in which “Mitchells” was not nominated.
Netflix won an additional 12 awards in the 13 TV categories, nine of them for “Arcane.” Overall, the company was nominated in 25 categories and won in 20 of those.
The result was reminiscent of Annie ceremonies in 2009 and 2011, when...
- 3/13/2022
- by Steve Pond
- The Wrap
“Dune” got a big boost in its Oscar bid for Best Production Design with a win on March 6 at the Art Directors Guild Awards. Over the first 25 years of these prizes, the eventual Oscar winner has always numbered among the Adg nominees in the various genre categories. “Dune” prevailed in the fantasy film race over “Cruella,” “Ghostbusters: Afterlife,” “The Green Knight” and “Shang-Chi and the Legend of the Ten Rings.”
Its closest Oscar competition, “Nightmare Alley,” won the period picture prize over two other Oscar contenders — “The Tragedy of Macbeth” and “West Side Story.” The fifth Oscar nominee, “The Power of the Dog,” was snubbed in that race in favor of “The French Dispatch” and “Licorice Pizza.”
“No Time to Die” won the contemporary category over “Candyman,” “Don’t Look Up,” “In the Heights” and “The Lost Daughter.”
Period Film
“The French Dispatch” – Production Designer: Adam Stockhausen
“Licorice Pizza” – Production Designer:...
Its closest Oscar competition, “Nightmare Alley,” won the period picture prize over two other Oscar contenders — “The Tragedy of Macbeth” and “West Side Story.” The fifth Oscar nominee, “The Power of the Dog,” was snubbed in that race in favor of “The French Dispatch” and “Licorice Pizza.”
“No Time to Die” won the contemporary category over “Candyman,” “Don’t Look Up,” “In the Heights” and “The Lost Daughter.”
Period Film
“The French Dispatch” – Production Designer: Adam Stockhausen
“Licorice Pizza” – Production Designer:...
- 3/6/2022
- by Paul Sheehan
- Gold Derby
2022 Art Directors Guild Awards: ‘Dune,’ ‘Nightmare Alley,’ and ‘No Time to Die’ Win Top Film Prizes
“Dune” (Warner Bros.), “Nightmare Alley” (Searchlight), and “No Time to Die” (MGM/UA) were the big film winners Saturday at the 26th Art Directors Guild Awards (held at the Intercontinental Los Angeles Downtown).
Denis Villeneuve’s epic “Dune” took sci-fi honors, Guillermo del Toro’s noirish “Nightmare Alley” won for period, and Cary Fukanaga’s “No Time to Die” (which closed out Daniel Craig’s James Bond saga), earned the contemporary prize. Additionally, “Encanto,” the Oscar favorite from Disney, grabbed the animated feature award.
Meanwhile, “Squid Game” (Netflix), “What We Do in the Shadows” (FX), and Marvel’s “Loki” and “WandaVision” from Disney+ won the major TV prizes.
In terms of an Oscar predictor, the production design race now comes down to “Dune” and “Nightmare Alley.” “No Time to Die” is not in contention, but the other nominees are “West Side Story” (20th Century), “The Power of the Dog” (Netflix...
Denis Villeneuve’s epic “Dune” took sci-fi honors, Guillermo del Toro’s noirish “Nightmare Alley” won for period, and Cary Fukanaga’s “No Time to Die” (which closed out Daniel Craig’s James Bond saga), earned the contemporary prize. Additionally, “Encanto,” the Oscar favorite from Disney, grabbed the animated feature award.
Meanwhile, “Squid Game” (Netflix), “What We Do in the Shadows” (FX), and Marvel’s “Loki” and “WandaVision” from Disney+ won the major TV prizes.
In terms of an Oscar predictor, the production design race now comes down to “Dune” and “Nightmare Alley.” “No Time to Die” is not in contention, but the other nominees are “West Side Story” (20th Century), “The Power of the Dog” (Netflix...
- 3/6/2022
- by Christian Blauvelt and Bill Desowitz
- Indiewire
The 26th annual Art Directors Guild Awards take place on Saturday (March 5). These kudos have a stellar record at previewing the outcome of the Best Production Design race at the Academy Awards. Over the first 25 years of these prizes, the eventual Oscar winner has always numbered among the Adg nominees in the various genre categories.
“Dune” is the clear frontrunner to win the Oscar for Best Production Design. It reaped a bid in the fantasy film genre with the Adg. The other fantasy film nominees are: “Cruella,” “Ghostbusters: Afterlife,” “The Green Knight” and “Shang-Chi and the Legend of the Ten Rings.”
