Sentences with phrase «film animation at»

He'd studied film animation at Jiangsu University in Nanjing, a few hours north of Shanghai.

Not exact matches

What lessons did you learn about innovation when you interviewed the people at Disney Animation regarding the creation of the hit animated film Frozen?

When adjusted for inflation to even the playing field, the top - earning films at the US box office include many old classics, from overall winner «Gone with the Wind» to a couple Steven Spielberg favorites and a Disney animation.

So, DreamWorks Animation released 1 - 2 films a year when I was looking at it.

I had the privilege of watching this film on the Disney lot, and afterwards going behind the scenes at Disney Animation studios to learn a little bit about how the film was made from story to art to aAnimation studios to learn a little bit about how the film was made from story to art to animationanimation.

Of the myriad joys to be had watching a film made by the clay - animation geniuses at Aardman Animations, one of the most satisfying is seeing the physical evidence of art that, in an era of virtual this and computer - generated that, is still adamantly handmade.

Sure the animation was a standard for Disney between the 1940's and 1970's, where you can see certain characters move in the same way as other characters from earlier or later films, but that was solely due to the limitations in the animation room at the time.

Or you can sit in the dark and talk about how consistently solid the animation has been between the three films and that there are just enough jokes aimed at adults to make this a watchable film when you take your children.

It's an animated film, created by an Irish animation studio (Cartoon Saloon) and based on a novel by a Canadian author (Deborah Ellis), but despite these seeming obstacles to authenticity, this is a deeply felt and unsparingly realistic depiction of Afghanistan at a time of tyrannical rule by religious fundamentalists.

It is hard sometimes to shake the feeling that this live - action Disney adaptation is relying too much on the 1991 animation, to the point that it almost feels like an extended version of that film; but even so, it offers a fresh and modern look at the classic story that makes it worth it.

At first glance, it's clear the film isn't some slick digital production, and there are always going to be inherent weaknesses related to the animation / live - action blending.

The film is a look at the fleeting nature of attraction, all done in stop - motion animation and with enough imagination to shame most of its live - action counterparts.

At the film festival: Bruce LaBruce's subversive masterpiece, Gerontophilia, a lovely rom - com in which everybody fucks one another across all age and gender borders — desire shall bind us together; Juno Mak's Rigor Mortis, a touching albeit grim look at loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile GerimAt the film festival: Bruce LaBruce's subversive masterpiece, Gerontophilia, a lovely rom - com in which everybody fucks one another across all age and gender borders — desire shall bind us together; Juno Mak's Rigor Mortis, a touching albeit grim look at loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gerimat loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gerima.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

«Lu Over the Wall» won the Cristal Award for animated feature at the 2017 Annecy International Animation Festival — the first Japanese film to win since Isao Takahata's «Pom Poko» in 1995.

DreamWorks Animation's toon film Home and The SpongeBob Movie: Sponge Out of Water, produced by Nickelodeon Movies and Paramount Animation, are outside players, while the unrelated Brazilian movie The Boy and the World, The Boy and the Beast from Mamoru Hosoda and Studio Chizu, The Laws of the Universe Part 0 (based on the teachings of a new Japanese religion called Happy Science), the Finnish film Moomins on the Riviera and Regular Show: The Movie, an animated film based on the Cartoon Network original series — are unknown quantities at this point.

What You Need To Know: Things were looking up at DreamWorks Animation for a while, but of late, their slate has been a little disappointing, with «Rise of the Guardians» marking the least successful film in the company's recent history.

For all the film's techno sophistication, which mixes motion capture, live action, and computer animation, «Ready Player One» at its heart resembles a dewy, coming - of - age love story.

But perhaps it was the six award - winning films in MIFF's 50th Shorts Awards that most fittingly captured the hybrid nature of MIFF 2011, a selection of old and new forms of filmmaking, from a myriad of countries on a range of issues: A Fine Young Man (Kevan Funk, 2010) from Canada, winner of Best Short Film; Best Australian Short, The Palace (Anthony Maras, 2011); Andrew Kavanagh, winner of the Emerging Australian Filmmaker Award for At the Formal (2010); Green Crayons, (Kazik Radwanski, 2010) from Canada, winner of Best Fiction Short Film; Nullabor (Alister Lockhart, Patrick Sarell, 2011) from Australia, the Best Animation Short Film; Leonids Story (Rainer Ludwigs, 2011) from Russia, the Best Documentary Short; and A History of Mutual Respect (Gabriel Abrantes, Daniel Schmidt, 2010) from Portugal, winner of Best Experimental Short Film.

The features in HD include «Spotlight on Donkey» (which is pretty self - explanatory); «Secrets of Shrek», a look at the creation of the film including the animation and everything on up; and «Karaoke Dance Party» which has the songs at the end of the movie available for the kids to sing along.

«One Brick at a Time: Making The LEGO Batman Movie» (16:10) details the creative processes of the film, from turning real Legos into digital animation to the voice cast bringing the characters to life.

Having said that, Kronk's New Groove does boast several top - notch voice performances and an animation style that's just as bright and colorful as the original, so (at the very least) the film doesn't have the feel of something haphazardly slapped together.

Also on board is an audio commentary from» 09 — Disney, alas, has dropped the picture - in - picture option that made this a full - blown «Cine - Explore feature» on the PE — teaming Leonard Maltin with Disney animator («and unashamed animation geek») Eric Goldberg and film historian J.B. Kaufman, who at the time was writing a book about the making of Pinocchio that finally got published in 2015.

