Alan Menken, est devenu la 16ème personne de l'Histoire à obtenir le statut d'EGOT, le cercle très fermé d’artistes ayant remporté au moins une fois dans leur carrière un Emmy Award, un Grammy Award, un Oscar et un Tony Award. Malgré de nombreuses récompenses, il lui manquait encore un (Daytime) Emmy Award, enfin obtenu en 2020 grâce la chanson "Waiting in the Wings" de Raiponce : La Série. À noter qu'Alan Menken avait déjà reçu un Primetime Emmy honorifique en 1990. Il rejoint d'autres personnalités liées à l'univers de Disney qui étaient déjà EGOT, à savoir Tim Rice, Whoopi Goldberg et Robert Lopez.
Entre 1989 et 2020, Menken aura reçu un total de 21 récompenses. Il est le deuxième lauréat d'un Oscar le plus prolifique dans les catégories musicales après Alfred Newman, et a fréquemment plusieurs chansons du même film en nomination pour des prix majeurs.
Academy Awards: 1989: Best Original Score – The Little Mermaid 1989: Best Original Song – "Under the Sea" from The Little Mermaid 1991: Best Original Score – Beauty and the Beast 1991: Best Original Song – "Beauty and the Beast" from Beauty and the Beast 1992: Best Original Score – Aladdin 1992: Best Original Song – "A Whole New World" from Aladdin 1995: Best Original Musical or Comedy Score – Pocahontas 1995: Best Original Song – "Colors of the Wind" from Pocahontas
Primetime Emmy Awards: 1990: Outstanding contribution to the success of the Academy's anti-drug special for children – "Wonderful Ways to Say No" from the TV special Cartoon All-Stars to the Rescue (non-competitive)
Daytime Emmy Awards: 2020: Outstanding Original Song in a Children’s, Young Adult or Animated Program – "Waiting in the Wings" from Rapunzel's Tangled Adventure
Grammy Awards: 1991: Best Recording for Children – The Little Mermaid: Original Walt Disney Records Soundtrack 1991: Best Song Written Specifically for a Motion Picture or Television – "Under the Sea" from The Little Mermaid 1993: Best Album for Children – Beauty and the Beast: Original Motion Picture Soundtrack 1993: Best Instrumental Composition Written for a Motion Picture or for Television – Beauty and the Beast: Original Motion Picture Soundtrack 1993: Best Song Written Specifically for a Motion Picture or Television – "Beauty and the Beast" from Beauty and the Beast 1994: Song of the Year – "A Whole New World (Aladdin's Theme)" from Aladdin 1994: Best Musical Album for Children – Aladdin: Original Motion Picture Soundtrack 1994: Best Instrumental Composition Written for a Motion Picture or for Television – Aladdin: Original Motion Picture Soundtrack 1994: Best Song Written Specifically for a Motion Picture or Television – "A Whole New World" from Aladdin 1996: Best Song Written Specifically for a Motion Picture or Television – "Colors of the Wind" from Pocahontas 2012: Best Song Written for Visual Media – "I See the Light" from Tangled
Emmy amplement mérité, comme toutes ses autres récompenses ! Dommage qu'il n'ait jamais été récompensé pour son travail sur Le Bossu de Notre-Dame, un de ses meilleur à mes yeux ^^ En tout cas, toutes mes félicitations à ce grand compositeur ^^
Walt Disney Animation Studios a annoncé le décès de Sue Nichols Maciorowski, une artiste influente du développement visuel et de l'histoire qui a contribué à définir l'aspect et la narration des films de la Renaissance Disney et de ceux qui suivirent.
Sur La Belle et la Bête, elle a contribué au développement visuel et à l'histoire puis elle a créé les premières illustrations de développement visuel pour Aladdin. À partir de là, elle a travaillé sur la conception de personnages et le développement visuel sur Le Roi Lion, Le Bossu de Notre Dame, Mulan et Lilo & Stitch.
Sur Hercule, elle a créé un guide de style qui définissait le design grec et a supervisé l'aspect du film à travers le layout, l'animation, les effets, le style des couleurs et plus encore.