Three of its Oscar rivals — “Nightmare Alley,” “The Tragedy of Macbeth” and “West Side Story”– contend in the period picture category. The fifth Oscar nominee, “The Power of the Dog,” was snubbed in that race in favor of “The French Dispatch” and “Licorice Pizza.”
The contemporary contenders are: “Candyman,...
“Dune” is the clear frontrunner to win the Oscar for Best Production Design. It reaped a bid in the fantasy film genre with the Adg. The other fantasy film nominees are: “Cruella,” “Ghostbusters: Afterlife,” “The Green Knight” and “Shang-Chi and the Legend of the Ten Rings.”
Three of its Oscar rivals — “Nightmare Alley,” “The Tragedy of Macbeth” and “West Side Story”– contend in the period picture category. The fifth Oscar nominee, “The Power of the Dog,” was snubbed in that race in favor of “The French Dispatch” and “Licorice Pizza.”
The contemporary contenders are: “Candyman,...
- 3/4/2022
- by Paul Sheehan
- Gold Derby
Ready to get animated?
“The Afterparty,” the latest genre-blurring marvel from creator Chris Miller (who also directed the every episode and produces) and his creative partner Phil Lord (who produces alongside Miller) sees the whodunnit formula manipulated in an ingenious way: each episode is told from the point of view of a different character (potential murderer!), and every episode’s style and tone changes to reflect that character. For example, one is a big Hollywood musical, the other a moody psychological thriller, and, for this week, it’s an animated comedy.
TheWrap talked to Lord and Miller about what it was like putting the episode together, what we should look out for in the post-finale re-watch and if there are plans for another animated episode, should the show return for Season 2. Also, crucially, we confirm which Poqutio Mas location they were at on the day of the Oscar nominations (the...
“The Afterparty,” the latest genre-blurring marvel from creator Chris Miller (who also directed the every episode and produces) and his creative partner Phil Lord (who produces alongside Miller) sees the whodunnit formula manipulated in an ingenious way: each episode is told from the point of view of a different character (potential murderer!), and every episode’s style and tone changes to reflect that character. For example, one is a big Hollywood musical, the other a moody psychological thriller, and, for this week, it’s an animated comedy.
TheWrap talked to Lord and Miller about what it was like putting the episode together, what we should look out for in the post-finale re-watch and if there are plans for another animated episode, should the show return for Season 2. Also, crucially, we confirm which Poqutio Mas location they were at on the day of the Oscar nominations (the...
- 2/18/2022
- by Drew Taylor
- The Wrap
On January 24 the Art Directors Guild announced the nominees for its 26th annual awards, which will be handed out on March 5. These kudos have a stellar record at previewing the Academy Awards. Over the first 25 years of these prizes, the eventual Oscar winner for Best Production Design has always numbered among the Adg nominees in the various categories.
“Dune” is the clear frontrunner to win the Oscar for Best Production Design. It reaped a bid in the fantasy film genre with the Adg. All four of its likeliest Oscar rivals — “The French Dispatch,” “Nightmare Alley,” “The Tragedy of Macbeth” and “West Side Story”– contend in the period picture category. That race is rounded out by “Licorice Pizza.”
The other fantasy film nominees are: “Cruella,” “Ghostbusters: Afterlife,” “The Green Knight” and “Shang-Chi and the Legend of the Ten Rings.”
The contemporary contenders are: “Candyman,” “Don’t Look Up,” “In the Heights,” “The Lost Daughter...
“Dune” is the clear frontrunner to win the Oscar for Best Production Design. It reaped a bid in the fantasy film genre with the Adg. All four of its likeliest Oscar rivals — “The French Dispatch,” “Nightmare Alley,” “The Tragedy of Macbeth” and “West Side Story”– contend in the period picture category. That race is rounded out by “Licorice Pizza.”
The other fantasy film nominees are: “Cruella,” “Ghostbusters: Afterlife,” “The Green Knight” and “Shang-Chi and the Legend of the Ten Rings.”
The contemporary contenders are: “Candyman,” “Don’t Look Up,” “In the Heights,” “The Lost Daughter...
- 1/24/2022
- by Paul Sheehan
- Gold Derby
The Art Directors Guild has announced nominations for the 26th Annual Excellence in Production Design Awards in theatrical motion pictures, television, commercials, music videos and animation features, with nominees in the top categories including Licorice Pizza, Cruella, Dune, In The Heights, The White Lotus and Encanto.
