Dan Fellman, President of Domestic Distribution, Warner Bros. Pictures announced last week that the first-ever full length, theatrical LEGO® movie will open nationwide on February 28, 2014.

Currently in production, the 3D computer animated adventure will be directed by Phil Lord & Christopher Miller from their original screenplay, story by Dan Hageman & Kevin Hageman and Phil Lord & Christopher Miller, based on LEGO Construction Toys. It will incorporate some of the LEGO world’s most popular figures while introducing several new characters, inviting fans who have enjoyed the brand’s innovative toys and hugely popular video games for generations to experience their visually unique LEGO world as never seen before.

Phil Lord and Christopher Miller previously teamed on the hit “21 Jump Street” and the 2009 animated comedy adventure “Cloudy with a Chance of Meatballs,” which was nominated for a Golden Globe Award.

The film will be produced by Dan Lin (“Sherlock Holmes,” “Sherlock Holmes: A Game of Shadows”) and Roy Lee (“The Departed,” “How to Train Your Dragon”).

LEGO, its logo, brick & knob configuration and the Minifigure are trademarks of The LEGO Group. ©2012 The LEGO Group. All rights reserved.

Meet Merida and Angus in this new featurette “Merida’s Brave Story.” Set in the rugged and mysterious Highlands of Scotland, Disney•Pixar’s “Brave” follows the heroic journey of Merida (voice of Kelly Macdonald), a skilled archer and headstrong daughter of King Fergus (voice of Billy Connolly) andQueen Elinor (voice of Emma Thompson). Determined to change her fate, Merida defies an age-old custom sacred to the unruly and uproarious lords of the land: massive Lord MacGuffin (voice of Kevin McKidd), surly Lord Macintosh (voice of Craig Ferguson) and cantankerous Lord Dingwall (voice of Robbie Coltrane), unleashing chaos in the kingdom. When she turns to an eccentric Witch (voice of Julie Walters), she is granted an ill-fated wish and the ensuing peril forces Merida to harness all of her resources—including her mischievous triplet brothers—to undo a beastly curse and discover the meaning of true bravery. Directed by Mark Andrews and Brenda Chapman, and produced by Katherine Sarafian, “Brave” is a grand adventure full of heart, memorable characters and signature Pixar humor. Opens on June 22, 2012, in Disney Digital 3D™ in select theaters.

MERIDA (Voice of Kelly Macdonald)

Passionate and fiery, Merida is a headstrong teenager of royal upbringing who is struggling to take control of her own destiny. She feels most at home in the outdoors honing her impressive athletic skills as an archer and swordfighter, and racing across the magnificent Highland countryside with her faithful horse, Angus. With a spirit as vibrant as her untamed hair, Merida also has a softness of heart, especially when it comes to her wee triplet brothers. As the daughter of the King and Queen, her life is weighted with responsibilities and expectations, causing her to yearn to preserve her freedom and independence. When Merida blatantly defies an ancient tradition, the consequences of her actions prove disastrous for the kingdom. She must race against time to make right the result of her reckless behavior, her journey compelling her to look inside to discover the meaning of bravery and reveal her true fate.

ANGUS

Black as night with ivory muzzle and fetlocks, Angus is Merida’s powerful Clydesdale and her most trusted confidant. Angus is Merida’s escape from castle life into the deep forest and the highlands beyond. Merida target shoots from her perch on his broad back and is able to coax him into one adventure after another. Angus can be balky, stubborn and faint-hearted at times, but is ultimately a devoted and faithful friend to Merida.

“BRAVE” Brave concept art by Shading Art Director Tia Kratter and Character Art Director Matt Nolte. A drawing of Merida in her informal dress created to define what the character’s dress will generally look like.  Merida wears this dress everyday and was designed for her to move easily and comfortably.  Shading Art Director Tia Kratter wanted the dress to be heavy and textured linen.

Since ancient times, stories of epic battles and mystical legends have been passed through the generations across the rugged and mysterious Highlands of Scotland. From Disney and Pixar, a new tale joins the lore when the courageous Merida (voice of Kelly Macdonald) confronts tradition and challenges destiny to change her fate.

“Brave” follows the heroic journey of Merida, a skilled archer and headstrong daughter of King Fergus (voice of Billy Connolly) and Queen Elinor (voice of Emma Thompson). Determined to carve her own path in life, Merida defies an age-old custom sacred to the unruly and uproarious lords of the land: massive Lord MacGuffin (voice of Kevin McKidd), surly Lord Macintosh (voice of Craig Ferguson) and cantankerous Lord Dingwall (voice of Robbie Coltrane). Merida’s actions inadvertently unleash chaos and fury in the kingdom, and when she turns to an eccentric Witch (voice of Julie Walters) for help, she is granted an ill-fated wish. The ensuing peril forces Merida to harness all of her skills and resources – including her clever and mischievous triplet brothers – to undo a beastly curse before it’s too late, discovering the meaning of true bravery.

Directed by Mark Andrews and Brenda Chapman, and produced by Katherine Sarafian, “Brave” is a grand adventure full of heart, memorable characters and signature Pixar humor that audiences of all ages around the world have come to eagerly expect. The film takes aim at theaters on June 22, 2012, and will be presented in Disney Digital 3D™ in select theaters.

Like Brave on Facebook:  https://www.facebook.com/PixarBrave

Official Brave Website:  http://disney.com/Brave

The following is taken from the film’s review when it was featured as part of the 2011 Stella Artois St. Louis International Film Festival this past November.

CHICO AND RITA is a dazzling, musical feature-length animated film that uses many modern techniques while harkening back to a time, not too long ago, when American studios flirted with the idea of animation geared to more adult stories. Now this is not to say that the great Pixar films don’t have adult themes but their  finished stories are “kid-friendly”. Forty years ago Ralph Bakshi was heading the charge for movie cartoons to compete for mature audiences. As Fritz the Cat said in the ads, ” I’m X-rated and animated! “. Soon Bakshi’s  toned down th more extreme elements in his features ( ending his run with WIZARDS, AMERICAN POP, and his take on Tolkein ) while other studios explored the territory with WATERSHIP DOWN and HEAVY METAL. American audiences never embraced these as they did in Asia and Europe. With C&R the artists are tackling an old fashioned show biz rags to riches love story ( having just seen the new BluRay release I was reminded of NEW YORK,NEW YORK ) and giving it some animated energy to go with that bouncy Latin beat.

The film begins in modern day Havana as Chico, an old shoe shine man, returns to his simple apartment. He tunes in his battered radio to a classic music station and listens to one of his old melodies. His mind flashes back to 1948. Then he was a promising young jazz pianist who, along with his bandmate Ramon, are giving two American “chicas ‘ a whirlwind tour of Cuban hot spots. When they enter a small  nightclub, Chico is stunned by the talent and beauty of a young singer named Rita. Over the next few years the two form a professional and personal partnership. They make great music, fight, break-up, reunite, and pursue their dreams. Eventually they separate and Chico travels to New York, Las Vegas, and Hollywood to be with his dream girl as her star quickly rises.

