37th Annual Annie Award Winners Announced!

There were some surprises tonight at the 37th Annual Annie Awards.

First off, as I had expected a possibility to happen, Bruno Coulais’ music for Coraline beat Michael Giacchino’s Up score in the feature music category. The Music for Television award went to Guy Moon of The Fairly Odd Parents over Kevin Kiner’s score for The Clone Wars, and Michael Giacchino’s for Prep and Landing.

Next, in another big category, Writing for Feature, Wes Anderson and Noah Baumbach won for Fantastic Mr. Fox over suspected front runner Up.

Best Feature though, did go to Up over Cloudy With a Chance of Meatballs, Coraline, Fantastic Mr. Fox, The Princess and The Frog, and The Secret of Kells. Up also took home the honours in the Feature Directing category.

You can see all of the individual winners below. The awards were given out fairly evenly this year with two for Up, and three each of The Princess and the Frog and Coraline, and one each for Mr. Fox and Monsters vs. Aliens.

See all of the winners, (in bold), below.

Congratulations to all who were nominated!

-E. Corrado

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2009 ANNIE AWARD WINS BY CATEGORY:

PRODUCTION CATEGORIES

Best Animated Feature

Cloudy With a Chance of Meatballs – Sony Pictures Animation

Coraline – Laika

Fantastic Mr. Fox – 20th Century Fox

The Princess and the Frog – Walt Disney Animation Studios

The Secret of Kells – Cartoon Saloon

Up – Pixar Animation Studios

Best Home Entertainment Production

Curious George: A Very Monkey Christmas – Universal Animation Studios

Futurama: Into the Wild Green Yonder – The Curiosity Company in association with 20th Century Fox Home Entertainment

Green Latern: First Flight – Warner Bros. Animation Open Season 2 – Sony Pictures Animation SpongeBob vs. The Big One – Nickelodeon

Best Animated Short Subject

Pups of Liberty – Picnic Pictures

Robot Chicken: Star Wars 2.5 – ShadowMachine

Santa, The Fascist Years – Plymptoons

The Rooster, The Crocodile and The Night Sky – Barley Films

The Story of Walls – Badmash Animation Studios

Best Animated Television Commercial

Goldfish: In The Dark – Blur Studios, Inc.

Idaho Lottery “Twiceland” – Acme Filmworks, Inc.

McDonald’s Nutty Trade – Blue Sky Studios

Spanish Lottery “Deportees” – Acme Filmworks, Inc.

The Spooning – Screen Novelties /Acne MediaBest

Animated Television Production

Glenn Martin, DDS – Tornante, Cuppa Coffee Studios & Rogers Communications

Merry Madagascar – DreamWorks Animation

Prep and Landing – ABC Family/Walt Disney Animation Studios The Simpsons – Gracie Films

Best Animated Television Production for Children

Mickey Mouse Clubhouse – Disney Television Animation

SpongeBob SquarePants – Nickelodeon

The Marvelous Misadventures of Flapjack – Cartoon Network Studios

The Mighty B! – Nickelodeon/Polka Dot Pictures/Paper Kite Productions

The Penguins of Madagascar – Nickelodeon and DreamWorks Animation

INDIVIDUAL ACHIEVEMENT CATEGORIES

Animated Effects

Scott Cegielski “Monsters vs. Aliens” – DreamWorks Animation

Alexander Feigin “9” – 9 L.L.C.

Eric Froemling “Up” – Pixar Animation Studios

Tom Kluyskens “Cloudy With a Chance of Meatballs” – Sony Pictures Animation

James Mansfield “The Princess and the Frog” – Walt Disney Animation Studios

Character Animation in a Television Production

Mark Donald “B.O.B.’s Big Break” – DreamWorks Animation

Mark Mitchell “Prep and Landing” – Walt Disney Animation Studios Kevan Shorey “Merry Madagascar” – DreamWorks Animation

Tony Smeed “Prep and Landing” – Walt Disney Animation Studios

Phillip To “Monsters vs. Aliens: Mutant Pumpkins from Outer Space” – DreamWorks Animation

