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Monday, November 9, 2009

Part 1: Interview with Rupert Isaacson on the Book & Movie "The Horse Boy"

By John C.


A few weeks ago, I spoke with Rupert Isaacson, author of The Horse Boy and subject of the new documentary. The interviews happened over the phone, and we spoke about everything from getting the movie made and book written, to what parents of autistic kids can do to help their children. Here’s part 1 of the interview. Part 2 is coming tomorrow.


Being familiar with autism and Aspergers on a personal level, what we all really liked about the book and movie is your feelings towards autism and it’s place in our society. Did you feel the same way before you took the journey to Mongolia?

I think I was definitely getting there. I had finished that feeling of grief that comes with the initial diagnoses, and had really started to see the gift of autism. What really solidified it in Mongolia, was seeing that people in other cultures really don’t see these differences as something to be fixed. It’s not like they just make a place in society because they have to, it is that this is seen as a different set of skills. There is no question that these are valuable individuals. In our culture, it is like there is no place, and there for it’s more about, how can we change you. Seeing other societies, and how they make a shift, is a very beautiful thing to see first hand.


How much did you know about Autism before Rowan’s diagnosis?

Not much. I’d gone to a Waldorf school when I was a kid, and there had been a couple of autistic kids there. Both of them were math geniuses, but they also had severe behavior issues. Now this was a while back, so they hadn’t as much knowledge about how to help them. Sort of, they were still trying to make square pegs go in round holes...


Was there a turning point for you when you realized that you weren’t going to cure your son, and realized that that was okay?

Very much so, because one of the great things about hanging out with healers is that you get a very good distinction between heal and cure. Chronic conditions are not cured. What you want to do, is annihilate the symptoms so they are no longer a dysfunction, no longer a problem. Healing means getting to a point where you have the positives, not the negative. Once you can focus on the positives, the gifts that come with autism allow you to see it as not a bad or good thing, just a way of being.


Has your son, Rowan, seen the movie, and what does he think about seeing himself on screen?

Rowan actually was very much a part of re-watching a lot of the footage with us. It actually really helped him get a different perspective - the social perspective of watching people - and how they related to him, others and each other. Actually, a lot of therapists use video for autistic kids to help them watch how they are interacting. So, participating was sort of that thing for him, and we would ask his opinion of which things should stay, or which should go. Sitting there with him in the editing room, that was really beautiful.


What challenges did you face getting the trip to Mongolia organized, and how did the book and movie come to be?

It's easier to understand if you think about that in film, you can only show what you have footage of. Back in ‘04, I did human rights work with the Bushmen in Africa. So it was somewhat familiar to me about the healers there, I had seen people get sick and then get better with their help. Anyway, I had to bring a delegation of Bushmen to the United Nations, where they were going to talk about illegal beatings and torture tied into the diamond mines.


It was there that their trained healers met Rowan. They offered to do work with him. They don't need a degree to be qualified to do this, but the laying on hands can’t hurt him, so we figured to give it a go. For the 3 to 5 days they were with him, his behaviors lessened, he started pointing, and acting calmer. But, when they went back and we went home, all of the symptoms came back. It was shortly after this, that Rowan met Betsy. It was then that his language started and on the horse, I saw the same leaps forward, if temporary that we saw with the Bushmen. I thought about bringing him to Africa, but his thing was horses. It was then that I though, where’s there a horse culture that is combined with healing? Mongolia.


That was 2004,when he was still too young to make the journey. Now, I'm a writer, so I knew that I wanted to write about it. Still, other parents could not verify that what I wrote was true, so I spoke to Michael Scott, a filmmaker friend, who was initially going to make a film in Botswana, where there was the massive problems with torture. But in 2006, we actually won the case in Botswana for the Bushmen, which slightly lowered the need for a film, because they had the land back. So, I told him we were planning a trip in a year, once Rowan was big enough, to Mongolia. I said he should come along, so that if there were changes in Rowan’s behavior, it would be documented, and if not, I think the value of it being on film, would just add to the general body of knowledge about autism. The fact that it helped, doesn't mean that every parent should go to Mongolia, that was very special to us, but they should rather take their child’s interests, and see where that leads them. That was the initial motivation of getting it on film, but never in a million years, did we imagine that it would be opening in movie theatres across the world.


Was it difficult to have your son filmed at his most vulnerable moments? It must have been a fine line to draw between wanting to share your story, and protecting your son’s privacy.