Winners will be announced at the Adg Awards ceremony, which returns to a live-in person event at the InterContinental Hotel Los Angeles Downtown Hotel on Saturday, March 5. Today’s announcement was made by Adg President Nelson Coates, Adg, and Awards Producer Michael Allen Glover, Adg.
As previously announced, director Denis Villeneuve (Dune) will receive the William Cameron Menzies Award. Academy Award-winning filmmaker Jane Campion (The Power of the Dog) will receive the Cinematic Imagery Award. The Adg Awards honor excellence in Production Design in theatrical motion pictures, television, commercials, music videos and animated feature films.
The producer of the 2022 Adg Awards is Art Director Michael Allen Glover,...
Winners will be announced at the Adg Awards ceremony, which returns to a live-in person event at the InterContinental Hotel Los Angeles Downtown Hotel on Saturday, March 5. Today’s announcement was made by Adg President Nelson Coates, Adg, and Awards Producer Michael Allen Glover, Adg.
As previously announced, director Denis Villeneuve (Dune) will receive the William Cameron Menzies Award. Academy Award-winning filmmaker Jane Campion (The Power of the Dog) will receive the Cinematic Imagery Award. The Adg Awards honor excellence in Production Design in theatrical motion pictures, television, commercials, music videos and animated feature films.
The producer of the 2022 Adg Awards is Art Director Michael Allen Glover,...
- 1/24/2022
- by Greg Evans
- Deadline Film + TV
“Nightmare Alley,” “Cruella,” “No Time to Die” and “In The Heights” are among the top films recognized for excellence in production design in the 26th annual Art Directors Guild nominations.
On Monday, the Adg announced nominations for this year’s awards show, which will return to a live ceremony on March 5 at the Intercontinental Hotel in Downtown Los Angeles.
“The French Dispatch,” “Licorice Pizza,” “West Side Story” and “The Tragedy of Macbeth” landed nominations in the period feature film category alongside “Nightmare Alley.” “Dune,” “Cruella,” “Shang-Chi and the Legend of the Ten Rings” “Ghostbusters: Afterlife” and “The Green Knight” earned recognition in fantasy feature film.
Missing out were Oscar contenders “Spencer,” “The Power of the Dog,” “Belfast” and “Cyrano.”
As previously announced, director Denis Villeneuve (“Dune”) will receive the William Cameron Menzies award. Jane Campion “(The Power of the Dog”) will receive the cinematic imagery award.
The Adg Awards honor...
On Monday, the Adg announced nominations for this year’s awards show, which will return to a live ceremony on March 5 at the Intercontinental Hotel in Downtown Los Angeles.
“The French Dispatch,” “Licorice Pizza,” “West Side Story” and “The Tragedy of Macbeth” landed nominations in the period feature film category alongside “Nightmare Alley.” “Dune,” “Cruella,” “Shang-Chi and the Legend of the Ten Rings” “Ghostbusters: Afterlife” and “The Green Knight” earned recognition in fantasy feature film.
Missing out were Oscar contenders “Spencer,” “The Power of the Dog,” “Belfast” and “Cyrano.”
As previously announced, director Denis Villeneuve (“Dune”) will receive the William Cameron Menzies award. Jane Campion “(The Power of the Dog”) will receive the cinematic imagery award.
The Adg Awards honor...
- 1/24/2022
- by Jazz Tangcay
- Variety Film + TV
“The French Dispatch,” “Nightmare Alley,” “West Side Story,” “Dune,” “The Green Knight” and “Don’t Look Up” are among the feature-film nominees for the 26th Annual Excellence in Production Design Awards, which are given out by the Art Directors Guild (IATSE Local 800).
Kicking off a four-day period in which 10 different Hollywood guilds and societies will announce their nominations, the Adg honorees were announced by guild president Nelson Coates and Adg Awards producer Michael Allen Glover.
In the period-film category, the Adg category that most closely matches the Oscar for Best Production Design, the nominees were “The French Dispatch,” “Licorice Pizza,” “Nightmare Alley,” “The Tragedy of Macbeth” and “West Side Story.”
In the fantasy category, nominations went to “Cruella,” “Dune,” “Ghostbusters: Afterlife,” “The Green Knight” and “Shang-Chi and the Legend of the Ten Rings.”
And in the contemporary category, the nominees were “Candyman,” “Don’t Look Up,” “In the Heights,” “The Lost Daughter” and “No Time to Die.
Kicking off a four-day period in which 10 different Hollywood guilds and societies will announce their nominations, the Adg honorees were announced by guild president Nelson Coates and Adg Awards producer Michael Allen Glover.