Le titre Production Stylist" a été créé pour elle, car personne n'avait joué un rôle similaire auparavant chez Disney Animation.
Pour La princesse et la grenouille, elle a suggéré des artistes de la Renaissance de Harlem tels qu'Aaron Douglas comme source d'inspiration pour la chanson de Tiana "Almost There" ("Au Bout du Rêve" en France), aidant à scénariser et à concevoir la séquence stylisée. Plus récemment, elle a créé les premiers modèles de personnages de Maui pour Moana.
Pour l'animateur et réalisateur Eric Goldberg : «Elle manquera beaucoup à ceux d'entre nous qui ont eu la chance de travailler avec elle, mais son influence sur ces films sera là pour toujours.»
Déçu de voir que l'animation de Glen Keane semble se diluer dans un sous-Dreamworks à l'humour prévisible et à la musique digne d'un mauvais numéro de l'Eurovision... Le "Netflix de Noël" (ça devient une habitude non ?) de 2019 était autrement plus beau : le superbe "Klaus" de Sergio Pablos ! A voir quand même mais vu la BA j'y crois moyen...
En soit, le coté Dreamworks n'est pas si étonnant car Pearl Studio était autrefois Oriental DreamWorks
Tout s'explique alors Je ne veux pas avoir de jugement définitif avant d'avoir vu le film, mais j'aurais aimé que Glen Keane mette son talent au service de quelque chose d'un peu plus ambitieux artistiquement...
Quel peut bien être ce mystérieux projet dont parle Zach Parrish (réalisateur du court-métrage Flaques d'eau, chef animation de BH6 et animateur sur les derniers films WDAS) ?
Yesterday was something special with some special people. Cannot wait for people to see and hear this one. #thatsawrap @ Walt Disney Animation Studios https://t.co/b1oM8tWrDY
Marge Champion est décédée le 21 octobre à l'âge de 101 ans. Elle avait servi de modèle pour la gestuelle de plusieurs personnages dans les films d'animation : Blanche Neige, la Fée Bleue de Pinocchio, et divers personnages de Fantasia.
Citation :
“Marge Champion brought all of her many talents to help bring iconic silver-screen women—from Snow White, to the Blue Fairy in Pinocchio, to characters in Fantasia—to animated life. Walt Disney Animation Studios owes Marge, a Disney Legend and pioneer in animation, our deepest respect and gratitude.” — Jennifer Lee, chief creative officer, Walt Disney Animation Studios
D'ailleurs, Animal Crackers, de Scott Christian Sava et Tony Bancroft justement, est disponible sur Netflix également :
Citation :
Une famille hérite d'un cirque... et d'une boîte magique contenant des biscuits en forme d'animaux qui transforment quiconque les croque en véritable animal.
UN FILM QUI AURAIT PU NE JAMAIS VOIR LE JOUR
Animal Crackers, c’est le nouveau film d’animation à découvrir sur Netflix cet été (conseillé à partir de 7 ans). Et pourtant, ce long-métrage qui s’offre un casting vocal VO de qualité (Emily Blunt, Danny DeVito, John Krasinski, Ian McKellen, Sylvester Stallone etc) aurait pu ne jamais voir le jour. Nous sommes en 2010 lorsque le réalisateur Scott Christian Sava décide d’adapter à l’écran le livre qu’il a écrit pour ses deux jeunes enfants, autour des animals crackers, des biscuits en forme d’animaux prisés par tous. Ne réussissant pas à ramasser assez d’argent pour financer son projet, Sava réalise un court-métrage pour pouvoir le présenter à d’éventuels producteurs. Le scénario arrive en 2013 sur le bureau d’Harvey Weinstein, qui lui propose de co-financer le long-métrage via sa compagnie. Sava s’associe avec Tony Bancroft pour le réaliser. Et c’est là que les difficultés commencent pour eux.
