Published between 1982 and 1995
By Paul Thomas. Somewhere in the womb… Suddenly, somewhere, somehow, In the land of D.N.A. Within the egg, x and y, The chromosomes did play. A gene of animation, Began its multiplication. 8 o’clock a.m. arrival… Arriving as I did, In the swinging 60s, fashion, hit parade. The building bricks of what was to be, … Read more
The Disney Studio Story By Richard Holliss and Brian Sibley. Octopus Books 1988. Review by Robin Allan. This is a welcome addition to the growing number of books on animation in general, and on the phenomenon that was – and still is -Walt Disney in particular. It complements John Grant’s Encyclopedia of Walt Disney’s Characters, … Read more
The Disney Studio Story By Richard Holliss and Brian Sibley. Octopus Books 1988. Review by David Williams. The standard pattern of the Octopus Studio Histories has been to have an introductory essay, a full listing of films produced with a brief description of each, (and where possible a still or stills), and some further essays … Read more
Experimental Animation: Origins of a New Art Revised edition by Robert Russett and Cecile Starr, published by De Capo Press, New York Review by Pat Webb. Robert Russett and Cecile Starr begin their well researched anthology with a concise introduction to this ever-growing relationship between animation and art before they dip into the archives for … Read more
By Ken Clark Publicity for the medium is welcomed whenever it promotes new work or adds to general public awareness, but I have never subscribed to the idea that tricks of the trade should be continually on show – a good magician never reveals his secrets. However, that is not to say the occasional tantalising … Read more
MOMI The Museum of the Moving Image received the Royal seal of approval when Prince Charles attended the opening ceremony on Thursday 15th September 1988. There was much to recommend, particularly the way in which those responsible had succeeded in squeezing a pint into a half-pint pot. Tucked under Waterloo Bridge this seemingly impossible site … Read more
The point I am making is that animation suffers from a lack of exposure. As one man remarked after seeing Halas & Batchelor’s retrospective: “Why on earth haven’t we been given an opportunity of seeing these films before this moment?” I suggest an answer may be found in the video cassette. A start has been … Read more
This article is based on a workshop talk given by Paul Driessen at the Stuttgart Animation Festival ‘88. When animators are engaged on commercial work or series work, they often have to produce a set amount of footage each day to keep within the budget. It doesn’t matter so much what the quality is like … Read more
They cover the West Coast of America all the way up to Vancouver and it seems to work there as well. They spend money on promotion but not so much on people. The animators are always complaining they are a little slow in paying. Television is committed to set times: one-hour TV specials and so … Read more
A mistake some people make is to think they can do every aspect of film production on their own. They should realise some people are better at story writing rather than animation. Or good animators are bad story writers, or don’t know anything about sound, or even don’t recognise bad sound, bad story writing or … Read more