In the period-film category, the Adg category that most closely matches the Oscar for Best Production Design, the nominees were “The French Dispatch,” “Licorice Pizza,” “Nightmare Alley,” “The Tragedy of Macbeth” and “West Side Story.”
In the fantasy category, nominations went to “Cruella,” “Dune,” “Ghostbusters: Afterlife,” “The Green Knight” and “Shang-Chi and the Legend of the Ten Rings.”
And in the contemporary category, the nominees were “Candyman,” “Don’t Look Up,” “In the Heights,” “The Lost Daughter” and “No Time to Die.
- 1/24/2022
- by Steve Pond
- The Wrap
IndieWire launches Sketch to Screen, a new behind-the-scenes exploration of cutting edge animation that kicks off with Oscar contender “The Mitchells vs. The Machines” (Sony/Netflix).
From Oscar-winning producers Phil Lord and Chris Miller (“Spider-Man: Into the Spider-Verse”) and first-time director Mike Rianda (“Gravity Falls”), “The Mitchells vs. the Machines” offers a handmade, watercolor aesthetic that perfectly matches the wild road trip about a family fighting the robot apocalypse, while also contrasting them with the sleek perfection of the AI-created robot world.
Rianda was encouraged by the boldness of “Into the Spider-Verse” to make his debut even more ambitious: “The reason we wanted the movie to have a hand-drawn look is because when you see a drawing, you see all these little imperfections and…places where the pen goes, that you wouldn’t expect it to,” he said. “And it just feels really natural and organic. And our characters are natural,...
From Oscar-winning producers Phil Lord and Chris Miller (“Spider-Man: Into the Spider-Verse”) and first-time director Mike Rianda (“Gravity Falls”), “The Mitchells vs. the Machines” offers a handmade, watercolor aesthetic that perfectly matches the wild road trip about a family fighting the robot apocalypse, while also contrasting them with the sleek perfection of the AI-created robot world.
Rianda was encouraged by the boldness of “Into the Spider-Verse” to make his debut even more ambitious: “The reason we wanted the movie to have a hand-drawn look is because when you see a drawing, you see all these little imperfections and…places where the pen goes, that you wouldn’t expect it to,” he said. “And it just feels really natural and organic. And our characters are natural,...
- 1/14/2022
- by IndieWire Staff
- Indiewire
As Mike Rianda and Jeff Rowe were writing the story for The Mitchells vs the Machines, they realized that all of the people they knew who inspired Katie Mitchell were queer. In discussing this with LGBTQ+ members of their crew, the decision to make Katie open about her queerness was obvious.
This Netflix sci-fi family comedy follows the Mitchell family, which is based on Rianda’s own family. Katie Mitchell (Abbi Jacobson) is an aspiring filmmaker with a dream to go to film school and has a contentious relationship with her father Rick (Danny McBride), who doesn’t understand technology and is dismissive of her interests. In a last-ditch effort to save their relationship, Rick takes Katie and the rest of the family, his wife Linda (Maya Rudolph) and son Aaron (Rianda), on a cross-country road trip to drop Katie off at school. While on the trip, a technology entrepreneur...
This Netflix sci-fi family comedy follows the Mitchell family, which is based on Rianda’s own family. Katie Mitchell (Abbi Jacobson) is an aspiring filmmaker with a dream to go to film school and has a contentious relationship with her father Rick (Danny McBride), who doesn’t understand technology and is dismissive of her interests. In a last-ditch effort to save their relationship, Rick takes Katie and the rest of the family, his wife Linda (Maya Rudolph) and son Aaron (Rianda), on a cross-country road trip to drop Katie off at school. While on the trip, a technology entrepreneur...
- 1/14/2022
- by Ryan Fleming
- Deadline Film + TV
Many worthy films for all audiences flew under the pop culture radar in 2021, released with some fanfare but overshadowed by current events. Take the animated Connected, for example. Announced by Sony for 2020, it briefly arrived in theaters in April before hitting Netflix under the name The Mitchells vs. the Machines.
Now available in a Blu-ray/DVD/Digital HD combo pack, the film is well worth your time and attention. First of all, it’s funny and good for the entire family to enjoy together. Second, it has some fine messages underneath the frenetic pace and stuffed visuals.
Rick (Danny McBride) loves nature and is a bit of a technophobe, setting up a conflict with his daughter Katie (Abbi Jacobson), who is about to attend film school. When their visions clash one more time, he cancels her flight and decides to pack the family into their old station wagon and drive across the country.