Disney Animation has gotten the hang of CG well enough for you to expect a dynamic audio - visual experience and the film does not let down in that regard at all.

We discuss Disney - Pixar's newest film and look back at animation's complicated history of Latino representation.

Honorable Mention One film that isn't particularly high on the radar yet but that will be no doubt be a major player for the family - movie - at - Christmas - dollar is Disney «s «Frozen,» which our resident animation enthusiast tells us looks terrific, judging from a few sneak peeks.

The animation recurs throughout the film at various intervals, mostly to supplant stunts and effects that would have probably been too pricy for this independent movie to handle, or which writer - director Erik MacArthur hadn't the talent to know how to shoot properly.

But even then, the film remains a consistent visual treat (the computer animation is more inspired in this section, with the grown - ups depicted as a colorless, zombified mass of tall, narrow bodies) and always echoes Saint - Exupery's core theme of looking at the world through the hopeful, uncorrupted eyes of a child, where sometimes what appears to be a hat may in fact be a boa constrictor with an elephant inside.

If affection for the original film endures, at least among Gen - Xers, it's largely because of Ray Harryhausen's memorable stop - motion animation, which evoked the mythology of the Greeks by way of Harry O. Hoyt's The Lost World.

The stop - motion animation drama played to a clunky, awkward Q&A when I saw its North American premiere at Telluride, but now that people will have seen the film in droves by Sundance 2016, one can imagine this will be an indeed special event, the first big meeting of the cult following Johnson and Kaufman's film so richly deserves.

They also good at producing animation film such as Pokemon: the 1st movie which made $ 163,644,662, making it the highest - grossing anime film in the US.

Although the animation film on everyone's lips at Berlinale is undoubtedly Isle of Dogs, for those who like their plucky heroes a little more amphibian, a charming Swedish crime caper by the name of Gordon & Paddy is here to satisfy that niche.

Certainly the special effects, designed by the wizards at Rhythm and Hues, reach a new plateau of believability for talking - animal CGI, and, computer - animation aside, the 2001 film has a distinctive, endearing Eighties flavour that's unique to this era.

An unsettling animation out of South Korea, The King of Pigs is an incredibly dark film that hints at brilliance without ever quite reaching it.

There's a supposed love story among the explosions and the dead spots somewhere, but acting in a film as effects - heavy as this one is akin to doing voice work for animation: long hours of sitting by yourself in a fake cockpit as you scream your lines at nothing while gyros toss you around tends to hinder human tenderness and connection.

The award finishes what was a very successful festival for Irish films with The Summit being snapped up by a major US distributor Sundance Selects after its premiere at the festival and the Irish short animation Irish Folk Furniture directed by Tony Donoghue scooping the Best Animation prize at the animation Irish Folk Furniture directed by Tony Donoghue scooping the Best Animation prize at the Animation prize at the festival.

However, the short film hasn't died out at Walt Disney Animation Studios.

Aladdin came at the right time for Disney, capitalizing on the worldwide popularity of Robin Williams and widespread enjoyment of hand - drawn animation months after Beauty and the Beast became the first such film to get a Best Picture nomination at the Oscars.

Those of us who know, revere, and frequently revisit the ever - growing canon of Disney Animation Studios almost always cherish at least one film that is generally considered mediocre or worse.

And unlike films typical to the genre of animation (especially those with princesses), The Tale of the Princess Kaguya doesn't tie everything up in a neat happy bow for us at the end.

The film is caught between the inviting exterior of the animation and the shadowy plot at the center of the film that deals with a very serious issue.

Only two other animated films have ever been in contention at the France - based festival, both films from DreamWorks Animation, Shrek and Shrek 2.

That the film's final credits roll over multi-layered, repeated shots of Yalini fondly stroking Dheepan's hair seems incongruous at first; but seen as an animation of pure, human intimacy, it's perfect.

More than 100 of Van Gogh's paintings were re-imagined for «Loving Vincent,» which was the Audience Prize winner at June's Annecy animation film festival.

The picture is amazingly sharp and vibrant, allowing you to marvel at the fantastic foray into feature animation this film marks for ILM.

At the film's recent press day, del Toro and Gutierrez spoke about the genesis of the project, Gutierrez's unusual pitch that convinced del Toro to produce the movie, Gutierrez's vision using authentic folk art characters, the film's humanistic tone, casting a talented and eclectic international group of actors to voice the larger than life characters, choosing Reel FX to tackle the complicated animation design, gaining the support of Fox's Jim Gianopulos, how Zoe Saldana and Diego Luna learned to sing, the film's amazing music, and del Toro's upcoming projects including «Crimson Peak,» «The Strain,» «Pacific Rim 2,» the «Pan's Labyrinth» Musical, and the possibility of a «Hellboy 3.»

Aardman Animation have delivered a new look at their upcoming feature film Early Man ahead of its release in January.

The voice work by Zach Braff as Finley and King as China Girl are also quite good, and their detailed animation and the actual attempt at a modest backstory makes these characters two of the most interesting in the film.

If at times «The Old Man and the Sea» looks like an animated version of those lame megabudget nature documentaries they used to show at IMAX theaters, that's partly because it is an IMAX film — the first animation to be shown on that huge screen, in fact.

After trying to create a shot of Slimer whizzing round a chandelier, the film's animation supervisor Terry Windell realised at the 11th hour that the Slimer model he'd built just wasn't small enough to produce the desired high - speed whizzing effect.