Character Animation in a Feature Production

Andreas Deja “The Princess and the Frog” – Walt Disney Animation Studios

Eric Goldberg “The Princess and the Frog” – Walt Disney Animation Studios

Travis Knight “Coraline” – Laika

Daniel Nguyen “Up” – Pixar Animation Studios

Bruce Smith “The Princess and the Frog” – Walt Disney Animation Studios

Character Design in a Television Production

Bryan Arnett “The Mighty B! – Catatonic” – Nickelodeon/Polka Dot Pictures/Paper Kite Productions

Ben Balistreri “Foster’s Home for Imaginary Friends” – Cartoon Network Studios Craig Kellman “Merry Madagascar” – DreamWorks Animation

Bill Schwab “Prep and Landing” – Walt Disney Animation Studios

Character Design in a Feature Production

Daniel Lopez Munoz “Up” – Pixar Animation Studios

Shane Prigmore “Coraline” – Laika

Shannon Tindle “Coraline” – Laika

Directing in a Television Production

Pam Cooke & Jansen Yee “American Dad: Brains, Brains & Automobiles” – 20th Century Fox/Fuzzy Door/Underdog

Rob Fendler “Popzilla” – Animax

Bret Haaland “The Penguins of Madagascar – Launchtime” – Nickelodeon and DreamWorks Animation

John Infantino, J.G. Quintel “The Marvelous Misadventures of Flapjack: Candy Casanova” – Cartoon Network Studios

Jennifer Oxley “The Wonder Pets: Help The Monster” – Nickelodeon/Little Airplane Productions

Directing in a Feature Production

Wes Anderson “Fantastic Mr. Fox” – 20th Century Fox

Pete Docter “Up” – Pixar Animation Studios

Christopher Miller, Phil Lord “Cloudy With a Chance of Meatballs” – Sony Pictures Animation

Hayao Miyazaki “Ponyo” – Studio Ghibli

Henry Selick “Coraline” – Laika

Music in a Television Production

Michael Giacchino “Prep and Landing” – Walt Disney Animation Studios

Kevin Kiner “Star Wars: The Clone Wars “Weapons Factory” – Lucasfilm Animation Ltd.

Guy Moon “The Fairly OddParents: “Wishology- The Big Beginning” – Nickelodeon

Music in a Feature Production

Bruno Coulais “Coraline” – Laika

Michael Giacchino “Up” – Pixar Animation Studios

Joe Hisaishi “Ponyo” – Studio Ghibli

John Powell “Ice Age: Dawn of the Dinosaurs” – Blue Sky Studios

Production Design in a Television Production

Mac George “Prep and Landing” – Walt Disney Animation Studios

Andy Harkness “Prep and Landing” – Walt Disney Animation Studios

Janice Kubo “Foster’s Home for Imaginary Friends” – Cartoon Network Studios

Production Design in a Feature Production

Christopher Appelhans “Coraline” – Laika

Ian Gooding “The Princess and the Frog” – Walt Disney Animation Studios

Tadahiro Uesugi “Coraline – Laika

Christophe Vacher “9” – 9 L.L.C.

Storyboarding in a Television Production

Sunil Hall “The Mighty B!: Catatonic” – Nickelodeon/Polka Dot Pictures/Paper

Robert Koo “Merry Madagascar” – DreamWorks Animation

Brandon Kruse “The Fairly OddParents: Fly Boy” – Nickelodeon

Joe Mateo “Prep and Landing” – ABC Family/Walt Disney Animation Studios Kite Productions

Adam Van Wyk “The Spectacular Spider-Man: Final Curtain” – Culver Entertainment

Storyboarding in a Feature Production

Sharon Bridgeman “Astro Boy” – Imagi Studios

Chris Butler “Coraline” – Laika

Ronnie Del Carmen “Up” – Pixar Animation Studios

Tom Owens “Monsters vs. Aliens” – DreamWorks Animation

Peter Sohn “Up” – Pixar Animation Studios

Voice Acting in a Television Production

Danny Jacobs - Voice of King Julien - “Merry Madagascar” – DreamWorks Animation

Nicky Jones - Voice of Chowder - “Chowder: The Dinner Theatre’” – Cartoon Network Studios