The thing about once you enter that kind of life with autism, is that everywhere you go, the street, the supermarket, every autism parent is out there all the time being judged as bad parents. People will come up and tell you that you have bad parenting skills, try to hit your child, it can get really, really bad. The only information is from others, and if you get good result somewhere, you should make that knowledge available for other parents. If you have no problems, you don't have a kid with autism. So, you don’t think of privacy or not, you don’t have that luxury to not have to worry about public behavior. The thing is, we get contacted by so many parents. Usually by e-mail, we get as many as 30 a day. It’s so different from before Mongolia. We have parents wanting to know what therapeutic riding places we know of close to them, what we can tell them, etc. Once you enter the world of autism, the initial reaction might be that your freedom is over, and ideas about what you expected for your child can go out the window, but you have to make new plans and come to terms with it.


How is your riding therapy program going, and how many kids do you have coming to the program?

It’s going well. We have about 20 coming a week. It’s not just the kids though, it’s the whole family. One of the things that was very clear was that going out to nature with the family really helps everyone out a lot. I lived up in Canada for a little while, and what impressed me is that a lot more families take camping trips together. They go up to Algonquin Park for a weekend for example, so a lot of Canadian kids grow up with a culture of doing that, and a knowledge in nature, and I really saw a value with that. So, the families are coming, are here for relaxing, it's not all structured. You aren’t told, ‘ok. You have an appointment at 10:00, by 10:30, bugger off!’. Especially on the first visit, everyone's invited to explore. We have hiking, playrooms, other animals, and the horses are a component of that. It doesn't matter if a kid gets on a horse on the first day.


What we have learned, is that the terrible tantrums happen in an overloaded neurological state. Once they are out of the man made environment and into nature, a lot of the things that are causing the overload are removed. The family can all calm down together, and it is then that you really see the intellect come out. We often invite people to bring their child’s therapists along, and we ask them to try the therapy, that they would usually do in a room, on a trampoline, under a tree, etc. It is here that you often see more effectiveness and response.


When people enroll their kids in the program, do they unrealistically expect their kids to be cured of their autism?

No one does, actually. Autism parents are very savvy people. About a year into the process, people within the autism community know what they're dealing with, and they want to lessen the bad effects and issues, not a cure.


What advice would you give to parents of kids with autism, who are feeling at a loss and don’t know what to do?

What I’d say is, follow your child’s interest. I was actively trying to keep Rowan away from Betsy at first, but he kept on running up to her. The thing is, that those who are nonverbal, the only way they can tell you what they want, is to show you. If a kid is going to a particular TV show, bicycles, steam trains, horses, etc., don't try to make your child be where they don’t want to be, instead trust your parental instincts.


The main thing though, is to get them into nature. It can be the garden, the city park, even the local state park. You don’t have to bring them up to Wood Bison National Park, it can just be local. Just try the therapies there. Try those things and whatever therapies, and remember, you don't have to be an extremist. We are not born again Shamans, we still do western therapies.


Come back tomorrow for part 2, where I asked questions about what were some of Rupert’s favourite moments from this incredible journey, and how the film was received at HotDocs in Toronto.

Friday, November 6, 2009

Q & A with Pixar's Ronnie del Carmen and Pete Sohn - Part 3

By E. Corrado


Here is Part 3 of my three part interview with Pixar's Ronnie del Carmen and Pete Sohn. You can read Part 1 here, and Part 2 here. For my thoughts on Ronnie del Carmen's Up presentation at the OIAF, see here.


What was your specific work on Up? Ronnie del Carmen: I was working in the story department, doing storyboards, but also overseeing other aspects of the art, and doing concept drawings...


Pete Sohn: Well, you know I did the scratch voice for Russell, but mainly I’m an animator and story guy, so I did most of my work in both of those departments on Up.


What is it like seeing these films go through their development stages? Ronnie del Carmen: It’s just amazing. I think every one of these films goes through a point where they just look really bad. And we look at them like, how are we ever going to get this together? So then, we have to step back for a second, do more screenings for each other and get input, and think, ‘Ok, what isn’t working here, how could we improve this.’ Eventually though - and it’s often really close to the end - everything starts to look better, and it actually looks like an actual film. Sometimes we end up changing things - and it can be the beginning, middle, or end - sometimes even elements of all three. Really, it’s just a process, and if I didn’t know that it worked as well as it does, I wouldn’t believe it myself.


Pete Sohn: There are so many talented artists at Pixar, and how the movie started out, often develops into something so much more. As he said, these films go through so many changes along the way. We are all a part of that - of making them the best that they can be. To see that happen, and be a part of it, it’s just a really great experience.


Question for Pete Sohn: What was the design process for Partly Cloudy like? A lot of it was really challenging from a technical standpoint - not that other things aren’t - but we were trying to design a character that is floating, has no a physical shape, and is transparent. He ended up needing to wear a 200’000 particle suit.