The story is told primarily through the medium of hand-drawn 2-D animation ( as opposed to the CGI molded stars like Shrek ). The human characters are simply designed with a minimum of details and linework. Like a live-action film the camera does zoom in slowly on them for dramatic effect. Now, this is not to say that computers were not used here, The intricate background drawings are separated into levels and given a rounded quality as are the gorgeous vintage autos. This is very effective as the principals race through those sixty year old neon streets. Caricature is also used to establish the settings. We get to hear and see several musical greats from Woody Herman to Charlie Parker to Nat King Cole ( is that Desi Arnaz singing at a funeral? ). During a fantasy dream sequence  Rita’s  dancing with Astaire and romanced by Bogart. As I stated earlier this is really an adult story. There’s some rough language, drug use, smoking, full nudity, and a mob-style shoot out. We even get a bit of history with the Cuban revolution and segregation ( the two leads are dark-skinned Cubans ). This film is a treat for the eyes and ears that doesn’t forget the heart. It’s no wonder that this was one of the five nominees for Best Animated Feature Film at the 20212 Oscars.

 Rating: 4.5 Out of 5 Stars

CHICO AND RITA plays exclusively in the St. Louis area at Landmark’s Tivoli Theatre

We often say the strangest things to children without even realizing how odd it sounds. Children are full of questions, constantly confused by the world or misguided by falsehoods or exaggerations. When children bring these questions to us, as adults, we’re often unsure how to broach certain subjects, so in an effort to spin the answer in a way that will satisfy the child, but not lead on to disclosing too much information too soon, we create these elaborate, often ridiculous stories in place of the simple, honest truth.

For me, watching BEING BRADFORD DILLMAN is a wonderful exercise in recognizing this tendency to conjure up vivid yarns in place of offering a more straight-forward response. Directed by Emma Burch and co-written with Peter Williamson, this is the story of little Molly Flowers, a young girl who declares to her alcoholic mother that she hates boys and wishes they all die after being picked on one too many times. Either stunned by this statement, or driven by her vodka-induced state of mind, Molly’s Mum (voiced by Morwenna Banks) spills a story about how Molly was actually born a boy, named Bradford Dillman, but as she so wanted a little girl, asked the doctor to cut off his willy. Having done so, Molly’s mum now had the girl she wanted and even tells Molly she kept her willy inside a shoebox atop her wardrobe.

My instinctual reaction is one of “who does this?!?” Then I realize many a parent has probably woven a story or two for their children even more bizarre than this. Being a child with an active imagination, as most children do, Molly begins to contemplate what this all means on her terms, subject to her own limited knowledge and innocent perspective of the world. Enter Bradford Dillman… as Molly toys with the idea of retrieving her willy from the infamous shoebox atop the wardrobe, she meets Bradford, a boy of her age who becomes her friend.

Both Molly and Bradford are voiced by Natasha Holberton with a wonderfully curious and playful, yet cynical beyond her years undertone that makes her adventure with Bradford that much more, shall we say… mature. BEING BRADFORD DILLMAN is a family film, of sorts. Holberton gives Molly an energy and innocence fitting of a young girl, but also conveys an inkling of forced maturity, most likely brought on by her single mother’s drinking, smoking and pill-popping habits. The subject matter is kept within bounds of being acceptable for a child’s eyes and ears, but just beneath the surface lies an adult sense of humor that cannot be ignored.

BEING BRADFORD DILLMAN is an animated film with a style that is part marionette and part paper cut-out. The color and texture of the film is gritty and earthy, conveying a sense of dingy darkness to to the story. The artwork features over-sized heads and massively cute yet imposing eyes on Molly and Bradford, while Mum’s face is never revealed, a la the Peanuts cartoons, or Tom & Jerry, whereas the adults are not emphasized as the crucial element of the story. The visual style of BEING BRADFORD DILLMAN reminds me slightly of a cross between Tim Burton and David Lynch, but ever so slightly more refined and traditional as to minimize the awkward weirdness of the Molly’s world without eliminating the uncomfortably bizarre nature of what is taking place in the film. Likewise, I am keen to the writing of the film, funny and cute while just mature enough to draw in the adult audience, especially given the tale Molly’s mum tells that sets Molly on her journey of misguided self-discovery. As for a message, I am certain there is one to be had, but I have yet to pinpoint exactly what it is meant to be, or even what I took the message away as, if I took one away at all.

This tan and sepia world in which Molly lives has a pleasant flavor as BEING BRADFORD DILLMAN is not a sad, downer film. On the contrary, I felt oddly uplifted and happy after watching the film. The closest thing I can compare this to would be Tim Burton’s flash animated series called THE WORLD OF STAINBOY, both in tone and in style, but do not mistake this as being a literal or direct comparison, rather more of an impressionistic similarity that falls within a broad tonal category.

‘Being Bradford Dillman’ Trailer from Being Bradford Dillman on Vimeo.

Check out BeingBradformDillman.com for more information, or “Like” the film on Facebook.

In a continuation of the Oscar Week, I sat in Thursday evening on the Animated Feature Symposium which celebrates the work of the 2011 Oscar nominees in the Animated Feature Film category. The nominees discussed their films’ development and their creative processes as well as presented clips illustrating their techniques. The symposium was hosted by actor-comedian Patton Oswalt.

In attendance at the Samuel Goldwyn Theater in Beverly Hills were Academy Governor Bill Kroyer, animated filmmakers Javier Mariscal, CHICO AND RITA, Jennifer Yuh Nelson, KUNG FU PANDA 2, Alain Gagnol, A CAT IN PARIS, Fernando Trueba, CHICO AND RITA  and Jean-Loup Felicioli, A CAT IN PARIS.

The director I was most interested in speaking with was director Jennifer Yuh Nelson. With KUNG FU PANDA 2′s huge box office numbers, Nelson became the highest-grossing female director ever when it reached $645M globally in September. Prior to directing KUNG FU PANDA 2, Jennifer Yuh Nelson served as head of story and “dream sequence director” on 2008′s KUNG FU PANDA, which remains one of the top ten animated movies of all time. Before that, Nelson served as story artists on DreamWorks Animation’s MADAGASCAR, head of story on SINBAD: LEGEND OF THE SEVEN SEAS and story artist on Spirit: Stallion of the CIMARRON. Prior to joining DreamWorks Animation, she served as director, story artist and character designer at HBO Animation. Nelson’s animation career has spanned several countries, including Korea, Japan and Australia, and she has also published several independent comic books.

In what would be a major upset in the category, Nelson could become the first woman to win the Academy Award for Animated Feature Film on Sunday. The filmmakers of KUNG FU PANDA 2 took a few minutes to talk about another adventure with Po, the villainous Master Shen and Women in Animation.

THE 2011 NOMINEES ARE:

Animated Feature Film

• “A Cat in Paris” Alain Gagnol and Jean-Loup Felicioli
• “Chico & Rita” Fernando Trueba and Javier Mariscal
• “Kung Fu Panda 2″ Jennifer Yuh Nelson
• “Puss in Boots” Chris Miller
• “Rango” Gore Verbinski

Academy Awards for outstanding film achievements in 2011 will be presented on Sunday, February 26, at the Kodak Theatre at Hollywood & Highland Center®, and televised live on the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries worldwide.