Tom Kenny - Voice of SpongeBob - “SpongeBob SquarePants – Truth or Square” – Nickelodeon

Dwight Schultz - Voice of Mung Daal - “Chowder:The Party Cruise” – Cartoon Network Studios

Willow Smith - Voice of Abby - “Merry Madagascar” – DreamWorks Animation

Voice Acting in a Feature Production

Jen Cody - Voice of Charlotte - “The Princess and the Frog” – Walt Disney Animation Studios

Dawn French - Voice of Miss Forcible – “Coraline” – Laika

Hugh Laurie - Voice of Dr. Cockroach Ph.D. – “Monsters vs. Aliens” – DreamWorks Animation

John Leguizamo - Voice of Sid – “Ice Age: Dawn of the Dinosaur” – Blue Sky Studios

Jenifer Lewis - Voice of Mama Odie – “The Princess and the Frog” – Walt Disney Animation Studios

Writing in a Television Production

Daniel Chun – “The Simpsons: Treehouse of Horror XX” – Gracie Films

Kevin Deters, Stevie Wermers-Skelton – “Prep and Landing” – Walt Disney Animation Studios

Valentina L. Garza – “The Simpsons: Four Great Women and a Manicure” – Gracie Films

Billy Kimball and Ian Maxtone-Graham - “The Simpsons: Gone Maggie Gone” – Gracie Films

Billy Lopez – The Wonder Pets – Save the Honey Bears” – Nickelodeon Productions/Little Airplane Productions

Writing in a Feature Production

Wes Anderson and Noah Baumbach – “Fantastic Mr. Fox” – 20th Century Fox

Pete Docter, Bob Peterson, Tom McCarthy – “Up” – Pixar Animation Studios

Timothy Hyde Harris and David Bowers – “Astro Boy” – Imagi Studios

Christopher Miller and Phil Lord – “Cloudy With a Chance of Meatballs” – Sony Pictures Animation

JURIED AWARDS

Winsor McCay Award – Tim Burton, Bruce Timm, Jeffrey Katzenberg

June Foray – Tom Sito Ub Iwerks Award – William T. Reeves Special Achievement – Martin Meunier and Brian McLean

Certificate of Merit – Myles Mikulic, Danny Young and Michael Woodside

The Art of The Princess and the Frog - Book Review

Released December 2009

Page count: 160 pages

Size: 9” x 12”

The Art of The Princess and the Frog

(Text) By Jeff Kurtti

Preface By John Lasseter

Foreword By Directors John Musker and Ron Clements

Published By Raincoast Books

www.raincoast.com

- This review is in a series running this week and next, leading up to the Oscar nominations on Feb. 2nd. The series includes a profile of 8 books relating to past and present films, as well as the filmmaking process. Check out these titles to get a better understanding of what goes into the art of film.

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The Art of The Princess and the Frog Book Review By John C.

The Art of The Princess and the Frog is a gorgeous visual companion to Disney’s beautiful 2D animated film. It includes concept art for the characters, showing how they created the right look for each one, and talks about how they captured the look of New Orleans during the jazz era.

One of my favourite parts of the book has to be the section on the Bayou. Where they talk about how they got the perfect look for probably my favourite character - the jazz-playing alligator, Louis.

The “Art of” books are always nice to look through, but are especially worth it for animated films, when they are able to supply an abundance of concept art. The Art of The Princess and the Frog is a beautiful book that’s worth adding to your collection.

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The Art of The Princess and the Frog Book Review By Erin V.

Disney’s return to the classic 2D style of animation this past December was a success in my mind. The Princess and the Frog was a gorgeous film, with a great soundtrack and fun storyline. The film is nominated at the Annie (animation) Awards, which take place next Saturday, in multiple categories. Also, come Tuesday, the film will probably garner at least a nomination in the Best Animated category at the Oscars.

But what makes this film so special to watch? The answer is the love and care put into the beautiful animation. The art and visual style designed for the film is captured wonderfully here in this collection of pieces from the production stages.

The simple and fluid way that the frogs move, is rooted in their design. The simplicity makes them easier to animate, since they have to be drawn by several people again and again, and allows them to move more smoothly. An interesting study in this for other creatures, is the character Louis. An alligator doesn’t lend itself to a fluid line drawing all that easily, but Eric Goldberg, who worked on his design, masterfully made it work.