At first, we had tried different things, but basically, some of them made his movements too choppy - and not cloudlike. Designing his face was also interesting, since we had to find a way to give him eyes that worked and a mouth that you could see. We just wanted him to be a really appealing, cute character. I loved that we were using new techniques for lighting and shadows with the particles. It was challenging, but a lot of fun.


Now two questions for Ronnie del Carmen: When did you find out that you would be doing the short for the DVD? Well, I had an idea for it back when the movie was still in the production stages. By the time I had it ready for pitching, in storyboard form, it was Spring ‘08. It was then that I pitched it to Pete Docter and Jonas Rivera.


How long were you given to get the short together? The approval for Dug’s Special Mission, to be the short film for the DVD, came in January ‘09 from Disney, and we finished it in June. I would have started it earlier, but I was also illustrating My Name is Dug, as well as there was the fact that our third act for the film was taking longer than expected. So, we were working on a deadline, but we always are - it keeps us on track...


Another question for both of you: Would either of you ever be looking to direct a feature film of your own? Ronnie del Carmen: No. ...I’m joking. Of course I would! The thing is that even with the shorts, once you start to get into it, it’s like you never realized just how hard it is to do, and then you’re like, why would anyone ever do this? But in the end, it’s so rewarding to see the whole thing come together. At Pixar, there is often a point in production, where these movies look really bad, and we are like, how are we ever going to get this together? But then, eventually, things start to turn around and we fix problems and the stories become stronger because of it. So if I had a story to tell, the answer would be yes.


Pete Sohn: Yeah, I mean, doing a short film was such a great experience. Again it would have to do with a story, but maybe someday, down the road...


Are there any other upcoming projects that you can tell me about today? Ronnie del Carmen: No, sorry. I mean a lot of them are still in early development stages, so there’s not much we can say right now.


That’s ok, I kind of figured that would be the answer...


I want to thank you both for taking the time to speak with me today. I love hearing about how all of these films come together. Ronnie del Carmen: Thank you! It’s been great.


Pete Sohn: Yeah, thanks. Glad you were able to make it from Toronto!


One Movie, Five Views thanks everyone at Disney and Pixar for setting this up. We also thank Ronnie del Carmen and Pete Sohn for taking the time to speak with us, and for such an interesting interview.


Pete Sohn & Ronnie del Carmen after the Up panel at OIAF 2009.

Photo credit: E. Corrado.

A Christmas Carol

A Christmas Carol

http://disney.go.com/disneypictures/achristmascarol/

Release Date: November 6th, 2009

Rated PG for scary scenes and frightening images.

Running time: 94 minutes


Robert Zemeckis (dir.)

Robert Zemeckis (writer)

Based on the book by Charles Dickens


Alan Silvestri (music)

Glen Ballard (music)


Jim Carrey as Scrooge / Ghost of Christmas Past / Ghost of Christmas Present / Ghost of Christmas Yet to Come (voice)

Gary Oldman as Bob Cratchit / Marley / Tiny Tim (voice)

Colin Firth as Fred (voice)

Robin Wright Penn as Fan / Belle (voice)

Bob Hoskins as Mr. Fezziwig / Old Joe (voice)


Left to right: Belle (ROBIN WRIGHT PENN), Ebenezer Scrooge (JIM CARREY) "DISNEY'S A CHRISTMAS CAROL" “©ImageMovers Digital LLC. All Rights Reserved.”


Our reviews below:

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A Christmas Carol Review By John C.

**** (out of 4)

Robert Zemeckis and Disney’s A Christmas Carol, is the latest film adaptation of Charles Dickens’ masterpiece, and it’s also one of the very best. It’s certainly the closest anyone has ever come to fully realizes what Dickens’ has written. The description of each ghost, is perfectly played out in the animation. The dialogue is almost word for word.


Each actor is perfectly cast in their roles. Jim Carrey is perfect as Scrooge, fully embodying the character with all the darkness, and being able to fully let loose at the end.


This film is done using the same Mo-Cap technology as Zemeckis’ previous films, The Polar Express and Beowulf. The animation is almost photorealistic, and the images are as wondrous as they are dark. The fly over shots are just beautiful, and in one of the most breathtaking sequences, The Ghost of Christmas Present flies Scrooge over London in a room with a clear floor. Things turn very dark at the end of the present sequence, keeping that tone throughout the ghost’s vision of Scrooge’s future.


The perfect use of 3D enhances all these visuals. This is the best 3D I’ve seen as of yet. Snowflakes float right in front of the audiences face, and as they fly over London, buildings rise up into the foreground. This film is sure to be spectacular in the IMAX format.