Si Sava et son équipes arrivent à terminer le film et à le présenter en 2017 au Festival d’Annecy, c’est la distribution qui va poser problème. Alors qu’Animal Crackers devait sortir dans nos salles obscures en avril 2017, la société chargé de la distribution du film d’animation fait faillite. La date de sortie est repoussée à septembre 2017, puis août 2018, via une autre société, Entertainment Studios Motion. Mais un désaccord entre cette dernière et les producteurs va mettre un terme à l’exploitation du film. Sans compter sur le fait qu’en juillet 2018, un certain Rodger May porte plainte en déclarant qu’il détient les droits du film. Il faut attendre fin 2019 pour que celui-ci décide de retirer sa plainte.
C’est finalement Netflix qui en rachètera les droits de diffusion, permettant à Animal Crackers de sortir dans plus 140 pays.
Netflix lance Nico Nickel le camion poubelle, nouvelle série animée pour le jeune public qui met en scène un garçon et un ami peu ordinaire : Hank a 6 ans et avec son meilleur ami, un énorme camion poubelle, il explore le monde autour d’eux au fil de fantastiques aventures en compagnie de leurs copains animaux.
En coulisses, le projet est porté par Max Keane, showrunner et producteur exécutif de cette série. Il est également le fils de l'animateur et réalisateur Glen Keane, lui-même impliqué dans le projet. Comme l’explique Variety, Netflix a en fait signé à la même époque cette série et le Voyage vers la Lune de Glen Keane. Max Keane précise que l’idée surprenante de cette série lui est venue de son fils Henry, qui lorsqu’il était petit était fasciné par les camions poubelles passant devant la maison, avec leur taille massive et leur bruit assourdissant.
C’est Dwarf Animation qui était en charge de donner vie au projet, qui a donc été fabriqué à côté de Montpellier.
Voici pour finir la bande-annonce de la série, en VO ; la VF est disponible directement sur Netflix.
Max Keane apparaissait déjà dans les génériques des derniers projets de son père, Duet, Nephtali ou encore Dear Basketball en tant que Production Designer (Directeur Artistique).
Comment aborder la conception d'un personnage ? Où trouver l'inspiration pour créer un univers d'animation ? A l'occasion de la sortie de son film d'animation Voyage vers la Lune, Glen Keane répond aux questions des étudiants des Gobelins :
Naudirasley, claire17 et L'Oncle Walt aiment ce message
Interviewé par The Hollywood Reporter, Pete Docter évoque l'avenir qui attend Pixar, la production de Soul ainsi que sa position de CCO. On y apprend notamment que Aphton Corbin (story artist sur Toy Story 4) et Rosana Sullivan (réalisatrice de Kitbull) développement actuellement leurs propres films, chacune de leur côté, pour de futures sorties au cinéma (donc sûrement vers 2023/2024). Docter annonce également que si beaucoup d'histoires originales arrivent bientôt dans les salles, il va falloir s'attendre à ce que d'autres suites soient commandées pour cause de sécurité financière.
Citation :
After John Lasseter's exit, the 'Soul' co-director has reinvigorated Disney's multibillion-dollar Oscar-winning powerhouse by ushering in a new diverse generation of filmmakers and projects. In June of 2018, then Disney CEO Bob Iger summoned Pete Docter from the Pixar Animation Studios campus in Emeryville, California, to Disney's corporate headquarters in Burbank — a building fronted by 19-foot sculptures of characters from Snow White — for a conversation that would seem to be a career pinnacle for any modern animator. For Docter, however, the moment was fraught. "I go down there into that giant building with the dwarves on it and push the elevator button," Docter says. "I had a suspicion of what he wanted to talk about, and it just hit me. I will be honest, there was a little bit of dread."
For the previous six months, Pixar, the studio Docter had joined in 1990 as its third animator the day after he graduated from CalArts, had been operating without its founding creative leader, John Lasseter. In November of 2017, Lasseter had taken what was being called a sabbatical from the studio after writing a letter apologizing for unspecified "missteps" amid allegations of unwanted touching. In the resulting tumult, Docter was trying to stay focused on directing an ambitious new film, Soul, after Disney had just accelerated the release date by six months, while also serving on a leadership team convened to keep the studio running in Lasseter's absence. An introvert who had only ever really wanted to sit at a desk and animate since he was 8, Docter realized as he was riding up in the elevator to Iger's office that day that he was about to be offered an extraordinary opportunity, to step into Lasseter's job running a studio that has grossed $14.5 billion at the box office, won 21 Oscars and helped revolutionize its art form.