Certainly, this book will be enjoyed by fans of classic Disney, as well as artists - especially those wishing to get started in 2D animation. It is filled with great concept pieces from the design of the characters, to the stunning background environments created to envision the feeling of being in the Bayou. This is definitely a book to add to your collection.

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To find out more about The Art of The Princess and the Frog, or other books, visit Raincoast’s website here.

Interview with Coraline composer Bruno Coulais

By E. Corrado

The music of last year’s animated masterpiece, Coraline was one of the elements that really helped make the film work as well as it did. I had the pleasure of speaking with the composer of the music, Bruno Coulais, just over a week ago. The music of Coraline is nominated for Best Score at upcoming Annie Awards - winners will be announced February 6th.

In the interview, we spoke about everything from the collaboration process on films, to working with animation. Enjoy reading it below.

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When did you find out that you would be composing the score for Coraline? It was one year before the shooting. The director, Henry Selick, tried many different types of music, and I composed for Winged Migration and he found that it worked. I was very happy.

Have you done other animated movies? Yes, I did an animation in French, I don’t know exactly the English title, but it’s really a beautiful movie.

What was it like watching this film come together? I love animated movies. You have time to work on it, and change different things. On Coraline, I had about one year. First of all I started to find melodies and after that, I recorded some of them and my work was in progress.

Did you get to see part of the animation process? Yes that was very important. I came twice or three times. It was really interesting for me, since I worked a lot of time in Paris. This was not a big problem, I worked very closely with Henry. I would send via internet the clips and it was a very strange, but very close relationship. He would say what he wanted, what he would prefer in each sequence and I would work on it.

How late in the project did you finish - you did the orchestration as well, right? I remember the real shootings finished very late and it was so important to see the light of the movie - the atmosphere. Regarding the orchestration, I’m writing my own, waiting until the last moment, two weeks or one week before the movie was called.

When did you know that you wanted to compose music? When I was very young - I have a real patience for music. My mother and father played piano. I have a good ear, and started very, very early. I couldn't imagine a life without music. When I was 18, I recorded my first music for a film about Mexico in French - it was called México Mágico. It was by François Reichenbach, who was a very interesting director. I started with the documentaries and try to bring in more fiction, but for documentaries, Winged Migration was a very good one.

What do you find you like about a fiction like Coraline? I think it's very interesting doing music for Henry Selick. I’m really very happy to work on such a movie from France. I'm very lucky to work on a lot of French movies that are very realistic, but with Selick and Coraline, a fantasy, I could write very strange music, so that was very interesting, very freeing.

What were some of the instruments that you used in particular for Coraline? Actually the harp, and I used a lot of different big orchestral pieces, as well as a string quartet, stranger ethnic instruments, and synth, so it's a mix of those, and also voices are used.

What instruments do you play? I play violin and I play piano, but my main occupation is to write music.

Where did you learn to write music? I worked and I learned classical from very young. I started to compose for movies, and I went to a very good school. Very early I opted to write for orchestra. I had the classical education from a very good school in Paris for piano - very famous.

What are your favourite types of film to write for? I love the fantasies. I think it's good for music - I'm not too found of too realistic, not so gifted for comedy... I love the mysteries, very free to write for.

What was Henry Selick like as a director to work with? I think that he is a very good director, and the fantasy stories he tells, like Nightmare Before Christmas are very good. Since the beginning with all of the movie, he knew exactly what he wanted, but left me very free to write. Really, it’s kind of like the music of Henry, he very much knew the sounds that he wanted.

What are your thoughts on your Annie award nomination? Yes, those awards are at the beginning of February. I'm very proud of it, and this is an important movie in my life as a professional writer.

Have you seen any of the other films nominated there? Just Up, which is beautiful too, but I don’t think that I’ve seen any the others yet.

What is the composing process like for you? For me when I think about the melodies in my head, it always begins with the sound of the instruments - I am unable to imagine an abstract song, so the process of the orchestration in the beginning is an idea. It's very close to an instrument.