FOLLOW THE ACADEMY
www.oscars.org
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy

Download the official 2012 Oscars App

DreamWorks Animation SKG, Inc. today announced that Ryan Reynolds will lead an all-star cast including Paul Giamatti, Michael Pena, Luis Guzman, Bill Hader, Richard Jenkins, Ken Jeong, Michelle Rodriguez, Maya Rudolph, Ben Schwartz, Kurtwood Smith, Snoop Dogg and Samuel L. Jackson in the Company’s upcoming original film Turbo, which tells the story of an ordinary garden snail with dreams of racing greatness. Turbo is scheduled to come to the big screen on July 19, 2013.

“Ryan Reynolds’ infectious enthusiasm and humor will bring life to the lead role of Turbo and set the tone for this amazing roster of all-star voice talent,” said DreamWorks Animation Chief Creative Officer Bill Damaschke. “This high-octane journey will take audiences on the race of their lives and completely re-define the traditional notion of moving at a snail’s pace!”

David Soren (Merry Madagascar), a DreamWorks Animation veteran as a story artist, voice actor and director, is set to direct the film based on his own original concept. Soren is co-writing the script with Robert Siegel (The Wrestler) and Darren Lemke (Shrek Forever After). Lisa Stewart (Monsters vs. Aliens, Almost Famous) is producing with Susan Rogers serving as co-producer.

TURBO is a snail who dreams of being the greatest racer in the world, just like his hero, 5-time Indianapolis 500 champ, Guy Gagne. His obsession with speed and all things fast has made him an oddity and outsider in the slow and cautious snail community, and a constant embarrassment to his careful older brother, Chet. Turbo desperately wishes he could escape the slow-paced life he’s living. As luck would have it, he gets that chance one fateful day after a freak accident when he suddenly finds himself vested with the power of incredible speed. Turbo embarks on an extraordinary journey to achieve the impossible: racing against the best that IndyCar has to offer. Turbo is the ultimate underdog who achieves the impossible by refusing to let his limitations get in the way of his dreams.

All of DreamWorks Animation’s feature films are now being produced in 3D. The 2 Company has theatrically released a total of 23 animated feature films, including the franchise properties of Shrek, Madagascar, Kung Fu Panda and How to Train Your Dragon.

From Sony Pictures Animation, take a look at this early design of Cee-Lo Green’s “Murray the Mummy” in HOTEL TRANSYLVANIA – in theaters September 21, 2012.

Welcome to the HOTEL TRANSYLVANIA, Dracula’s (Adam Sandler) lavish five-stake resort, where monsters and their families can live it up, free to be the monsters they are without humans to bother them. On one special weekend, Dracula has invited some of the world’s most famous monsters – Frankenstein and his bride, the Mummy, the Invisible Man, a family of werewolves, and more – to celebrate his daughter Mavis’s 118th birthday. For Drac, catering to all of these legendary monsters is no problem – but his world could come crashing down when one ordinary guy stumbles on the hotel and takes a shine to Mavis.

Directed by Genndy Tartakovsky (TV’s “The Powerpuff Girls,” “Star Wars: Clone Wars”), Miley Cyrus, Andy Samberg, Kevin James, Fran Drescher, David Spade, Steve Buscemi, Molly Shannon and David Koechner round out the voices for Columbia Pictures’ animated family comedy.

Moviegoers seeing the 3D family adventure “Journey 2: The Mysterious Island” are in for a bonus reel of laughs and action with “Daffy’s Rhapsody.” The original Looney Tunes cartoon short makes its theatrical debut in tandem with the feature film release from New Line Cinema and Warner Bros. Pictures, opening nationwide Friday, February 10th.

In “Daffy’s Rhapsody,” a brand new escapade starring Elmer Fudd and Daffy Duck, a relaxing evening at the theater turns into hunting season when Fudd is surprised by the unexpected appearance of his perpetual and ever-elusive target, Daffy. As Elmer gives chase, Daffy cleverly evades him while regaling the audience with a song that illustrates his plight—how hunters never leave him alone.

Featuring an original story and all-new animation, the short stars the voice of the late, legendary Mel Blanc in Daffy’s song, recorded in the 1950s, alongside acclaimed voice actor Billy West’s current characterization of Elmer Fudd.

Directed by Matthew O’Callaghan, it is the second in a new series of three original 3D cartoon shorts created for theatrical release, in keeping with Warner Bros. Animation’s commitment to present the Looney Tunes on the big screen as they were first enjoyed and embraced by audiences around the world.

Sam Register, Executive Vice President, Creative Affairs, Warner Bros. Animation, served as executive producer on “Daffy’s Rhapsody,” as well as the first short of the series, last year’s “I Tawt I Taw a Puddy Tat.” He says, “Everyone grew up loving the Looney Tunes characters, and it has been both a great honor and an enormous challenge to continue the legacy of these animation icons and introduce them to a new generation of fans. To hear the incomparable Mel Blanc voicing these characters once more is nothing short of a dream come true.”

As with “Journey 2: The Mysterious Island,” “Daffy’s Rhapsody” will screen in both 2D and 3D, and in IMAX where available, in theaters across the country.

All Photos: © Warner Bros. Entertainment Inc. All Rights Reserved

The now Academy Award®-nominated RANGO, from director Gore Verbinski and starring the voice of Johnny Depp, saddles up for a one week limited engagement at the ArcLight Hollywood beginning this Friday, January 27th. The original animated comedy-adventure from Paramount Pictures and Nickelodeon Movies a Blind Wing/GK Films Production that takes moviegoers for a hilarious and heartfelt walk in the Wild West, was this morning nominated for an Academy Award® for Best Animated Feature Film.

Rango is the winner of the National Board of Review and Critics’ Choice Movie Award for Best Animated Feature, while top critics’ groups around the country have declared Rango the Best Animated Film of 2011, including Boston, Chicago, Los Angeles, San Francisco and Washington D.C.

The incomparable Johnny Depp voices Rango, a chameleon living as an ordinary family pet who dreams of being a fearless hero and is challenged to become just that when he inadvertently becomes the sheriff of a lawless desert town called Dirt.  Story by John Logan Gore Verbinski and James Ward Byrkit, Written by John Logan, Directed by Gore Verbinski, the visionary behind the Pirates of the Caribbean franchise, Rango delighted audiences of all ages, earning more than $230 million worldwide.  The film also features the voices of Isla Fisher, Abigail Breslin, Alfred Molina, Bill Nighy, Ned Beatty, Harry Dean Stanton, Ray Winstone and Timothy Olyphant.

Motion capture animation and 3D appear to be the rising stars of cinema technology, both of which have the equal shares of supporters and opponents. One thing is for sure, both relatively new technologies are still within their infancy, but there are occasionally examples of the inspiring potential of this trend toward high-tech storytelling. The most current being THE ADVENTURES OF TINTIN, a collaborative effort of gargantuan proportion.