Now available in a Blu-ray/DVD/Digital HD combo pack, the film is well worth your time and attention. First of all, it’s funny and good for the entire family to enjoy together. Second, it has some fine messages underneath the frenetic pace and stuffed visuals.
Rick (Danny McBride) loves nature and is a bit of a technophobe, setting up a conflict with his daughter Katie (Abbi Jacobson), who is about to attend film school. When their visions clash one more time, he cancels her flight and decides to pack the family into their old station wagon and drive across the country.
- 1/3/2022
- by Robert Greenberger
- Comicmix.com
The filmmakers behind Sony Pictures Animation’s “The Mitchells vs. the Machines will participate in a free, virtual PreVIEW talk on Friday, May 14, beginning at 10 a.m. Pt., presented by the View Conference.
The 90-minute discussion, moderated by Variety’s Steven Gaydos, will feature writer-director Michael Rianda, co-director and writer Jeff Rowe, production designer Lindsey Olivares, head of story Guillermo Martinez, VFX supervisor Mike Lasker and head of character animation Alan Hawkins.
“They say it takes an entire village of people to make a film,”says View Conference Director Maria Elena Gutierrez. “We are delighted to welcome six of the talented villagers behind ‘The Mitchells vs. The Machines’ into the View Conference family for this free PreVIEW event exploring the craft behind the film. We’re bringing so much creative energy together in one place, I know this is going to be a session to remember.”
“The Mitchells vs. the...
The 90-minute discussion, moderated by Variety’s Steven Gaydos, will feature writer-director Michael Rianda, co-director and writer Jeff Rowe, production designer Lindsey Olivares, head of story Guillermo Martinez, VFX supervisor Mike Lasker and head of character animation Alan Hawkins.
“They say it takes an entire village of people to make a film,”says View Conference Director Maria Elena Gutierrez. “We are delighted to welcome six of the talented villagers behind ‘The Mitchells vs. The Machines’ into the View Conference family for this free PreVIEW event exploring the craft behind the film. We’re bringing so much creative energy together in one place, I know this is going to be a session to remember.”
“The Mitchells vs. the...
- 5/10/2021
- by Terry Flores
- Variety Film + TV
For first-time film director Mike Rianda (“Gravity Falls”), “The Mitchells vs. The Machines” (streaming Friday on Netflix) was like making 10 incredibly difficult animated features in one. That’s because the complicated hand-drawn aesthetic broke the CG pipeline at Sony Pictures Imageworks even more than their game changing “Spider-Man: Into the Spider-Verse.”
But it was all in the service of Rianda’s inventive debut about a dysfunctional family on a wacky road trip to save humanity from the robot apocalypse. In fact, because it emphasizes their weaknesses, you could call it his anti-“Incredibles.” “This is a very personal movie about my very weird family,” he told IndieWire during a recent interview. “And I wanted a movie where the artists have a say and the best idea wins. I looked at the watercolor illustrations by production designer Lindsey Olivares and I said, ‘Why can’t this movie look like that?'...
But it was all in the service of Rianda’s inventive debut about a dysfunctional family on a wacky road trip to save humanity from the robot apocalypse. In fact, because it emphasizes their weaknesses, you could call it his anti-“Incredibles.” “This is a very personal movie about my very weird family,” he told IndieWire during a recent interview. “And I wanted a movie where the artists have a say and the best idea wins. I looked at the watercolor illustrations by production designer Lindsey Olivares and I said, ‘Why can’t this movie look like that?'...
- 4/29/2021
- by Bill Desowitz
- Indiewire
Annecy 2020 Online kicked off its world-class French animation festival Monday with a pre-recorded video touting Sony Picture’s “Connected” (October 23), the latest tech savvy movie from “Spider-Man: Into the Spider-Verse” producers Phil Lord and Chris Miller. However, Mike Rianda, who makes his directorial feature debut after guiding “Gravity Falls,” is the true creative force behind “Connected,” a very personal comedy about a family road trip that brings a combative father and daughter closer together when they fight a robot uprising.
“We wanted to make a movie where the artists…have a say and the best idea wins,” said Rianda, who was joined in the video by Guillermo Martinez (head of story) and Lindsey Olivares (production designer) after a brief introduction by Lord and Miller. (The video is available to all registered festivalgoers through June 30). After “Spider-Verse” took animation by storm and won the Oscar, Rianda was encouraged to pursue “new stories and fresh animation styles.