A Christmas Carol is sure to be trashed by parents, only familiar with the Barbie-butchering of the story, complaining that it’s too dark for kids. No, I don’t think it’s for young kids. But why are people expecting it should be? This is a very dark film, but every one of the frightening images is taken right from the visual writing in the book.


I personally wouldn’t recommend it for anyone under 10 or 11, but you really just need to judge your own kid. The terrified shrieks by little kids who clearly didn’t want to be there, and the forced chuckling by their parents trying to lighten the mood, was very distracting.


As a huge fan of Robert Zemeckis, I thought that this film was right up there with his best work. The Polar Express is one of my favourite Christmas films, and this one is right up there with it.


The score by Alan Silvestri is sweeping and magnificent, mixing in classic Christmas carols. I hope people stay over the closing credits to hear the lovely new song, “God Bless Us Everyone”, sung by Andrea Bocelli. Here’s hoping it picks up an Oscar nomination.


A Christmas Carol is one of my favourite movies of the year, and would certainly deserve an Oscar nomination, not only for Best Animated Feature, but for Best Picture. Like The Polar Express, this is another absolute masterpiece that will be watched for many Christmases yet to come.

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A Christmas Carol Review By Erin V.

**** (out of 4)

Simply put, I hope the fact of discrimination against animation in awards season does not hurt this film’s chances at being nominated. Because if this film were live-action, it would be nominated for Best Picture - so fast.


But I digress. Why do I feel this way? Well, this film is a masterpiece. Re-reading parts of the original A Christmas Carol, I really see what a perfectly accurate film adaptation this is. The fact that it is animation only accentuates this. There are so many things - such as the look of three spirits - that could only be fully envisioned using technology such that we have now. While there are nay sayers to Robert Zemeckis’ motion-capture ways, as well as those that claim it is not true ‘animation’, I do not mind this medium at all. For certain stories, it works. This is one of them. The look here is that of an old Victorian oil painting, further giving us the feeling of the time of the film.


As for whether or not it is animation, even if you don’t count the physical movements that were recorded through mo-cap suits as, what may I ask is the rest of the film? Carriages, horses, flying spirits, snow, city/landscapes, etc. (Watch for the chase of the ghost hearse with the ‘Ghost of Christmas yet to come’... Definitely not for young children, but a real visual treat.) The answer is, they are all animated, just the same as anything else in CGI. The thing is, is that CGI merely means Computer Generated Images, not Computer Generated Movements... And to get technical, animation means to instill with life. To give your character on screen the illusion of life. That is done here. There is no doubt in my mind that this is a form of animation.


With that being said, there were two other things, aside from the visuals, that really stood out for me here. One of those two things that made this film so great to me, was the acting skills of (all those involved, but most of all), Jim Carrey. Being such a physical actor, mo-cap works very well for him it seems. But even just his voice, and the way that he delivers the lines is spot on, for all of the characters he plays - Ebenezer Scrooge, and the three spirits. Not sure if the performance is eligible, but it is worthy of an acting nom.


The second of the two, was the score by Alan Silvestri. His sweeping scores for Robert Zemeckis’ films are always a joy to hear - especially here with his effortless blending of traditional Christmas carols, much like he did with The Polar Express. During the end credits, there is a new song by Alan Silvestri and Glen Ballard, called God Bless Us Everyone - it is sung by Andrea Bocelli. This soundtrack will definitely make a great Christmas present.


From the opening credits, done in a great sweeping style of an old film, following the snowflakes over the city of London, to the ending voiceover and finally credits, this movie is not one I will soon forget.


Go see this one. It is most definitely worth it. As for how to see it, the 3D is worth the slightly higher admission price, and is not really distracting. Rather, it adds a great sense of depth, especially in the snow, and through windowpanes.

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A Christmas Carol Review By Nicole

**** (out of 4)

A Christmas Carol is a faithful adaptation of Charles Dickens beloved story. Once again, Robert Zemekis has created a spectacular movie. The visuals are both beautiful and terrifying. The animation has the look and feel of an old oil painting, with incredible detail on the people, landscapes, buildings, and snow.


The ghosts have the same terrifying hallucinogenic quality as described in the book. Seeing the book come to life really brings one into Scrooge’s world. The acting is really good. Jim Carrey is a perfect fit for Scrooge and the ghosts, as his mannerisms really captured the personality of the characters. The score by Alan Silvestri is beautiful, incorporating many traditional carols along the way. The song at the end, sung by Andrea Bocelli, is quite lovely. The 3D does not overpower, but adds a sense of realistic depth and movement. This movie is perfect for IMAX, as well as Real D 3D.