"I did wonder, 'If I say no, what happens?' I don't want to seem too self-aggrandizing here, but I wasn't sure who else would do it. And so I said yes," says Docter, 52, speaking by Zoom from his home in Piedmont, California, in mid-December. Since Pixar moved to working from home, Docter has been using his grown son's old bedroom as his office, and there are artifacts of teen life, including a collection of stickers from burrito wrappers, scattered around him.
Nineteen months into taking the job, Docter is ushering in a new, more diverse generation of filmmakers at the studio, developing a pipeline of projects to feed Disney's 13-month-old streaming service, Disney+, and grappling with taking the place of the complicated, larger-than-life figure that Lasseter represented at Pixar. More than any studio executive since Walt Disney, Lasseter was personally associated with the movies his company made, projecting a public persona of a friendly genius in a Hawaiian shirt responsible for Pixar's unbroken string of critical and commercial successes. Lasseter's departure during the heat of the #MeToo movement punctured that myth and left Pixar employees anxious and adrift. Since taking the job, Docter has been trying to evolve the company while holding on to the principles of creative risk-taking that enabled him to direct some of the studio's most inventive movies — Inside Out; Up; Monsters, Inc. and Soul, which premiered on Disney+ over Christmas.
Soul, made with co-director Kemp Powers, features Pixar's first Black protagonist, a jazz pianist who confronts a typically Docterian existential question: What is the meaning of life? Docter first conceived the idea after his success on Inside Out, which made $857.6 million in 2015 and won the animated feature Oscar. "I started wondering, 'I don't know if it's going to get better than that, so why is it that I still don't feel like everything's buttoned up and fixed in my life?' " he says. " 'It didn't fix everything. Is there something more I should be doing?' "
For all of Docter's trepidation about taking Pixar's top job, the animator was always Lasseter's heir apparent, according to Ed Catmull, the computer scientist who co-founded Pixar with Steve Jobs in 1986 as a spinoff of Lucasfilm's computer division and retired as president of Pixar and Disney Animation in 2019. "John had picked him as his successor quite a while ago," Catmull says. "Pete was the next leader, the one that's highly loved. I don't think we talked a lot about it, but it wasn't a secret that Pete was the one who would step in if something happened to John." Partly that was because over the years, Docter seemed to wear the mantle of responsibility for Pixar in a personal way. "Among everybody, when things were starting to go off the rails, which happens frequently, Pete was the first one in my office concerned about it," Catmull says. And while some of his peers like Andrew Stanton and Brad Bird also wanted to make live-action films, Docter was an animation loyalist. "You cut Pete open and inside is a ride from Disneyland and a scene from Lady and the Tramp," says Stanton. "He just fricking loves animation at its very core."
Iger agreed that Docter was ideal for the job. "Pete is a gifted artist and storyteller," he said in an email. "He also has a giant heart, whose guiding leadership principles are kindness, empathy and integrity."
When Docter took over as chief creative officer, Catmull says, the animator was worried that his more deliberative temperament might not be suitable for such a big job. "Pete came to me once after he had the position and he said he didn't feel right, because he doesn't have the same kind of presence in the room that John had," Catmull says. Lasseter was gregarious — with a take-over-the-room style. "I said, 'No, and you shouldn't. People look up to you because you're thoughtful, you encourage other people, you have a different style, and that's who you should be.' But his worry was, 'Can I fill the shoes?' "
Lasseter had been more than a boss to Docter — he was also a mentor, friend and groomsman at his wedding. Docter says he has communicated with Lasseter since he left Pixar, but declines to say more. Lasseter, who is now running Skydance Animation, which is scheduled to release its first film, Spellbound, in November, declined to comment for this piece. When Lasseter left, according to Docter's wife, Amanda, "Pete went through what everybody went through. He was confused. He was hurt. He wasn't sure what to say, wasn't sure what not to say. Those times were so hot, that it was just best to keep your mouth shut." Docter describes the period as "scary." "[Lasseter] had been such a formative part of the studio," he says. "When he stepped out, everybody was left with our heads spinning, unsure really how to progress."