While many audiences may not be aware of the film’s origin, or too young to know better, THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN — which happens to be the film’s official, unofficial full title — is adapted from a comic book series from the ’30s of the same name by the Belgian artist Herge, which also became an animated television series which ran 1991-1992. Sadly, I must report I have no personal knowledge or experience with either, so you will not find me referencing the source material in this review, but, by all means… seek them out as I plan to do.

With all the history behind TINTIN, it’s no wonder the film has such an all-star team of imaginative storytellers working behind the scenes to bring the adventures to a whole new audience. Directed by Steven Spielberg, who also co-produced the film alongside Peter Jackson (LORD OF THE RINGS), THE ADVENTURES OF TINTIN was written by Steven Moffat, a very talented writer behind the popular BBC series SHERLOCK and DOCTOR WHO, with assistance from Edgar Wright (SHAUN OF THE DEAD) and Joe Cornish (ATTACK THE BLOCK). That’s a lot of creative star power, and we haven’t even introduced the cast yet.

THE ADVENTURES F TINTIN follows a clever, young report named Tintin – no, the dog is not names Tintin, that’s an entirely separate franchise – played by Jamie Bell (JUMPER). Tintin has an unquenchable curiosity, so when he happens upon a magnificent model ship, he manages to haggle a good deal. Immediately following, he finds himself the center of an immense mystery regarding that model ship, for which various unsavory and dark figures are seeking for them selves. This is where Tintin’s adventure begins, leading him to the drunken Captain Haddock, played by Andy Serkis (RISE OF THE PLANET OF THE APES), a man with a family history crucial to the mystery of the model ship. Tintin also encounters Ivanovich Sakharine, played by Daniel Craig (CASINO ROYALE), a deviously cunning and dangerous foe seeking the secret of the model ship.

One thing you will certainly not experience during the film is sleep. THE ADVENTURES OF TINTIN is non-stop action and endlessly fun. Tintin is sort of a combination of the Hardy Boys and Indiana Jones wrapped up into a small, scrappy package, always getting into a pickle but always managing to find a way out of trouble. He and his trusty Scottish terrier – I may be off slightly on the breed — are an effective investigative team, as they work with Captain Haddock and his rum-induced amnesia to recover the secret of the model ship before Sakharine figures it out himself.

THE ADVENTURES OF TINTIN takes the audience halfway around the globe to Morocco, where the greatest excitement of the story takes place. Tintin runs into a number of interesting characters along the way, including the bumbling Thompson twin detectives, played unrecognizably by Simon Pegg and Nick Frost (SHAUN OF THE DEAD, HOT FUZZ). Cary Elwes (THE PRINCESS BRIDE, SAW) also makes a welcome vocal cameo as the Pilot. The most awe-inspiring scene in the film occurs in Morocco, one last massive chase sequence that resembles a deadly life-sized Rube Goldberg contraption that spans an entire ancient city. This sequence is bound to have you leaning forward, even partially lifted from your seat, as Tintin repeatedly navigates through the perils of the Moroccan streets and Sakharine’s henchmen.

I’ve never had a personal grudge against motion capture, which seems a logical marriage between live acting and animation, as we move forward into new cinematic frontiers of technology. With that said, THE ADVENTURES OF TINTIN does a splendid job of capturing the energy and excitement of the story using motion capture, but I am also pleased to say that the film gets the 3D right as well, integrating the often intrusive and annoying technology into the entire film, still utilizing the gimmick value of the tool, but without getting in the way. The use of 3D enhances the story without causing hurdles for the film to stumble over, which is rare indeed.

John Williams has been a busy man in 2011, having scored WAR HORSE as well as THE ADVENTURES OF TINTIN, but the difference between the two scores is the music’s presence. In WAR HORSE, Williams’ music n unconventional backseat, but in TINTIN his work stands front and center, making itself known with all its glory and becomes, as is usually the case, a character in and of itself.

THE ADVENTURES OF TINTIN is likely to be the most fun you’ve had in an animated family flick all year, perfectly kid friendly with plenty of visual stimulus to keep the rug rats entertained, while still creative and intelligent enough to keep adults thrilled and engaged. Personally, this is the first animated film in some time I have left the theater with an immediate desire to watch a second time.

Overall Rating: 4 out of 5 stars

Ah, what Hollywood will do in the pursuit of family movie box office bucks. The studio executives love pre-sold properties, so for the past several years the rights to the Saturday morning superstars of yesteryear have been scooped up to attract not only the small set, but their parents who have nostalgic memories of wolfing down their sugar-blasted cereals in front of the old, glowing cathode tube babysitter. For most of these trips down memory lane, the classic characters are rendered in CGI alongside live actors, perhaps to set these new efforts apart from their limited cell animation roots. This may have begun with CASPER, who frolicked with Christina Ricci and Bill Paxton, and continued with SCOOBY DOO ( and a CGI Great Dane ), YOGI BEAR, this past Summer’s smash THE SMURFS, and now the third of the movie series, ALVIN AND THE CHIPMUNKS : CHIPWRECKED. While they might be best remembered by most adults as TV stars, the Chipmunks were created for novelty records ( now that’s really going back ). After several audio experiments, music producer/ songwriter Ross Bagdasarian ( movie trivia : he’s the lonely piano player living across from Jimmy Stewart in REAR WINDOW ) created the trio for the recording ” The Chipmunk Song” AKA ” Christmas Don’t Be Late “. Not only did Bagdasarian provide the voices of Alvin, Simon, and Theodore, but he become the character David Seville, the human manager / father figure to the child-like rodents. This prompted several more best-selling record albums and eventually a CBS prime time animated series ( produced by Format Films ), ” The Alvin Show “. A few more albums followed until they drifted into pop culture limbo after the death of Bagdasarian in 1972. In the early eighties son Ross Bagdasarian, Jr. revived the group with new versions of pop tunes and returned them to Saturday mornings on NBC with a new series in 1983 ( this time produced by Ruby-Spears and later DIC ). The trio invaded home video with a series of original animated films and jumped to cinemas in 2007 with the live action/ CGI hybrid ALVIN AND THE CHIPMUNKS. A follow-up in 2009, ALVIN AND THE CHIPMUNKS : THE SQUEAKQUEL introduced moviegoers to the trio’s female counterparts : Brittany, Jeanette, and Eleanor. Both flicks were box office bonanzas, so here’s the film that hopes to pull off the old franchise hat trick.

Well. what did they come up with for this new movie adventure? Let’s send ‘em on vacation! On a high seas cruise to be exact. Dave Seville ( Jason Lee ) takes the chipmunks and chipettes on a nautical excursion before they perform on the International Music Awards show. This will be a perfect opportunity for ole’ Dave to sooth his jangled nerves. But with that hellion Alvin leading the group there’s little chance of any relaxation for Mr. S! Dave soon earns the ire of the ship’s captain and the intrusive ship mascot who turns out to be the villain from the previous films, Ian ( David Cross ) former music producer now reduced to wearing a cumbersome pelican costume. An incident with a kite sends the ‘munks flying off the boat. Dave and Ian grab a paraglider, but soon are adrift at sea. The six castaways land on an island that turns out not to be deserted. There’s a loopy delivery woman named Zoe ( Jenny Slate ) who helps them. The island provides more than just survival challenges for the title trio. The more immature Theodore is still traumatized by a monster flick he watched in their cabin on the ship. A spider bite turns the usually timid Simon into a reckless, French-accented daredevil who makes Jeanette swoon. And the usually irresponsible Alvin must take charge as a looming volcano threatens to erupt. Will they be re-united with Dave ( and Ian ) and return to civilization in time for the big award show. And what’s the secret behind the waterfall?