Do you have any instruments that you like to write with a lot? Maybe I think I like to write strings. I think it’s important to play violin if you are going to be writing for strings, since there are a lot of ways to play with the bow, and it’s good to play piano, since it's important for the harmonies. When I'm composing I am composing in my head, because if I compose at the piano, I always do the same thing, like my fingers are doing the composing. For me, I have to imagine the music in my head, and write the music from there.

Do you use the computer to do the writing? I use Finale - it's very useful. If I write for music on there when there’s anything to change, it's easier to change the orchestration. And for the demo’s, I use Logic Pro and I think that it's very great because you can record good demo’s, which are precious for the director, because it gives a real idea of the definite music. It’s like real instruments there, kind of.

What was the collaborative process for Coraline like? Yes, when I would send in the demo’s, very firstly he answered me, and it was magic for me because we were so far apart in distance and the relations were so close. So sometimes he asked me to change some details. First of all, I remember I sent to Henry all of the main melodies and after it was easier to work off of. I worked with the themes, and the music for the movie is different at the beginning, since little by little the movie answers the music as it gets a little scary at the end.

Where was the music recorded? In different places. First we started with the France children's choir in Paris, then we did all the soloists in Budapest and the orchestra, and we mixed it for the film at the Skywalker studio in L.A. - it was an amazing experience.

When did you first see the music really with the film? It was at Skywalker, reel by reel, and after really the first time was for the premiere. That was the first time I had the distance.

What is it like to be seeing a film with your music in it? I try to focus, but it's my music. But, the two mixes of the thing was so good that I focused very quickly. It was very fascinating to be seen with the new colour of the 3D. It was new as I had not seen a movie like that. And I think when you would work a long time on a film, it's only when you watch it with an audience that you really see it.

Do you use clips of the scenes when you are composing for them? Yes, for example if I am working on a sequence, I watch a long time the sequence and then try to forget it and compose from memory. I imagine when I write something, then I re-watch the sequence and change something and then record the demo. It's important to write with the memory of the sequence. When you are composing the music, sometimes I think the memory is stronger and more important than actually seeing.

Is there anything else you’d like to add before we wrap up today? I was pleased to talk with you. For the last time, I think that Coraline was a great, great experience and I will have very many good memories of it.

Thank you to Bruno Coulais for taking the time to speak with me today. The Coraline soundtrack is available in stores, as is the DVD. You can read our reviews of the film here. The Annie Awards, where Bruno Coulais is nominated for Coraline’s score, take place on Saturday, February 6th, 2010.

DVD Review: Mary and Max

Mary and Max - A Mongrel Media Release

http://www.maryandmax.com/

Release Date: November 20th, 2009

DVD Release Date: January 26th, 2010

Rated G

Running time: 96 minutes

Adam Elliot (dir.)

Adam Elliot (writer)

Dale Cornelius (music)

Toni Collette as Mary Daisy Dinkle (voice)

Philip Seymour Hoffman as Max Jerry Horovitz (voice)

Eric Bana as Damien (voice)

Barry Humphries as Narrator (voice)

Our reviews below:

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Mary and Max DVD Review John C.

***1/2 (out of 4)

Mary and Max is the story of an unlikely friendship. An 8-year old girl in Australia, Mary Daisy Dinkle, rips a page from the phone book, and sends a letter to Max Jerry Horowitz. A 44-year old man living with Asperger's syndrome in New York City.

The friendship that ensues is tender and touching. As they unexpectedly change each other’s lives, we come to realise that having one long distance friend can be more meaningful to some than being surrounded by face to face social. The last scene of the film could only be described as bittersweet, heartbreaking and beautiful.

It’s a story that could only exist in the pre-internet age. A time when you would take time and care to write a letter, praying that the recipient would respond. You would actually spend time thinking about what to say, and could include a chocolate bar in the package as well.

Though I could have done without some of the darker, almost sadistic humour, Mary and Max is an excellent piece of adult animation. Phillip Seymour Hoffman’s voice work as Max is spot on, and the writing gives an accurate insight into the mind of a certain type of Aspie.

It should be noted that, despite the G-rating, this film could have gotten away with a 14A. The DVD includes no bonus features, though it could have included some of Adam Elliot’s short films.