This movie is a brilliant work of art. However, if you have young children, don’t be fooled by the fact that this movie is distributed by Disney. Some of the ghost scenes could have earned this film a PG-13, as opposed to a very strong PG. If you have small children, stick with Mickey’s Christmas Carol, of The Muppets version (both of which are also distributed by Disney).


A Christmas Carol is an excellent movie adaptation, that will be enjoyed by teenagers and adults alike.

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A Christmas Carol Review By Maureen

**** (out of 4)

Robert Zemekis’ movie version of A Christmas Carol is a wonderfully dark, visually stunning, near perfect adaptation of Charles Dicken’s classic story.


The dialogue in this film is taken word for word from the original Dicken’s book. The animation in the film makes the experience all the more authentic. Everything from Jacob Marley’s ghost to the three spirits visiting Scrooge are exactly as described in the book. Nothing is held back or watered down for younger audiences.


Throughout the entire movie there is a richness in textures of the Victorian surroundings, good use of depth, especially in the above ground scenes, and a realism to the physical appearance of each of the characters. The use of 3D is never a distraction. There are moments when the viewer feels part of the scene, particularly when snow is gently falling.


One of the many strengths of this A Christmas Carol is the brilliant casting of Jim Carrey as Ebenezer Scrooge and the three spirits. His performances are strong and authentic.


The music by Alan Sylvestri and the traditional Christmas Carols work really well to fit the mood. The closing credit song God Bless us Everyone written by Alan Silvestri and Glen Ballard and sung by Andrea Bocceli is beautiful. This is one soundtrack I’ll want in my Christmas CD collection.


If you are a fan of classic Christmas movies then you’ll want to add this to your holiday must see list.


T’is the season to see a great movie.

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A Christmas Carol Review By Tony

**** (out of 4)

A Christmas Carol is the latest feature from ImageMoversDigital, the production house co-founded by director Robert Zemeckis that has used motion capture technology to bring the performances of the actors in body as well as voice to the screen in animated form. Unlike Monster House, which for all its detail always looked like an animated feature, and Polar Express, which was faithful to the look of the storybook that inspired it, A Christmas Carol appears most of the time to be a live action feature with animated bits. Robert Zemeckis has thus been able to be more faithful to the Dickens novella than any previous treatment, with every detail lovingly portrayed in spectacular 3D.

The excellent cast led by Jim Carrie as Scrooge and the 3 spirits includes Gary Oldman as Cratchit and Marley’s ghost, Colin Firth as the nephew and Bob Hoskins as Fezziwig and Old Joe. The fantastic atmosphere of the story is enhanced by brilliant special effects often shot in unusual camera angles, including dizzying virtual flyovers of Victorian London, all accompanied by another fine score from Alan Silvestri reminiscent of Polar Express, particularly in the closing credits which include a new Christmas song sung by Andrea Bocelli.
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Fred (COLIN FIRTH, center), Ebenezer Scrooge (JIM CARREY, right) DISNEY'S A CHRISTMAS CAROL "©ImageMovers Digital LLC. All Rights Reserved.”

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Consensus: A stunning new achievement from Robert Zemeckis and ImageMoversDigital. This is a visually amazing, close adaptation of Charles Dicken's famous book. See it - in 3D or IMAX if you can. **** (Out of 4)

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Left to right: Ebenezer Scrooge (JIM CARREY), Tiny Tim (GARY OLDMAN) "DISNEY'S A CHRISTMAS CAROL" "©ImageMovers Digital LLC. All Rights Reserved.”

Thursday, November 5, 2009

Q & A with Pixar's Ronnie del Carmen and Pete Sohn - Part 2

By E. Corrado


Here is Part 2 of my three part interview with Pixar's Pete Sohn and Ronnie del Carmen. You can read Part 1 here.


What would you suggest for people who want to go into art for animation? Ronnie del Carmen: Well for one thing, you want to study animation, you got to know how to do what you want to do. But there are lots of jobs in animation. Not just being an animator, or being a story artist, or any of the other more known jobs. Mostly, people ask me what I do, and I used to say ‘oh, I’m a story artist’. And then they’re like, ‘what’s that?’ So, I explain, and by the end they’re like, ‘oh’. So now, I usually just say ‘I’m an animator’.


Definitely though, just do what you love. Draw, write - always find new ways to express the world around you.


Pete Sohn: It's like that saying, 'If you do what you love, you won’t have to work a day in your life'.


Ronnie del Carmen: Now, that doesn’t mean everything is easy, there are challenges with everything, but part of what you learn to do is problem solve, which is really important in a studio. You have to be flexible with ideas in order to make them better.