“We wanted to make a movie where the artists…have a say and the best idea wins,” said Rianda, who was joined in the video by Guillermo Martinez (head of story) and Lindsey Olivares (production designer) after a brief introduction by Lord and Miller. (The video is available to all registered festivalgoers through June 30). After “Spider-Verse” took animation by storm and won the Oscar, Rianda was encouraged to pursue “new stories and fresh animation styles.
- 6/15/2020
- by Bill Desowitz
- Thompson on Hollywood
Annecy 2020 Online kicked off its world-class French animation festival Monday with a pre-recorded video touting Sony Picture’s “Connected” (October 23), the latest tech savvy movie from “Spider-Man: Into the Spider-Verse” producers Phil Lord and Chris Miller. However, Mike Rianda, who makes his directorial feature debut after guiding “Gravity Falls,” is the true creative force behind “Connected,” a very personal comedy about a family road trip that brings a combative father and daughter closer together when they fight a robot uprising.
“We wanted to make a movie where the artists…have a say and the best idea wins,” said Rianda, who was joined in the video by Guillermo Martinez (head of story) and Lindsey Olivares (production designer) after a brief introduction by Lord and Miller. (The video is available to all registered festivalgoers through June 30). After “Spider-Verse” took animation by storm and won the Oscar, Rianda was encouraged to pursue “new stories and fresh animation styles.
“We wanted to make a movie where the artists…have a say and the best idea wins,” said Rianda, who was joined in the video by Guillermo Martinez (head of story) and Lindsey Olivares (production designer) after a brief introduction by Lord and Miller. (The video is available to all registered festivalgoers through June 30). After “Spider-Verse” took animation by storm and won the Oscar, Rianda was encouraged to pursue “new stories and fresh animation styles.
- 6/15/2020
- by Bill Desowitz
- Indiewire
As the Annecy International Animation Film Festival starts up online today, Connected director Mike Rianda showed off some sneak peek work-in-progress footage of Sony Pictures Animation’s upcoming release. He also discussed the inspirations for the movie, which include Spiderman: Into The Spider-Verse, his own “insane family” and a longtime fascination with technology.
Rianda was introduced in a pre-recorded video by producers Phil Lord and Chris Miller who appeared against backdrops of the southeastern French town, and said the film is being finished. Miller noted, “It’s coming together beautifully. We’re almost there, excited to bring it to all of you this fall.”
Connected is the story of an everyday family’s struggle to relate while technology first disconnects them from one another in their daily lives, then rises up to take over the world. The film was originally dated in September, and is currently due to start offshore...
Rianda was introduced in a pre-recorded video by producers Phil Lord and Chris Miller who appeared against backdrops of the southeastern French town, and said the film is being finished. Miller noted, “It’s coming together beautifully. We’re almost there, excited to bring it to all of you this fall.”
Connected is the story of an everyday family’s struggle to relate while technology first disconnects them from one another in their daily lives, then rises up to take over the world. The film was originally dated in September, and is currently due to start offshore...
- 6/15/2020
- by Nancy Tartaglione
- Deadline Film + TV
Annecy 2020 Online’s second wave of special programming for its world-class French animation festival (June 15-30) will include a preview from the highly anticipated “Connected”, the latest feature from “Spider-Man: Into the Spider-Verse” producers Phil Lord and Chris Miller, and a Masterclass from stop-motion director Henry Selick and composer Bruno Coulais, who collaborated on Netflix’s upcoming demon comedy, “Wendell & Wild”, and Laika’s “Coraline.”
Also in the mix will be discussions with director Dean DeBlois (DreamWorks Animation’s “How to Train Your Dragon” trilogy), Disney’s legendary directing duo Ron Clements and John Musker, Disney’s chief creative officer/director Jennifer Lee and director Chris Buck on their upcoming Disney+ doc, “Into the Unknown: Making ‘Frozen 2′” (streaming June 26), the art of storyboarding at Cartoon Network Studios (“Summer Camp Island”), a 20th anniversary remembrance of “Chicken Run” with Aardman’s Nick Park and Peter Lord, and a conversation with the...
Also in the mix will be discussions with director Dean DeBlois (DreamWorks Animation’s “How to Train Your Dragon” trilogy), Disney’s legendary directing duo Ron Clements and John Musker, Disney’s chief creative officer/director Jennifer Lee and director Chris Buck on their upcoming Disney+ doc, “Into the Unknown: Making ‘Frozen 2′” (streaming June 26), the art of storyboarding at Cartoon Network Studios (“Summer Camp Island”), a 20th anniversary remembrance of “Chicken Run” with Aardman’s Nick Park and Peter Lord, and a conversation with the...