To the outside world, Pixar had largely been defined by Lasseter's influence. Inside the studio, however, many say his role had diminished since Disney bought Pixar for $7.4 billion in 2006 and he had taken on the additional responsibilities of running Walt Disney Animation Studios, which is now headed by Jennifer Lee, and advising the theme parks division. The perception of Lasseter as a great and powerful Oz inside Pixar was inaccurate, say insiders. "It wasn't completely the truth of how that studio ran all along," says Stanton. "There were many names and systems and protocols that made something so huge run. It took a hit and it adjusted."
Still, there were plenty of reasons for Docter to be anxious when Lasseter departed, including the example of Disney after Walt Disney's death in 1966, when the studio largely abandoned animation for 20 years. "It was uncharted territory," Stanton says. "When Walt died, they kind of just limped along and then fell apart until the late '80s. And so, we didn't have a model to follow. Nobody to advise. The only thing that we all understood was that [the current leadership] is not going to be around forever, so let's stop trying to make ourselves essential. If we do our jobs, we will become obsolete. It's almost like smart, healthy parenting. It's bittersweet, but it's the right thing to do if you really truly care about the studio itself."
Among the issues that Lasseter's messy departure brought to the fore was the unequal role of women at Pixar. In the 22 years since Toy Story was released, the company had only had one female feature director, Brenda Chapman, whom Lasseter fired from her movie, 2012's Brave, over creative differences. Pixar's vaunted brain trust — the creative leaders who shape the studio's movies in candid notes sessions — was predominantly made up of its past directors, people like Docter, Stanton and Lee Unkrich. "If you only have male directors, then the only people sitting around that table are male," says Lindsey Collins, who produced WALL·E and Finding Dory and is producing Turning Red, a 2022 film directed by Domee Shi that will be the studio's first feature from a female filmmaker since Chapman left. "There just weren't a lot of women in general," says Shi of starting at Pixar as an intern in 2011. "The women I did meet, I clung to like we were two people on a raft, like, 'Oh awesome, another nerdy animation girl.' " Women at the studio had been quietly pushing for change from within for years. On her own, on the 2017 film Cars 3, script supervisor Jessica Heidt had started tracking how many spoken roles went to male characters versus females and presenting the data to filmmakers after their brain trust screenings. "She would just put a piece of paper on the director's desk and say, 'Here's what's happening,' " Docter says. "And you'd go, 'Holy cow. Eighty percent of these lines are males. I wasn't aware of that. I didn't do that intentionally.' So just exposing these blind spots and allowing us to fix it."
Docter had been an advocate for Shi since well before he took the CCO job and played a pivotal role in her career when she was pitching a short film to a room of Pixar executives. Shi had told Docter about the idea when it was a side project she was pursuing while working as one of his story artists: Bao, a film about a lonely Chinese Canadian mother suffering from empty nest syndrome who gets a second chance at motherhood when she makes a steamed bun that comes to life. After hearing feedback from colleagues, Shi had altered the idea in hopes of getting it made as an official Pixar short, ditching the original ending where the mother eats the dumpling. When she pitched the revised idea to the group of Pixar leaders, "I remember Pete standing up and being like, 'That's not the version you pitched me,' " Shi says. "I was like, 'Sorry, I changed it because I thought it'd be too dark for Pixar, too weird.' He turns to the panel and he was like, 'The original version she pitched was awesome, you guys should see that.' " Shi was given a second chance to pitch, the group greenlit her short and Bao went on to win best animated short at the Oscars, with the weird ending.
When Docter ascended to the Pixar leadership role, he and Pixar president Jim Morris formalized the creative advisory teams that had been running the studio during Lasseter's sabbatical, with a commitment to keep them 50 percent female and diversified in terms of age, race and ethnicity. That meant involving the studio's producers, a group with many more women, as well inviting story artists, animators and short filmmakers. There are more female directors on the way: In addition to Shi, Aphton Corbin and Rosana Sullivan are female story artists who have directed short films at the studio recently and are now moving into development on features.