How long have you each been at Pixar? Ronnie del Carmen: We both came around the same time actually, it was around 2000... I started work as a story supervisor on Finding Nemo.


Pete Sohn: Yeah, it was around then, I think I started a couple of months later... I was working in the art and story departments for Nemo as well.


Now another question for Pete Sohn: Back for Ratatouille, you provided the voice for the character of Emile. How did this decision come to be? Pete Sohn: Well, before the voice actors are cast, we do these scratch voices, so they were looking for people to do the different voices for the tests, and I guess they thought I would be perfect for the character...


Would you ever want to do more voices for movies? Pete Sohn: Oh yeah, definitely! It’s a lot of fun, but you know it has to do with if the right character comes along... The voice for Emile just really worked I guess, because I ended up getting the part in the actual movie.


Ronnie del Carmen: Pete actually provided the scratch voice for Russell in Up as well, and the stuff he would come up with - a lot of it was really funny. We were actually sad when we had to recast the voice, at first we were like, hmmm... do you think we could raise up his voice on the computer? But really, the answer was no. But then they found Jordan [Nagai] and he was just perfect for the character. The thing is with the initial scratch voices is that we kind of get used to hearing them, and sometimes attached to them in a way, but most often they have to be changed. We would love Pete to do another character that will be in the finished product though.


How was Jordan Nagai cast? Ronnie del Carmen: Jordan was the kind of voice that Pete was looking for. Now he didn’t know about Jordan - in fact they had a casting call of hundreds of kids around the country and people scouring schools, with explicit instructions to find a kid that doesn’t sound like an actor kid. Because most actor kids have this kind of peppy, ‘I can deliver that line however you want’, and Pete always said, ‘I don’t want that kid that whenever you call him to the microphone, he’s automatically in actor mode - I want a real kid.’


So there was this kid that they had brought in for an audition, and he started reading for the part and when he was reading for the part, people were looking like, ‘Who’s that other kid?’ and they said, ‘Oh, that’s his little brother.’ So they said, ‘Can you ask him to read?’ So they asked him... and that was Jordan. They asked the little brother to talk about what he did, stuff that he liked... So he started talking about Judo, what he did in school, what his friends were like, and Bob and Pete were looking at each other like, ‘listen to this kid’. Because beside from his voice, you see, that’s the kid. He was just like any regular, natural kid. And that’s what really worked for the character.


What was it like seeing both Partly Cloudy and Up for the first time with an audience? Ronnie del Carmen: It’s one of the most rewarding things. These films go through test screenings, and there the people just know that they are going to be seeing a movie in development. They don’t tell them what it is until just before the movie starts, and then it’s like you hear everyone get all excited when they hear that it’s a Pixar movie that they are going to be seeing. Now when these kind of screenings happen, the animation is not finished. It is a real vote of confidence when we see people reacting to it, even just like that on the screen, laughing, crying - it’s really great.


Then, after they watch the movie, we get to ask them questions. ‘Who’s your favourite character?’, ‘Did you understand this?’, ‘Did you not understand that?’ ‘What would you like to change?’ Certain questions that make you try and diagnose, because we all have different ways of understanding the movie. We’ve already let a lot of things fly, but they’re where the proof is. But they loved the movie. They loved the characters, and a lot of it was, this was one of those screenings where most of it was still in storyboards, so we were kind of really nervous. But, they loved it. It’s a great journey - there’s an awesome journey of just testing your ideas, all the while, preparing to be wrong, because along the way, that’s how you get things right.


But then, later on, once the film is done, it’s great to see everyone watching the finished product. Actually, sometimes you just go and watch the audience by turning around in your seat. Because, I mean, we’ve already seen these films so many times that we know what’s going on on screen by heart. Seeing the audience react how we wanted at all of the right moments is just indescribable. It’s just amazing.


Pete Sohn: Oh yeah, I definitely agree with what he just said. Seeing Up, and Partly Cloudy, and any of these films, it’s just great to see everyone having such a good time with something that you helped make. Watching them connect to something that you, and so many people, worked on for so long - it’s why we love to make these films! It's amazing.

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UP NEXT: An interview with Ronnie del Carmen and Peter Sohn - Part 3...

Just a couple of the questions in the next installment include: 'What's it like seeing these films going through their development stages?', and 'Now that you've each done a short film, would either of you ever be looking to direct a feature film?'.


Look for Part 3 tomorrow.


UPDATE: Part 3 here.

Wednesday, November 4, 2009

Q & A with Pixar's Ronnie del Carmen and Pete Sohn - Part 1

By E. Corrado


At the OIAF, I had the pleasure of a 15 minute interview with Ronnie del Carmen and Pete Sohn from Pixar. The first part of it is here now. I am dividing it up for length constraints.