These little critters may just have overstayed their time at the multiplex with this uninspired ( well, with a bit of inspiration from CASTAWAY and TV’s ” Survivor “, ” Lost “, and ” Gilligan’s Island ” ) romp. The chipmunks are just not complex enough to warrant a third film. Theo’s the pudgy baby, Simon’s the timid brainiac, and Alvin’s the wild card. Their main gimmick ( squeaky, sped-up voices ) grows tiresome quickly. I could only understand have of the vocals on their takes on pop tunes ( luckily there’s only one ” chip-rap ” number ). Some name actors supply the voices, but sound nearly alike ( I can’t tell you which chipette is Christina Applegate, Anna Faris, or Amy Poehler ). The CGI animation of them is serviceable, but in most of the action scenes they bounce around like little furry rubber balls ( I’m so glad we were spared 3D on this one ). Their live human co-stars don’t fare much better. Lee and Cross have shown their impressive comedy skills on TV ( in ” My Name is Earl ” and ” Arrested Development ” ), but here the must struggle through some poorly scripted bits of clumsy slapstick. It was a surprise seeing the gifted SNL vet Slate involved, but she can’t turn this into comic gold. Even the biggest baby boomer and Gen X fans ( now parents ) will be checking their time pieces as this film plods along. With much superior family films still in theatres ( THE MUPPETS, ARTHUR CHRISTMAS, and the magical HUGO ), there’s no need to board this sinking ship. The old ” it’s just a kids’ movie” excuse should not give a free pass to mediocre movies.

Overall Rating: One Out of Five Stars

Well, Harold and Kumar have already taken their 3D shot at Christmas, so it’s time for another 3D flick that hopes to become a holiday viewing tradition. Unlike those two ‘buds’, this one is made for all ages. And it’s animated, but ARTHUR CHRISTMAS is a co-production between Sony Animation and those fine folks from across the pond, Aardman Studios ( the Wallace and Grommit folks ), so it’s got some of that dry British humor which will appeal to the grown-ups . This film follows in the tradition of many holiday flick in that it wants to give you the real low-down on how Saint Nick makes his rounds ( this what THE SANTA CLAUSE , SANTA CLAUS THE MOVIE, and FRED CLAUS all purported to reveal ).

The film opens up on the Claus family’s busiest night of the year. We get to see an entire village serviced by Santa and countless elves. They zip in on a spaceship ( the massive S-1 ) and, like a cross between super-secret agents and wily ninjas they enter homes, disable alarms, and distribute the presents, all without getting detected ( they collect the snacks left for Santa and his reindeer and turn them into bio-fuel for the S-1 ). The slighty befuddled Santa ( Jim Broadbent ) wouldn’t get the job done without the high-tech mission control back at the North Pole  run with precision by the next in line to be Santa, oldest son Steve ( Hugh Laurie ). Oh, and in his own tiny office ( decorated with all manner of Santa stuff ) is his younger brother Arthur ( James McAvoy ), who’s in charge of answering all the letters to Santa. The big man in the big spaceship finally returns ro home base : mission accomplished. Everyone is pleased except Arthur! It turns out that a present didn’t make it on to the ship. Santa and Steve shrug it off-they’ll just ship the gift to the little girl and she’ll get it in a few days. Arthur will not stand for this. There’s a few hours before dawn breaks on the girl’s Cornwall village, so Arthur, with the aid of the retired Grandsanta ( Bill Nighy ) and his old sled Evie ( and reindeer ) embarks on a race against the clock to insure that every child has a very merry Christmas.

The film begins with a bang with the history of the Santa line ( the current one is seventeen ) , then quickly cuts to the elves leaving the S-1 I ( in invisible stealth mode ) and zipping down ropes onto the homes. This sequence is like Bond or Mission: Impossible times a hundred! McAvoy is wonderfully innocent and ernest as the son that just wants to make sure that all the kids are happy. In this film Laurie sounds closer to one of his upper-class twits in ” Black Adder” than Dr. Gregory House. Steve is quite full of himself and has his own Santa suit already whipped up ( a great gag ). Broadbent is terrific as the slightly out of it Santa. It’s a good thing Mrs. Claus ( Imelda Staunton ) is there to keep him focused. The best present here is Nighy as the crotchety, surly Grandsanta he really dislikes all these new fangled gizmos.  Some of his lines are true politically incorrect gems. The character designs are very pleasant and creative ( all those elves! ) and the 3D works well with the bright designs and backgrounds. The film tends to sag a bit when Arhtur’s on his journey, but everything leads up to a rousing and sentimental finale.  A warning : the film is preceeded by a music video of Justin Biebers version of a classic holiday tune. Talk about your lump of coal! Ah, back to the main event-ARTHUR CHRISTMAS  is a tasty holiday treat that has a smart funny script that will keep parents amused while the tykes are enthralled.

Overall Rating : Three and a Half Out of Five Stars

I was more than a little surprised by the animated film A CAT IN PARIS. From the stills I expected a sweet little cartoon cat zipping up the Eiffel Tower after dashing through a sidewalk bistro. It turns out that this films owes more to THAT DARN CAT than THE ARISTOCATS. We get a sweet little story about a cute young girl and her kitty with elements of a sleek crime thriller. The film starts with a figure leaping from rooftop to rooftop under moonlit skies. Nico the cat burglar strikes again accompanied by his feline pal, Dino. After they’ve returned to his home with a bagful of stolen jewels, the two part ways. Dino returns to Zoe who lives with her widowed police superintendent Mom and housekeeper. Mother is busy with these night-time robberies and pursuing Victor the crime kingpin who murdered her policeman hubby ( which caused Zoe to stop speaking ). Soon their worlds will collide in a wild chase through the streets of Paris ( including a zoo and cathedral ).