In building Soul around a Black protagonist, pianist Joe Gardner, Docter was also breaking with the studio's past of telling stories around predominantly white lead characters, save for the Mexico-set Coco (Docter's Up also featured an Asian American boy). The idea originated after Docter, who plays stand-up bass and whose siblings and parents all have careers in music, decided that jazz was an ideal metaphor for the improvisation of life he wanted to explore in the film, and he would make his lead character a jazz musician. "One of our [music] consultants said, 'Well, if you want to be accurate, jazz should really be called Black improvisational music,' " Docter says. "And so we thought, 'This character should be Black.' The longer we lived with it the more I realized, 'This is a bigger issue than the decision that I thought it was. We need help with this.' " Pixar enlisted Powers, who had written the play One Night in Miami (now an awards-contending Amazon Studios movie directed by Regina King) and co-written five episodes of Star Trek: Discovery, before ultimately elevating him to be the studio's first Black co-director.
Powers says he felt that part of his role was to bolster the Gardner character, voiced by Jamie Foxx. The role initially had been written as secondary to 22, a cynical soul Joe meets when he dies, voiced by Tina Fey. "It felt incredibly sincere," Powers says of Docter's interest in getting Joe Gardner right. "It felt outside of Hollywood. I don't think there's an insincere bone in the guy's body." After 30 years at Pixar, Docter was used to taking blunt criticism about his work, but race was new terrain. "A number of people gave me feedback like, 'You seem really scared to talk about race issues,' " Docter says. "I am, because I'm afraid I'm going to stick my foot in my mouth and say something dumb and offend somebody. I did along the way, without knowing it, and I learned from other people's mistakes as well." Among the tropes Docter unwittingly replicated was that of Black characters in animated movies getting body-swapped out of their bodies, which occurs in Disney's The Princess and the Frog and Blue Sky Studios' Spies in Disguise. Although a body-swap element (with a cat) remains in Soul, Powers advocated for it to be diminished in the story, so that Joe retains agency as a character in key emotional scenes, including one with his mother. "The hope is that even though Joe's not in his body, we see his body," Docter says, "while spending time in the spaces he would have been anyway, and learning more about him as a character."
As to the question of whether it should have been Docter, a white man who grew up in Bloomington, Minnesota, who finally made a Pixar movie with a Black protagonist, Kiri Hart, a Black former Lucasfilm executive who joined Soul as an executive producer and is now producing other films at Pixar, says, "I won't say, 'I don't think Pete Docter should have made this movie,' because I'm really glad he did. I'm so glad it exists. I would like to see there be an equal amount of opportunity for a person of color to make a movie like this, and I'm cautiously optimistic that we are on that road."
As a director, Docter has told stories of the type rarely tackled by $200 million-plus studio movies, as in Up, which is largely about a widower's grief, and Inside Out, which is about an adolescent girl's sadness. "Pete doesn't ever pick an easy road," says Stanton, who started at Pixar three months before Docter and remains at the studio as a creative vp. "Pete's not interested in repeating anything. He wants to invent a new color every time." Within Pixar, Docter is known for a kind of childlike innocence. When he started making decent money at the studio as a single man, his first big splurge was a cotton candy machine. His second home is a treehouse he built in Lafayette, California.
Back in 2000, when he was frustrated at a meeting about Monsters, Inc., a producer at the studio called his wife, Amanda, to warn her, "Pete's in such a bad mood he swore in a meeting today." When he's ruminating on a problem, Docter takes long walks, usually by himself, with a few note cards and a pen. "He's not a quick thinker — he's a deep thinker," says Amanda, with whom Docter has two children, Nicholas, 24, and Elie, 22, and a Rottweiler named Moochie Spotlight. "In our marriage, if we have a disagreement, I'm fast and furious. And he's one to say, 'About that disagreement yesterday, here's my response.' "
Once it became clear Lasseter's sabbatical was in fact a permanent departure and Docter was installed in the role, there was relief around the studio, if not, necessarily, for Docter. He finished Soul in time for its planned summer 2020 theatrical release, despite having seven weeks of production left when the pandemic hit. Disney moved the release date back to November 2020 in hopes that theaters would be open, but when the COVID-19 numbers began spiking again in the fall, Iger called Docter and said he was going to put Soul on Disney+. "That was, just to be honest, a kick in the gut initially," Docter says. "We finaled every frame on the big screen. We wanted it to be experienced together. That's still sad. However, where we are now, boy, if he hadn't made that call, I don't know that people would've seen the movie at all."
