Animator. Spring 1990. Issue number 26. Front cover illustration: Scene from All Dogs go to Heaven, the latest USA release from Sullivan Bluth. See page 32.
#26 Spring 1990
The BFG
Roald Dahl’s best-selling children’s novel, The BFG has been made into a 90-minute animated film to be transmitted on the ITV Network this Christmas. Cosgrove Hall Productions – the Manchester- […]
Animation Festival Bristol ‘89
By David Jefferson The biennial International Animation Festival Bristol took place in November 1989. It is the second time the Festival has been held in Bristol and this year’s event […]
Animation Festival Bristol ‘89 – Page 2
A stand representing ASIFA and also John Halas’s video collection of ‘Animation Classics’ was manned by Pat Webb. Pat managed to see a few films in between her stint on […]
Channel 4: commissioning and purchasing animation
Since Channel 4 started seven years ago it has funded many outstanding animated films from the popular Snowman to the work of independents such as The Quays and Leeds Animation […]
Channel 4: commissioning and purchasing animation – Page 2
Please write in, don’t phone, because there are so many proposals coming in that if one spoke to everyone on the phone one would never have the time to actually […]
Oliver & Company: hand drawn in the Disney tradition
Set against the skylines, streets and subways of modern day New York City, Walt Disney Pictures 27th full-length animated feature, Oliver & Company is a contemporary re-telling of Dickens’ classic […]
Oliver & Company: hand drawn in the Disney tradition Page 2
Perhaps the biggest help to the animators in rendering authentic animal movements was the steady parade of dogs that were brought to the studio each week for scrutiny. Dogs of […]
Oliver & Company: hand drawn in the Disney tradition Page 3
In terms of complexity, the most difficult object created for the film was Fagin’s trike, an odd-looking motorized vehicle which is composed of 18 separate moving parts. With each part […]
Bernie Kay: Scriptwriting for Animation
He reveals his methods Interview by David Jefferson Bernie Kay has written scripts for a number of children’s animated TV series, including Bananaman, Telebugs, and The Pondles. He came over […]
Bernie Kay: Scriptwriting for Animation – Page 2
DJ: I suppose that because a line can change its meaning depending on how it is delivered, you have to make sure the artist understands your intention. BK: Yes, but […]
Bernie Kay: Scriptwriting for Animation – Page 3
There are different ways of achieving this and I think some of it is done on a subconscious level. I mean that maybe as a writer, you translate some of […]
John Halas Profile
A man with wisdom and experience to guide him By Ken Clark Abroad he is wined, dined and feted. Japan is one of his greatest admirers, with Albania and Bulgaria […]
John Halas Profile – Page 2
He no longer runs a large studio, although his present offices are quite spacious by any standard. He is now the complete designer, steering projects dear to his heart through […]
John Halas Profile – Page 3
Films made during the war years helped sharpen the intellect. In order to explain, to educate or to inform it was necessary to acquire in the short term a degree […]
John Halas Profile – Page 4
This project is the commencement of a life-long ambition for John Halas, and he is to be congratulated on the successful integration of conventional animation, diagrammatic stylisation, and computer generated […]
Don Bluth on his search for classical excellence
The Secret of BLUTH Don Bluth talks with Brian Sibley. DON BLUTH: My personal history of animation goes back a long way. I saw my first animated film when I […]
Don Bluth on his search for classical excellence – Page 2
BS: So that is why on the 13th September 1979 you, Gary Goldman and John Pomeroy left the Disney studio and the following day were joined by eleven more animators. […]
The Sullivan Bluth Studios in Ireland
So the Tail goes on By Stephen Dunne The Sullivan Bluth Studio came to Ireland initially in 1985 and put the finishing touches to the cel painting of An American […]
The Sullivan Bluth Studios in Ireland – Page 2
The editorial department itself is equipped with multiple viewing and editorial facilities, including a two-channel Steinbeck, two preview (large screen) Moviolas and standard Moviola equipment. Additional services provided by the […]
The Sullivan Bluth Studios in Ireland – Page 3
The job of keeping a look-out for errors goes to the ‘Music Room’. This name stems from the early days of the Walt Disney studio when music was played here, […]
The Sullivan Bluth Studios in Ireland – Page 4
In the animation department the story is divided up scene-by-scene and distributed among the character animators. The animators’ task is to bring movement, personality and life to the character he […]
The Sullivan Bluth Studios in Ireland – Page 5
The studio trains their own animators and this could take anything from three to five years. Another five years would generally be needed to reach a proficient standard as a […]
The Sullivan Bluth Studios in Ireland – Page 6
Although each second of film consists of twenty-four frames, in some cases if the action is very fast the animation can be shot on ‘twos’, that is two frames per […]
The Sullivan Bluth Studios in Ireland – Page 7
The latest film to be released in the U.S.A., All Dogs go to Heaven, opened in November 1989 and grossed $14.4 million in its first three weeks. It tells the […]