- 6/4/2020
- by Bill Desowitz
- Indiewire
Netflix, Disney Sony, Cartoon Network Studios, Dean DeBlois and Aardman are reading presentations at France’s Annecy Film Festival — as 2020’s Annecy, even online, once more proves to be the biggest animation fest in the world and the international event with the largest Hollywood and now global platform presence.
Put together, Annecy’s latest big wave of programming announcement suggests that its move online will mean no world premiere of a potential Hollywood blockbuster – such as, in the past, the “Despicable Me” movie series. With more studio involvement most probably still to be announced, many of the good and great of the English-speaking animation world do look more than willing, however, to roll up their sleeves to update accredited festival viewers on upcoming releases such as, of titles now announced, Netflix’s “Wendell & Wild” and Sony Pictures Animation’s “Connected.”
Netflix
A masterclass between stop-motion luminary Henry Selick and composer...
Put together, Annecy’s latest big wave of programming announcement suggests that its move online will mean no world premiere of a potential Hollywood blockbuster – such as, in the past, the “Despicable Me” movie series. With more studio involvement most probably still to be announced, many of the good and great of the English-speaking animation world do look more than willing, however, to roll up their sleeves to update accredited festival viewers on upcoming releases such as, of titles now announced, Netflix’s “Wendell & Wild” and Sony Pictures Animation’s “Connected.”
Netflix
A masterclass between stop-motion luminary Henry Selick and composer...
- 6/4/2020
- by John Hopewell and Jamie Lang
- Variety Film + TV
I really don't put much stock in the International Animated Film Society's 2013 Annie Awards, which is why I didn't rush to report on their results on Saturday. One year Disney and Pixar boycott the event, feeling there was an unfair advantage paid to larger contributing sponsors, DreamWorks being the primary example. So with such a nasty stench over the event what good does it do to pay it much mind? That said, I'll be brief in mentioning Wreck-It Ralph topped Saturday night's winners with five awards, including Best Animated Picture. The awards have something like a 75% streak when it comes to helping predict the eventual Oscar winner for Best Animated Feature and as the days have gone on, it's looking more and more like Ralph will be this year's winner (see my predictions here). Pixar's Brave, Laika's ParaNorman and DreamWorks' Rise of the Guardians each took home two awards in lesser,...
- 2/4/2013
- by Brad Brevet
- Rope of Silicon
Disney's "Wreck-It-Ralph" was the big winner at the 40th Annie Awards held Saturday taking home the Best Animated Feature award. It is now officially the Oscar frontrunner in the Best Animated Film category.
Here's the complete list of winners/nominees; for winners/nominees of other award-giving bodies this season, click here:
Animated Feature
"Brave" . Pixar Animation Studios
"Frankenweenie" . Walt Disney Studios
"Hotel Transylvania" . Sony Pictures Animation
"ParaNorman" . Focus Features
"Rise of the Guardians" . DreamWorks Animation
"The Pirates! Band of Misfits" . Aardman Animations
"The Rabbi.s Cat ". Gkids
Winner "Wreck-It Ralph" . Walt Disney Animation Studios
Animated Special Production
"Batman: The Dark Knight Returns, Part 1" . Warner Bros. Animation
"Before Orel" . Trust . Starburns Industries, Inc.
Winner "Despicable Me: Minion Mayhem" . Illumination Entertainment
"Disney Tron: Uprising . Beck.s Beginning" . Disney TV Animation
"Dragons: Gift of the Night Fury" . DreamWorks Animation
"Justice League: Doom" . Warner Bros. Animation
Animated Short Subject
"Brad and Gary" . Illumination...
Here's the complete list of winners/nominees; for winners/nominees of other award-giving bodies this season, click here:
Animated Feature
"Brave" . Pixar Animation Studios
"Frankenweenie" . Walt Disney Studios
"Hotel Transylvania" . Sony Pictures Animation
"ParaNorman" . Focus Features
"Rise of the Guardians" . DreamWorks Animation
"The Pirates! Band of Misfits" . Aardman Animations
"The Rabbi.s Cat ". Gkids
Winner "Wreck-It Ralph" . Walt Disney Animation Studios
Animated Special Production
"Batman: The Dark Knight Returns, Part 1" . Warner Bros. Animation
"Before Orel" . Trust . Starburns Industries, Inc.