Pixar's next three features were all greenlit before Docter assumed the CCO job — Luca, a coming-of-age adventure set in Italy directed by Enrico Casarosa, due this summer; Shi's movie, Turning Red, about a teenager dealing with a family curse that turns her into a giant red panda whenever she gets too excited, due in March 2022; and Lightyear, the origin story of Buzz Lightyear, directed by Angus MacLane, due in summer 2022. "In the past we had a big run of sequels, too many in a row," says Docter, whose feature green lights have not yet been publicly announced. "Now we have a lot of original stuff, which I'm personally excited about, but for financial safety we probably should have a few more sequels in there. Sometimes it's tough, because the creative projects have a life of their own, and they either take off or they don't."
The streaming service is turning out to be a place for experimentation, including Pixar's first original longform animated series, Win or Lose, due in 2023. Written and directed by story artists Carrie Hobson and Michael Yates, the series will tell a Rashomon-esque tale from the various points of view of a co-ed middle school softball team over the course of a season. There are also spinoff series from Cars (fall 2020) and Up (fall 2021) and a collection of mini-shorts called Pixar Popcorn, due in January. With the increasing importance of streaming to the studio, says Docter, "We were asked early this year to up our game and produce more. So we stepped up and we're basically doing as much for streaming as we are in theatrical release."
In some ways, the demand to produce for Disney+ has brought Pixar back to its more freewheeling early days, Docter says. "At the beginning, when we were doing Toy Story, we didn't know what we were doing," he says. "So people would be just off the street. 'You're going to be the art department manager.' Now we would never do that. First you'd have to go through three or four other positions and train. The streaming service has shaken that back up to the earlier days of, 'OK, we just have to take some chances and go.' "
Though Lasseter sometimes directed films while running the studio, Docter does not yet have plans to direct again. "The CCO job is not making films," he says. "It's guiding other people. I was initially worried that it would be like a tax, taking me away from what I really loved. But it's been surprisingly rewarding."
Docter, once one of the youngest animators at the studio, now draws from his 30 years of animation experience to advise younger filmmakers. "I can see their eyes light up and them recognize the truth of what I'm saying, and it helps them get somewhere, and that's been surprisingly fulfilling to me," he says. Whether that will be enough to sustain him forever — to soothe those inevitable tugs of existential ennui he so frequently explores onscreen — he can't yet say. "Whether it'll be enough in the long run, or if I'm going to be jonesing to get back to directing, I don't know. We'll have to see."
Les adultes sont juste des enfants qui ont grandi.
Nous apprenons aujourd'hui le décès de l'animateur Dale Baer. Il était l'animateur superviseur de personnages bien-aimés, dont Yzma de Kuzco, l'empereur mégalo et Maître Hibou de Winnie l'ourson.
Le premier rôle de Baer chez Disney Animation fut stagiaire sur Robin des Bois et au cours de sa carrière, il a animé sur des films tels que Le Roi Lion, La Planète au trésor : Un nouvel univers, La ferme se rebelle, Bienvenue chez les Robinson et La Princesse et la Grenouille. Son travail peut également être vu dans des courts métrages comme Comment Brancher son Home Cinéma, À cheval ! et Festin.
Ayant directement travaillé avec six des légendaires Nine Old Men, il a perpétué leur héritage dans son propre travail, et à travers les nombreux animateurs en herbe, qu'il a si encadré aux studios Disney et par cours à CalArts et dans d'autres institutions.