The film resembles a children’s storybook come to life with the rounded characters rendered in the style of pastel and colored pencil drawings. No CGI stuff on display here. Their faces are basic, simple shapes with long, sharp noses and tiny eyes. Backgrounds are blocky box shapes for the cityscapes and loosely detailed shrubbery. Some of the violent gunplay, mild cursing, suspenseful pursuits, and stories of ” dead daddies ” may upset the very youngest film goers. And the English dubbing is a bit clumsy at times. But there’s some great gags and terrific hand drawn animation work on display here, so a trip to the city of lights with Dino the cat is a pleasant, diverting little cartoon getaway

Showtimes

Saturday, November 12th at 1:00pm – Wildey Theatre

Sunday, November 20th at 12:00pm – Washington U. /Brown

CHICO AND RITA is a dazzling, musical feature-length animated film that uses many modern techniques while harkening back to a time, not too long ago, when American studios flirted with the idea of animation geared to more adult stories. Now this is not to say that the great Pixar films don’t have adult themes but their  finished stories are “kid-friendly”. Forty years ago Ralph Bakshi was heading the charge for movie cartoons to compete for mature audiences. As Fritz the Cat said in the ads, ” I’m X-rated and animated! “. Soon Bakshi’s  toned down th more extreme elements in his features ( ending his run with WIZARDS, AMERICAN POP, and his take on Tolkein ) while other studios explored the territory with WATERSHIP DOWN and HEAVY METAL. American audiences never embraced these as they did in Asia and Europe. With C&R the artists are tackling an old fashioned show biz rags to riches love story ( having just seen the new BluRay release I was reminded of NEW YORK,NEW YORK ) and giving it some animated energy to go with that bouncy Latin beat.

The film begins in modern day Havana as Chico, an old shoe shine man, returns to his simple apartment. He tunes in his battered radio to a classic music station and listens to one of his old melodies. His mind flashes back to 1948. Then he was a promising young jazz pianist who, along with his bandmate Ramon, are giving two American “chicas ’ a whirlwind tour of Cuban hot spots. When they enter a small  nightclub, Chico is stunned by the talent and beauty of a young singer named Rita. Over the next few years the two form a professional and personal partnership. They make great music, fight, break-up, reunite, and pursue their dreams. Eventually they separate and Chico travels to New York, Las Vegas, and Hollywood to be with his dream girl as her star quickly rises.

The story is told primarily through the medium of hand-drawn 2-D animation ( as opposed to the CGI molded stars like Shrek ). The human characters are simply designed with a minimum of details and linework. Like a live-action film the camera does zoom in slowly on them for dramatic effect. Now, this is not to say that computers were not used here, The intricate background drawings are separated into levels and given a rounded quality as are the gorgeous vintage autos. This is very effective as the principals race through those sixty year old neon streets. Caricature is also used to establish the settings. We get to hear and see several musical greats from Woody Herman to Charlie Parker to Nat King Cole ( is that Desi Arnaz singing at a funeral? ). During a fantasy dream sequence  Rita’s  dancing with Astaire and romanced by Bogart. As I stated earlier this is really an adult story. There’s some rough language, drug use, smoking, full nudity, and a mob-style shoot out. We even get a bit of history with the Cuban revolution and segregation ( the two leads are dark-skinned Cubans ). This film is a treat for the eyes and ears that doesn’t forget the heart.

.

Showtimes

Friday, November 11th at 9:00pm – Wildey Theatre

Friday, November 18th at 9:30pm – Tivoli Theatre

Check out all the latest photos and featurette from Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure HAPPY FEET TWO. You can catch it in RealD 3D, IMAX 3D and 2D in select theaters on Friday, November 18

The sequel to HAPPY FEET, the Academy Award®-winning animated smash hit, HAPPY FEET TWO returns audiences to the magnificent landscape of Antarctica in superb 3D.

Mumble, The Master of Tap, has a problem because his tiny son, Erik, is choreo-phobic. Reluctant to dance, Erik runs away and encounters The Mighty Sven – a penguin who can fly! Mumble has no hope of competing with this charismatic new role model.

But things get worse when the world is shaken by powerful forces.

Erik learns of his father’s guts and grit as Mumble brings together the penguin nations and all manner of fabulous creatures – from tiny Krill to giant Elephant Seals – to put things right.

(3rd from left) Mumble, voiced by ELIJAH WOOD; and (right) Bryan the Beachmaster, voiced by RICHARD CARTER, with two Elephant Seals, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Ramon (center), voiced by ROBIN WILLIAMS, stands between (back l-r) Nestor, voiced by CARLOS ALAZRAQUI; Lombardo, voiced by JOHNNY SANCHEZ III; Rinaldo, voiced by JEFF GARCIA; and Raul, voiced by LOMBARDO BOYAR; and (front l-r) Atticus, voiced by BENJAMIN “LIL P-NUT” FLORES JR.; Erik, voiced by AVA ACRES and Bo, voiced by MEIBH CAMPBELL, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Mumble, voiced by ELIJAH WOOD; and Erik, voiced by AVA ACRES, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Bill the Krill, voiced by MATT DAMON, and Will the Krill, voiced by BRAD PITT, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Will the Krill, voiced by BRAD PITT; and Bill the Krill, voiced by MATT DAMON, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) The Mighty Sven, voiced by HANK AZARIA; and Erik, voiced by AVA ACRES, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Erik, voiced by AVA ACRES (background), and Will the Krill, voiced by BRAD PITT (foreground), in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Director GEORGE MILLER, during the making of Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Mumble, voiced by ELIJAH WOOD in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

ELIJAH WOOD, voice of Mumble, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

ELIJAH WOOD, voice of Mumble, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

BENJAMIN “LIL P-NUT” FLORES JR., voice of Atticus, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Atticus, voiced by BENJAMIN “LIL P-NUT” FLORES JR., in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

BENJAMIN “LIL P-NUT” FLORES JR., voice of Atticus, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

HUGO WEAVING, voice of Noah The Elder, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Noah The Elder, voiced by HUGO WEAVING, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

HUGO WEAVING, voice of Noah The Elder, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

BRAD PITT, voice of Will the Krill, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo by Bob Marshak

(Top to bottom) Will the Krill, voiced by BRAD PITT; and Bill the Krill, voiced by MATT DAMON, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

BRAD PITT, voice of Will the Krill, and MATT DAMON, voice of Bill the Krill, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

MATT DAMON, voice of Bill the Krill, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

COMMON, voice of Seymour, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Seymour, voiced by COMMON, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

COMMON, voice of Seymour, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

ROBIN WILLIAMS, voice of Ramon and Lovelace, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Lovelace, voiced by ROBIN WILLIAMS in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release.Photo courtesy of Warner Bros. Pictures

Ramon, voiced by ROBIN WILLIAMS in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release.Photo courtesy of Warner Bros. Pictures

ROBIN WILLIAMS, voice of Ramon and Lovelace, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

HANK AZARIA, voice of The Mighty Sven in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

The Mighty Sven, voiced by HANK AZARIA, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

HANK AZARIA, voice of The Mighty Sven in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

ALECIA MOORE (P!NK), voice of Gloria in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Gloria, voiced by ALECIA MOORE (P!NK), in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(Center) Ramon, voiced by ROBIN WILLIAMS, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(Center) Carmen, voiced by SOFIA VERGARA, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Carmen, voiced by SOFIA VERGARA; and Ramon, voiced by ROBIN WILLIAMS, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r from center) Raul, voiced by LOMBARDO BOYAR; The Mighty Sven, voiced by HANK AZARIA, Ramon, voiced by ROBIN WILLIAMS; Nestor, voiced by CARLOS ALAZRAQUI; and Rinaldo, voiced by JEFF GARCIA, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(Center) Lovelace, voiced by ROBIN WILLIAMS, and (far right l-r) Bo, voiced by MEIBH CAMPBELL, and Atticus, voiced by BENJAMIN “LIL P-NUT” FLORES JR., in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(Center) The Mighty Sven, voiced by HANK AZARIA, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Miss Viola, voiced by MAGDA SZUBANSKI, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Atticus, voiced by BENJAMIN “LIL P-NUT” FLORES JR.; and Erik, voiced by AVA ACRES, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Gloria, voiced by ALECIA MOORE (P!NK), in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Gloria, voiced by ALECIA MOORE (P!NK), in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