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Mary and Max DVD Review By Erin V.

*** (out of four)

Mary and Max is about the penpal relationship between a girl in Australia by the name of Mary (who writes one day to someone random in the US), and Max, a middle-age man with Aspergers’ syndrome.

The film is interesting, and Max’s thought process is very accurate to how an individual on the autism spectrum might think. (This being said though, people on the autism spectrum are all individuals, and just because some may think in that manner, many others do not.) Overall, I found their writing relationship to be done well, and never had a ‘weird vibe’ despite the fact that they were so different in age. They developed a very nice and believable friendship that they both really needed.

As for the film itself, there were parts of it that I liked more than others. I did find the film to be rated quite low, (according to the package a G), and could have done with as high as a 14A, for various content reasons. This is definitely not a film for children. Some of the content, I found went a bit overboard, and I might have liked the film a bit better without as much of it, but the storyline on a whole was well executed.

The animation style, while interesting, is not visually pleasing to look at, unlike something like Coraline. Still, don’t get me wrong, I did like the film. I found it to be a good effort, and worth seeing for those interested in either autism, or animation.

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Mary and Max DVD Review By Nicole

***1/2 (out of 4)

Mary and Max is a charming and touching story about an unusual friendship. Mary Daisy Dinkle is a lonely Australian girl who lives with her eccentric father and alcoholic mother. Max Jerry Horowitz is a middle age man with Asperger’s syndrome, whose only friends are either imaginary, furry, feathered or finned.

One day while at the library, Mary comes across an American phone book. She only gets to “H” before she is suddenly forced to leave. She writes down the first name she sees, and proceeds to write her new “friend”. Max responds by writing a very long letter about himself. Over time, the correspondence between the two impacts each other in unexpected ways. The pen pal friendship spans 20 years. During the correspondence, both Mary and Max learn acceptance, forgiveness, and what it means to be human.

Mary and Max is a very unique animated film. Phillip Seymour Hoffman is perfectly cast as Max. The animation style is very original, in that despite being claymation does not have the look of Aardman. Instead, the characters are mostly shot in grey, with only a few reds for contrast.

Max’s portrayal of Asperger’s syndrome and panic disorder is fairly accurate, considering Max’s age, and the fact that this movie takes place in the 1970’s and ‘80’s. It should be noted that while Max is more challenged socially, many Aspies today can lead more fulfilling lives, thanks to community improvement. What I really liked about Mary and Max is the acceptance of people’s differences, as opposed to pushing for a “cure”.

Although the fact that this film is about a child, this movie is for teenagers and adults only. This film, despite it’s ludicrous G rating, should be rated 14A due to its stark depictions of alcoholism and historically correct portrayals of how people with developmental delays were treated.

Mary and Max is funny, sad at times, and very sweet. Their friendship never feels creepy, but innocent and real. This film deals with death, life, family problems and the beacon of hope that a simple friendship can bring.

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Mary and Max DVD Review By Maureen

***1/2 (out of 4)

Mary and Max is a quirky, claymation gem of a tale about an unlikely friendship between two very different people. Mary (voiced by Toni Collette) is 8 years old and lives in Australia. Max (voiced by Phillip Seymour Hoffman) is 44, lives in new York City and has Asperger’s syndrome. Mary instigates a pen pal correspondence that lasts 20 years and provides unique insight and friendship for both of them.

On the surface, Mary and Max is a dark depressing story. Visually this is a somewhat ugly film. The animation is done in shades of grey and brown with splashes of red for contrast. Yet despite the dark look and tone, Mary and Max has a tender and charming overall feel to the story. Writer/director Adam Elliot has given viewers a touching and accurate glimpse into the challenges and struggles of Asperger’s syndrome and a wonderful lesson in friendship. Even when friendships are unorthodox, friends make a difference.

For animation fans, or individuals interested in the topic of Asperger’s syndrome, Mary and Max is a must-see.

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Mary and Max DVD Review By Tony

***1/2 (out of 4)

Mary & Max is the first feature from Australian self-titled “Clayographer” Adam Elliot, who won an Oscar for the 2003 short Harvie Krumpet. The story spans 22 years in the lives of Mary in suburban Australia and Max in urban New York, from the ages of 8 & 44 respectively. Having picked his name at random from a directory, Mary starts up a correspondence with Max. Despite their differences, they discover the common bond of Asperger Syndrome which has shaped both their lives.