First off, this is a question for Ronnie del Carmen: What was it like getting to do a tie-in book for the film (My name is Dug)? Oh that book - that was amazing. When they were looking for an illustrator for the book, I actually thought someone was already drawing the book. Because I was part of making the movie and being at Pixar means that we get to oversee all of the books, kind of that get made, and I thought that someone was already illustrating the book.


But then they came around and asked, 'Do you know anyone who would be illustrating this book? Because the people we were thinking of, didn't make the book'. Then I said, ‘but what if I made the book?’, and they were like, ‘That would be awesome! -Wait a second... you already have a job, you're trying to finish the movie!’ So, I said to them, ‘What if... I'm really good... and I work nights, and this movie's almost done anyway, right? So I can probably find a window’, so I asked the people at Pixar to work up a schedule, that actually in the best way, I could possibly do it. So they said, ‘Your part of the movie could be done right around here, you can start making the book right about there, everything's going to be fine.’


Of course, it didn't happen that way, the movie ran right over that, I was working on the third act, and then I was working late nights on the book. But I was really happy to make it. I was really happy to be part of it. Kiki Thorpe, who wrote the book, was very collaborative. We went back and forth, and created the pages together - it was fun! I want to make another one.


Next is a question for Pete Sohn: When did Partly Cloudy get greenlit as the short film? Greenlit... What is it now, this is October, so it was must of been around two years ago. Greeenlighting, it's not like an ‘ok’, it's kind of in sections, ‘ok this is a good idea, move onto the next one, let's see how do you build a story... ok that's it, keep going’. So it was kind of always like a slow crawl to get going.


...and how long did you have for the short film to be made?


It was about a year of production, from beginning to end, of pitching it and everything. I was pitching other ideas though, that maybe added about a year and a half to the process.


Now a couple of questions for both of you: When did you know that you wanted to work in the art/film world? Pete Sohn: It felt like I was kid, like I always wanted to do these comics, but watching the Disney movies as a young, young lad, I was like, oh what is this, I don't understand this magic, and I found, you know, one of those 'Illusion of Life', like a flipbook. In that corner of that book, there was like this little corner that has all that animation, and I was really like, oh my God, this is something you can do? It was really then, I don't know what age I was, I was a young, young kid.


Ronnie del Carmen: I didn't really know anything about moviemaking. You watch cartoons - I watched cartoons when I was a kid - I mean everybody watches cartoons. So, I watched 'The Wonderful World of Colour', and I was the happiest kid. I never thought about animation as something you could do - I didn't even think of that people make those. I almost felt cartoons just happened, when I was a kid. Only when I got to the US, and I was already an old man by then - I was 29 - and I fell into animation, not really wanting to be in animation at all, and that's only when I really understood that you can make this character move and behave, show the emotions, and I thought, hmmm... I could do this. I could learn about this! And for me, it's just magical when I found out the components of how to make them.


Did you study animation? Ronnie del Carmen: I didn't really study it formally, I learned that on the job. I studied fine arts, and majored in advertising art, to be an art director. I wanted to be an art director, for print, tv, magazines, and for movies. I did like ads, posters, but I learned how to be part of an animation studio by being part of an animation studio to learn in...


Pete Sohn: I went to school for it, I went to CalArts, after highschool. I got into the school called California Institute for the Arts for four years, and learned as much as I could, just scraped traditional 2-D animation then got my start there, and then was slowly learning on the job, the story side of it. But animation, that was all the training I had.

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UP NEXT: An interview with Ronnie del Carmen and Peter Sohn - Part 2...

Just a couple of the questions in the next installment include: 'What would you suggest for people who want to go into art for animation?', and 'What was it like seeing both Partly Cloudy and Up for the first time with an audience?'.


Look for Part 2 tomorrow.


UPDATE: Part 2 here.


UPDATE x 2: Part 3 here.

Say Anything: 20th Anniversary Edition

On November 3rd, 20th Century Fox Home Entertainment released a 20th anniversary edition of Cameron Crowe’s classic romantic-dramady, Say Anything. This smartly written film offers a believable look at young love. Even though it originally came out in 1989, it still holds up.


Whether you’ve declared your love for Say Anything, while holding a boom-box over your head, or even if you’re a newcomer to the film. This 20th anniversary edition is worth getting.


The DVD includes deleted scenes, extended scenes, alternate scenes, featurettes, and audio commentary with Cameron Crowe and John Cusack. The Blu-Ray includes all this, plus an additional featurette and a trivia track.