 (L-r) Mumble, voiced by ELIJAH WOOD; and Gloria, voiced by ALECIA MOORE (P!NK), in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Bo, voiced by MEIBH CAMPBELL; Erik, voiced by AVA ACRES; Mumble, voiced by ELIJAH WOOD; and Atticus, voiced by BENJAMIN “LIL P-NUT” FLORES JR., in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Bo, voiced by MEIBH CAMPBELL (center), with two Baby Emperor Penguins, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Mumble, voiced by ELIJAH WOOD; and Erik, voiced by AVA ACRES, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Carmen, voiced by SOFIA VERGARA; and Ramon, voiced by ROBIN WILLIAMS, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Bo, voiced by MEIBH CAMPBELL; Erik, voiced by AVA ACRES; and Atticus, voiced by BENJAMIN “LIL P-NUT” FLORES JR., in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Mumble, voiced by ELIJAH WOOD; Bo, voiced by MEIBH CAMPBELL; Erik, voiced by AVA ACRES; and Atticus, voiced by BENJAMIN “LIL P-NUT” FLORES JR., in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Atticus, voiced by BENJAMIN “LIL P-NUT” FLORES JR.; Erik, voiced by AVA ACRES; and Bo, voiced by MEIBH CAMPBELL, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Bo, voiced by MEIBH CAMPBELL; Erik, voiced by AVA ACRES; and Atticus, voiced by BENJAMIN “LIL P-NUT” FLORES JR., in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

Erik, voiced by AVA ACRES in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

(L-r) Gloria, voiced by ALECIA MOORE (P!NK); and Mumble, voiced by ELIJAH WOOD, in Warner Bros. Pictures’ and Village Roadshow Pictures’ animated family comedy adventure “HAPPY FEET TWO,” a Warner Bros. Pictures release. Photo courtesy of Warner Bros. Pictures

HAPPY FEET TWO is directed by George Miller, who won an Oscar® as the creator of the original “Happy Feet.” The film features the voices of Elijah Wood, Robin Williams, Hank Azaria, Alecia Moore (P!nk), Brad Pitt, Matt Damon, Sofia Vergara, Common, Hugo Weaving, Richard Carter, Magda Szubanski, Anthony LaPaglia and Benjamin “Lil P-Nut” Flores, Jr.

George Miller co-wrote the screenplay with Gary Eck, Warren Coleman and Paul Livingston. Miller is also producing the film, along with Doug Mitchell and Bill Miller. Chris deFaria, Philip Hearnshaw, Graham Burke and Bruce Berman serve as executive producers. The cinematographer is David Peers and the animation director is Rob Coleman. The film features vocals by P!nk, with music by John Powell.

Warner Bros. Pictures presents, in association with Village Roadshow Pictures, a Kennedy Miller Mitchell production, with Dr. D. Studios, a George Miller film, “Happy Feet Two.” The film will be presented in RealD 3D and IMAX 3D, and also in 2D. It has been rated PG for “rude humor and mild peril.”

www.happyfeettwo.com

www.facebook.com/happyfeetmovie

If I read RULE SEVEN: SPECIAL RULES FOR THE ANIMATED FEATURE FILM AWARD correctly, they’ll be 5 Nominations for Best Animated Feature:

In any year in which 8 to 12 animated features are released in Los Angeles County, either 2 or 3 motion pictures may be nominated. In any year in which 13 to 15 films are released, a maximum of 4 motion pictures may be nominated. In any year in which 16 or more animated features are released, a maximum of 5 motion pictures may be nominated.

Which of the 18 listed below was your favorite?

Press Release:

Beverly Hills, CA – Eighteen features have been submitted for consideration in the Animated Feature Film category for the 84th Academy Awards®.

The 18 submitted features are:

“The Adventures of Tintin”
“Alois Nebel”
“Alvin and the Chipmunks: Chipwrecked”
“Arthur Christmas”
“Cars 2″
“A Cat in Paris”
“Chico & Rita”
“Gnomeo & Juliet”
“Happy Feet Two”
“Hoodwinked Too! Hood vs. Evil”
“Kung Fu Panda 2″
“Mars Needs Moms”
“Puss in Boots”
“Rango”
“Rio”
“The Smurfs”
“Winnie the Pooh”
“Wrinkles”

Several of the films listed have not yet had their required Los Angeles qualifying runs. Submitted features must fulfill the theatrical release requirements and meet all of the category’s other qualifying rules before they can advance in the voting process. At least eight eligible animated features must be theatrically released in Los Angeles County within the calendar year for this category to be activated.

Films submitted in the Animated Feature Film category may also qualify for Academy Awards in other categories, including Best Picture, provided they meet the requirements for those categories.

The 84th Academy Awards nominations will be announced live on Tuesday, January 24, 2012, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2011 will be presented on Sunday, February 26, 2012, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.

FOLLOW THE ACADEMY
www.oscars.org
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy

In DreamWorks Animation’s latest animated outing, we are introduced to the world of PUSS IN BOOTS populated by some eyebrow-raising nursery rhyme characters. A back story to the little wide-eyed cat we met in SHREK 2, the film opens with the newly-orphaned Puss, growing up in the small village of San Ricardo. He later befriends a somewhat twisted and oval shaped guy – Humpty Alexander Dumpty. Puss continually listens to Humpty’s lofty dreams and plans, but at the end of the day, he’s just an egg who’s better at rolling than walking. Ultimately Humpty doesn’t have the means to really accomplish any of his goals. Director Chris Miller shows us an egg who was picked on and a bit of an outsider, and Puss protected him and always stood up for him. Humpty is the dreamer and Puss is helping him realize his dreams.

They both have a simple dream of leaving the orphanage for a better life – all they need is a few magic beans to grow into a beanstalk so they can steal a fabled goose that lays golden eggs from a giant’s castle in the clouds. Easy-peasy. The continual childhood search for the fabled beans turns up nothing, ending the childish dreams and the friendship of the cat and the egg.

It isn’t long before the cat of action finds his true calling, when he selflessly rescues a woman from the path of a charging bull. San Ricardo quickly bestows the title of hero to Puss, which earns him his debonair hat and legendary boots (meant to stand for truth, honor and courage) – thus becoming El Gato con Botas! When Puss agrees to help a jealous Humpty in a plan all in the name of saving their friendship, the two are set on separate paths with quite different goals. Puss becomes a presumed traitor to his village and everyone who trusted him, while Humpty becomes a bad egg, whose childhood dreams turn to thoughts of personal gain and revenge.