Winner "Despicable Me: Minion Mayhem" . Illumination Entertainment
"Disney Tron: Uprising . Beck.s Beginning" . Disney TV Animation
"Dragons: Gift of the Night Fury" . DreamWorks Animation
"Justice League: Doom" . Warner Bros. Animation
Animated Short Subject
"Brad and Gary" . Illumination...
- 2/3/2013
- by Manny
- Manny the Movie Guy
I love the art of animation, and it's amazing to see how far things have come and advanced over the years. The industry is changing in terms of technology, but what it all really comes down to is telling good stories. There's been a lot of great animated movies this year, and many of them are up for several awards at the 40th Annual Annie Awards.
Some of the movies nomainated include Brave, Frankenweenie, Hotel Transylvania, ParaNorman, Rise of the Guardians, The Pirates! Band of Misfits, and Wreck-It Ralph. Out of those films my favorite is a toss up between Wreck-It Ralph and ParaNorman, those were two pretty incredible films. I think ParaNorman has the edge though.
Some of the other animated properties nominated are Batman: The Dark Knight Returns, Part 1, Disney Tron: Uprising, Justice League: Doom, Robot Chicken ‘DC Comics Special', South Park ‘Raising the Bar’, and several others.
Some of the movies nomainated include Brave, Frankenweenie, Hotel Transylvania, ParaNorman, Rise of the Guardians, The Pirates! Band of Misfits, and Wreck-It Ralph. Out of those films my favorite is a toss up between Wreck-It Ralph and ParaNorman, those were two pretty incredible films. I think ParaNorman has the edge though.
Some of the other animated properties nominated are Batman: The Dark Knight Returns, Part 1, Disney Tron: Uprising, Justice League: Doom, Robot Chicken ‘DC Comics Special', South Park ‘Raising the Bar’, and several others.
- 12/4/2012
- by Joey Paur
- GeekTyrant
The International Animated Film Society (Asifa-Hollywood) has announced the nominees for the 40th Annie Awards also known as Animation's Highest Honor. Disney/Pixar led the nominees with "Brave," "Frankenweenie," and "Wreck-It-Ralph" getting Best Picture nods. The 40th Annual Annie Awards will take place on February 2, 2013 at UCLA.s Royce Hall, in Los Angeles, California.
And the nominees for the 40th Annual Annie Awards are:
Best Picture nominees:
Brave - Disney/Pixar)
Frankenweenie -The Walt Disney Studios
Hotel Transylvania - Sony Pictures Animation
ParaNorman - Focus Features
Rise of the Guardians - DreamWorks Animation
The Pirates! Band of Misfits - Aardman Animations
The Rabbi.s Cat - Gkids
Wreck-It Ralph - Walt Disney Animation Studios
Annie Award for Best Animated Special Production
Batman: The Dark Knight Returns, Part 1 . Warner Bros. Animation
Best General Audience Animated Television Production
Archer .Space Race, Part 1. . Weissman Markovitz Communications for FX
Bob.S Burgers .Earsy Rider...
And the nominees for the 40th Annual Annie Awards are:
Best Picture nominees:
Brave - Disney/Pixar)
Frankenweenie -The Walt Disney Studios
Hotel Transylvania - Sony Pictures Animation
ParaNorman - Focus Features
Rise of the Guardians - DreamWorks Animation
The Pirates! Band of Misfits - Aardman Animations
The Rabbi.s Cat - Gkids
Wreck-It Ralph - Walt Disney Animation Studios
Annie Award for Best Animated Special Production
Batman: The Dark Knight Returns, Part 1 . Warner Bros. Animation
Best General Audience Animated Television Production
Archer .Space Race, Part 1. . Weissman Markovitz Communications for FX
Bob.S Burgers .Earsy Rider...
- 12/3/2012
- by Manny
- Manny the Movie Guy
Disney withdrew from the International Animated Film Society, Asifa-Hollywood back in 2010 and even before then it was hard to put much stock in the Annie Awards. Now it's just sort of a blip on the overall award season radar that manages headlines twice a year, once for their nominees and again for their winners, which this year will be announced on Saturday, February 2, 2013. That said, the org announced their 2013 nominees this morning and their Best Feature Film list was made up of eight nominees (a large list considering the lack of quality animated films I've seen this year) including Brave, Frankenweenie, Hotel Transylvania, ParaNorman, Rise of the Guardians, The Pirates! Band of Misfits, The Rabbi's Cat and Wreck-It Ralph. It is nice not to see something like The Lorax among that list, but I still think this was a year in which the field could have easily been limited to five nominees.
- 12/3/2012
- by Brad Brevet
- Rope of Silicon
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