20th Century Fox Home Ent. is releasing many of their catalogue titles on Blu-Ray, including the 1998 Fox Searchlight title Two Girls and a Guy, which also came out Nov. 3rd.


-John C.

Tuesday, November 3, 2009

Nothing Like The Holidays on DVD Today

Alliance Films' is releasing Nothing Like The Holidays on DVD today.


The film is from 2008 and is about Christmastime in Chicago, when the Rodriguez family all meet at their parents' home to celebrate. The film shows us the course of their eventful week together. For more information, see the official website here.


Watch for our reviews of this title and other Christmas & Holiday films in the coming weeks.


- Erin V.

Canada Above and Beyond on DVD Today

Today, E1 Films is releasing CBC’s 4-part documentary on Canadian aviation history, Canada Above and Beyond: 100 Years of Aviation. The 3-disc DVD set includes the complete series, as well as over 75-minutes of interviews and archival footage not seen in the documentary. Here are the names and descriptions of the 4 documentaries:


First Flight - Follow an excited six-year-old boy awaiting his first takeoff and a group of retired aviation experts and engineers trying to recapture the magic of that first flight 100 years ago.

Conquering Geography - Experience the stories of courageous pilots who are trained to fly in extreme conditions, put out forest fires and map the backcountry from the air.

Lifelines - From a Montreal pediatrician to the Disaster Assistance Response Team (DART), meet remarkable individuals who offer hope from the sky, at home and abroad.

Dancing with Danger - A must-watch for thrill-seekers, explore the amazing stunts of men and women who dazzle audiences with aerial aerobatics.


-John C.

Aliens in The Attic DVD Review

Aliens in The Attic - A 20th Century Fox Release

http://www.aliensintheatticmovie.com/#/landing

DVD Release Date: November 3rd, 2009

Rated PG for action violence, some suggestive humour and language

Running time: 86 minutes


John Schultz (dir.)

Mark Burton (screenplay)

Adam F. Goldberg (screenplay)

Mark Burton (story)


John Debney (music)


Carter Jenkins as Tom Pearson

Austin Robert Butler as Jake Pearson

Ashley Tisdale as Bethany Pearson

Robert Hoffman as Ricky Dillman


Thomas Haden Church as Tazer (voice)

Josh Peck as Sparks (voice)

Ashley Peldon as Skip (voice)

Kari Wahlgren as Razor (voice)


Our reviews below:

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Aliens in The Attic DVD Review By John C.

** (out of 4)

Originally titled They Came From Upstairs, Aliens in The Attic is the story of a family that goes to their cottage over the summer, only to have it invaded by aliens. The production design of the aliens is fine, but it’s nothing terribly original. Robert Hoffman, as the daughters boyfriend under alien mind control, is the most entertaining part of the movie. His stiff, robot-like dance moves are genuinely funny. The way he is being controlled by a Wii-like remote, is the most inventive thing in the film.


Pre-release, this was advertised as a sort of modern-day Gremlins. Um no, it’s not. Gremlins was a pretty dark picture. This is in no way a frightening film, and only very young kids might be freaked out by the aliens. If you’re above a certain age, you should skip this and rent the excellent The Spiderwick Chronicles. A film that wasn’t afraid to serve up just the right amount of fright, without going overboard.


Aliens in The Attic is not a bad film, it’s just very average. And a lot of it just feels like a tired retread of E.T.. The dialogue all feels forced and contrived and the story is silly, but kids in the 6-12 range are sure to like it. There are a lot of much better kids films to have come out this year, (G-Force, Shorts, etc.), but there’s also a lot worse. Aliens in The Attic falls in the middle. Mildly worth a rental if you’ve got kids, but you’re not missing much if you don’t watch it with them.


The DVD includes deleted scenes, an alternate ending, a gag reel, an animated short titled Behind The Zirkoniens, and some featurettes.

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Aliens in The Attic DVD Review By Erin V.

**1/2 (out of 4)

DVD Review Coming Soon!

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Aliens in The Attic DVD Review By Nicole

**1/2 (out of 4)

DVD Review N/A

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Aliens in The Attic DVD Review By Maureen

** (out of 4)

DVD Review N/A

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Aliens in The Attic DVD Review By Tony

** (out of 4)

DVD Review N/A

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Consensus: **1/4 (Out of 4)

Monday, November 2, 2009

Trailer Watch: How To Train Your Dragon

Yahoo! now hosts the first full-length trailer for Dreamworks Animation’s upcoming 3D adventure How To Train Your Dragon. This looks like it will be another strong film from DWA. This trailer will likely premiere in theatres on Friday with A Christmas Carol. HTTYD opens on March 26th of next year. Watch for our reviews of A Christmas Carol this Friday.


-John C.