Among the recent crop of films about ‘Aspies”, Mary & Max treats its subjects with sensitivity, celebrating their joys as well as dealing with their challenges though its crude humour and grotesque characters are not for small children.

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Consensus: A very good piece of adult animation, with a tender storyline and interesting visuals. Mary and Max gives an interesting and accurate look at Asperger’s syndrome and friendship. ***1/2 (Out of 4)

9 On DVD Today

Earlier this year, Alliance Films released the feature film 9. Based on Shane Acker’s Oscar nominated short film from 2004 by the same name, this full-length version builds on the storyline in a visually inventive way.

The film was appropriately released on 9.9.09, where it was met with somewhat mixed reviews, with many preferring the short film. I, on the other hand, enjoyed both. We posted reviews of the film then, which you can read here.

You can also read an interview with Deborah Lurie, who composed the music for the film here, as well as coverage from the Animation festival in Ottawa from October, here and here.

This film is dark, but visually beautiful in it’s execution. It is definitely worth getting on DVD - especially with the nice raised O-sleeve (slipcover). The disc includes several special features, including the original short film, a couple of making-of featurettes, as well as feature commentary with writer/director Shane Acker, animation director Joe Ksander, head of story Ryan O'Loughlin, and editor Nick Kenway.

To finish, our consensus for the film was:

"9 is a visually stunning, darkly beautiful animated film, that's incredibly interesting and unique in terms of storytelling and style. Though not for young kids, for everyone else this is an animated gem. ***3/4 (Out of 4)"

-Erin V.

37th Annual Annie Award Nominations Announced

Today, December 1st, 2009, the Annie Award nominations were announced. These are awards for animation, for both theatrical features and TV. Last year there was a clean sweep of the awards in the feature film categories, by DreamWorks Animation’s film Kung Fu Panda - surprisingly shutting WALL•E out - and causing some fans of the other films to be upset. This year, the three films in a position to hold most wins are predictably three of the biggest animated films of the year, Up, Coraline, and The Princess and the Frog. We have reviews of the first two already, and our thoughts on TPatF will be up opening day.

One of the categories I always like to watch is that for music. While I am not going to post all of the nominees for each category the following is who’s nominated for music:

Music in a Television Production

Michael Giacchino “Prep and Landing” – Walt Disney Animation Studios

Kevin Kiner “Star Wars: The Clone Wars “Weapons Factory” – Lucasfilm

Animation Ltd.

Guy Moon “The Fairly OddParents: “Wishology- The Big Beginning” –

Nickelodeon

Music in a Feature Production

Bruno Coulais “Coraline” – Laika

Michael Giacchino “Up” – Pixar Animation Studios

Joe Hisaishi “Ponyo” – Studio Ghibli

John Powell “Ice Age: Dawn of the Dinosaurs” – Blue Sky Studios

While they are all strong contenders, I could easily see Michael Giacchino taking both of these awards - and would love to see him do it. If not, I would probably say Kevin Kiner for TV, and for Feature it could be a toss up for any of them, but possible Bruno Coulais for Coraline?

To finish, I will leave you with these stats.

For the animated feature categories, the following films have recieved nominations:

Coraline - 10 noms.

Up - 9 noms.

The Princess and the Frog - 8 noms.

Cloudy with a Chance of Meatballs - 4 noms.

Fantastic Mr. Fox - 3 noms.

Monsters vs. Aliens - 3 noms.

9 - 2 noms.

Astro Boy - 2 noms.

Ice Age: Dawn of the Dinosaurs - 2 noms.

Ponyo - 2 noms.

The Secret of Kells - 1 noms.

I hope to have some interviews in the coming months with some more of the nominees here, but for now you can read my three part interview with Ronnie del Carmen and Peter Sohn, who are both nominated for Best Storyboarding for a Feature Film, for Up, here. For a complete list of all of the nominees, and past winners, visit the Annie Awards site here.

-E. Corrado

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.”