Sa filmographie :
1973 : Robin des Bois, animateur personnage 1974 : Journey Back to Oz, layout 1974 : Winnie l'ourson et le Tigre fou, animation 1977 : Les Aventures de Winnie l'ourson, animation 1977 : Les Aventures de Bernard et Bianca, animation (Bernard et Bianca) 1977 : Peter et Elliott le dragon, animation (non crédité) 1978 : Le Seigneur des anneaux, animateur clé 1979 : You're the Greatest, Charlie Brown, animation 1980 : She's a Good Skate, Charlie Brown, animation 1980 : Bon Voyage, Charlie Brown (and Don't Come Back!!), animation 1980 : Life Is a Circus, Charlie Brown, animation 1981 : It's Magic, Charlie Brown, animation 1981 : No Man's Valley, animation 1982 : Aladdin, conception personnage 1983 : Le Noël de Mickey, animation 1985 : Taram et le Chaudron magique, animation 1987 : Les Schtroumpfs, responsable scénario 1988 : Qui veut la peau de Roger Rabbit, supervision de l'animation 1989 : Bobo Bidon, animation 1990 : Le Prince et le Pauvre, supervision de l'animation 1991 : Homère le roi des cabots, supervision de l'animation 1992 : Tom et Jerry, le film, supervision de l'animation 1994 : Le Roi lion, animation personnage (Simba) 1998 : Excalibur, l'épée magique, animation 1999 : Tarzan, animation additionnelle 1999 : Le Roi et moi, artiste storyboard 2000 : Kuzco, l'empereur mégalo, supervision de l'animation personnage (Yzma) 2002 : La Planète au trésor, un nouvel univers, animation personnage (Dr Delbert Doppler) 2004 : La ferme se rebelle, supervision de l'animation personnage (Alameda Slim et Junior) 2005 : The Zit, animation 2005 : Chicken Little, animation 2007 : Bienvenue chez les Robinson, supervision de l'animation personnage (Wilbur) 2007 : Comment brancher son home cinéma, animation 2007 : La Princesse et la Grenouille, animation personnage (Ray) 2011 : La Ballade de Nessie, supervision de l'animation 2011 : Winnie l'Ourson, supervision de l'animation personnage (Monsieur Hibou) 2017 : Tom et Jerry au pays de Charlie et la chocolaterie, layout et animation personnage
Une personne de ce que j'ai vu très gentille et accessible sur Instagram, un fan avait fais des illustrations différentes d'Yzma dans plusieurs long métrages Disney, ça avait circulé sur de nombreux réseaux, et cet animateur en était très fier et avait félicité l'artiste et fan Disney. Je trouve ça génial les animateurs qui ont travaillé sur tels personnages, être impressionné ou touché par ce qu'en font des fans de leur oeuvre.
Boum bébé! Disney Movie Insiders est fier de présenter son nouveau podcast! Pour leur premier épisode, ils reçoivent Mark Dindal, Don Hall (réalisateur de Raya et le dernier dragon) et Stevie Wermers-Skelton pour célébrer le 20e anniversaire de Kuzco, l'empereur mégalo. À écouter dès maintenant sur : http://di.sn/6000HwKGy
Boum bébé! Disney Movie Insiders est fier de présenter son nouveau podcast! Pour leur premier épisode, ils reçoivent Mark Dindal, Don Hall (réalisateur de Raya et le dernier dragon) et Stevie Wermers-Skelton pour célébrer le 20e anniversaire de Kuzco, l'empereur mégalo. À écouter dès maintenant sur : http://di.sn/6000HwKGy
Oh j'adore les podcasts en général. Cela fait quelques temps que je prends du plaisir à en écouter sur divers sites de streaming audio. Même si celui-ci est en anglais, ça a l'air très intéressant de se plonger dans la réalisation de ce film d'animation qui mine de rien à presque 20 ans. Je le trouve toujours aussi génial !
Artistes et Animateurs de Disney : Archives, anecdotes et actualités
Les Mondes de Disney
Sujet: 
Mar 30 Juin 2020 - 0:33
Pour leur premier épisode, ils reçoivent Mark Dindal, Don Hall (réalisateur de Raya et le dernier dragon) et Stevie Wermers-Skelton pour célébrer le 20e anniversaire de Kuzco, l'empereur mégalo. À écouter dès maintenant sur : 