After their separation, Humpty comes back into Puss’ life, when he finally finds a way to make their childhood dream of finding the magic beans come true. He’s planned it out, but he needs Puss’ help to execute it. However, it’s also going to be a three man (cat, egg, cat) job and that’s where the greatest thief in all of Old Spain is introduced – Kitty Softpaws.

After Puss finds himself confronted by a masked opponent, he tracks his rival to a “cats only” cantina, intending to challenge the sly feline. The house rules dictate that on Tuesday, fights are restricted to dance challenges, so our hero and the still-masked adversary engage in a free-for-all dance-off, much to the delight of the all cat audience. The scene works due to the clever choreography, which humorously blends everything from flamenco, to Latin ballroom, to contemporary, from Laura Gorenstein Miller, founder, choreographer and artistic director of the Los Angeles-based modern dance troupe, Helios Dance Theater.

Part of the problem with Humpty’s plan to obtain the beans and eventually get rich is that there is someone out there who wants the beans as much as he – in fact, there are two who stand in the way of Humpty’s dream – an ornery pair of husband-and-wife bandits known as Jack and Jill, played with grit and gusto by Billy Bob Thornton and Amy Sedaris. As with the general filmmaker blueprint for fairy tale revisionism, this is not your nursery rhyme duo who “went up the hill to fetch a pail of water.” They are big, mean and out for themselves, which naturally makes them perfect for a life of crime.

This amazing fairy tale race to find the confounded golden goose leads them to discover that this goose is a mom with a gosling. The precarious travels lead the trio to realize that “wanting” isn’t always such a pleasing thing as “having,” with Humpty learning the lesson that it’s not too late to change the course of his life – even he deserves a second chance.

The two fanciful scenes that’ll leave you purrin’ are the wagon chase and swirling, growing beanstalk. Production designer Guillaume Aretos’ minute details are rich in depth and scale – it’s lovely to watch these tiny characters wondering at the universe as they rise into the cloudy heavens of the giants. With the advantageous use of 3D, visual effects supervisor Ken Bielenberg is able to capture some energetic moments especially in the stagecoach heist. Puss in Boots, Kitty and Humpty attempt to steal the magic beans right out from under the noses of criminals Jack and Jill…while all are traveling at breakneck speed on a stagecoach. There’s a lot of action in these scenes. Executive producer Guillermo del Toro influences can be felt throughout this colorful, stylized world filled with big symbolic shadowing. It’s the feel of an old spaghetti Western, bordering Sergio Leone, that really suits PUSS IN BOOTS – even down to editor Eric Dapkewicz’s use of the split screens.

The audience could totally believe this strong, adventurous cat in an Indiana Jones, 007, or even (wink) in a Zorro role. Antonio Banderas and Puss have become interchangeable – they’ve become one and the same. You can’t have one without the other. Salma Hayek’s “Kitty Softpaws” is a strong, independent, funny cat – her sultry voice brings many attributes to the “femme fatale” feline. The villainous Humpty Alexander Dumpty is played by Zach Galifianakis with a sly wit and charm – right down to his thinly pursed lips. There’s a lot more depth to his vulnerability beyond the king’s men putting him back together.

Henry Jackman (MONSTERS VS ALIENS) has composed a score scattered with flourishes of classical and flamenco music throughout. A beautiful homage to the genre that reinvigorated the American Western is the end result. Instead of the staid, sobering nursery rhymes, director Chris Miller (SHREK THE THIRD) delivers a magical twist on the fairy tale genre. PUSS IN BOOTS is epically romantic, with a great heart!

4 out of 5 stars

The film is rated “PG” for some adventure action and mild rude humor.

“Beauty and the Beast,” “Finding Nemo,” “Monsters, Inc.”
and “The Little Mermaid” Will Make 3D
Theatrical Debut in 2012 and 2013

BURBANK, Calif. – October 4, 2011 – On the heels of the phenomenal success of The Lion King 3D – which will cross the $80 million mark at the domestic box office today – The Walt Disney Studios has announced limited theatrical engagements for four of its classic films for the first time in 3D. The following titles from Walt Disney and Pixar Animation Studios will be released in 2012 and 2013:

* Beauty and the Beast – January 13, 2012
* Disney•Pixar’s Finding Nemo – September 14, 2012
* Disney•Pixar’s Monsters, Inc. – January 18, 2013 (Monsters University, a prequel to the original film, arrives in theaters in Disney Digital 3D on June 21, 2013)
* The Little Mermaid – September 13, 2013

“Great stories and great characters are timeless, and at Disney we’re fortunate to have a treasure trove of both,” said Alan Bergman, President, The Walt Disney Studios. “We’re thrilled to give audiences of all ages the chance to experience these beloved tales in an exciting new way with 3D – and in the case of younger generations, for the first time on the big screen.”

Originally released in 1991, Beauty and the Beast is a classic “tale as old as time” that follows the adventures of Belle, a bright young woman imprisoned in the castle of a mysterious beast and his enchanted staff, who must learn the most important lesson of all – that true beauty comes from within. Beauty and the Beast was the first animated film ever nominated for an Academy Award® for Best Picture, earning an additional five Oscar® nominations and winning two. It has grossed $380.4 million worldwide.

First released in 2003, Disney•Pixar’s Finding Nemo takes audiences into a whole new world in this undersea adventure about family, courage and challenges. When Marlin, an overly cautious clownfish living in the Great Barrier Reef, helplessly watches his son get scooped up by a diver, he must put aside his fears of the ocean and leave the safety of his coral enclave to find Nemo. Buoyed by the companionship of Dory, a forgetful but relentlessly optimistic fish, Marlin finds himself the unlikely hero in a seemingly impossible land-and-sea rescue. Finding Nemo won an Academy Award® for Best Animated Feature and was nominated for three others. With a total of $867.6 million worldwide, it was the second highest-grossing film of 2003.

In 2001, Disney•Pixar released Monsters, Inc. Lovable Sulley and his wisecracking sidekick Mike Wazowski are the top scare team at Monsters, Inc., the scream-processing factory in Monstropolis. But when a little girl named Boo wanders into their world, it’s up to Sulley and Mike to keep her out of sight and get her back home. Monsters, Inc. shattered every DVD-era home entertainment sales record when 11 million DVD/VHS copies were sold during its first week of release. It won an Academy Award® for Best Song and has grossed $526.9 million worldwide.

Released in 1989, The Little Mermaid, stars Ariel, a fun-loving and mischievous mermaid, off on the adventure of a lifetime with her best friend, the adorable Flounder, and the reggae-singing Caribbean crab Sebastian. But it will take all of her courage and determination to make her dreams come true and save her father’s beloved kingdom from the sneaky sea witch Ursula. One of the most celebrated animated films of all time, The Little Mermaid was nominated for three Academy Awards®, winning two. It has grossed $228.9 million worldwide.

ABOUT THE WALT DISNEY STUDIOS
For more than 85 years, The Walt Disney Studios has been the foundation on which The Walt Disney Company (NYSE: DIS) was built. Today, the Studio brings quality movies, music and stage plays to consumers throughout the world. Feature films are released under four banners: Walt Disney Pictures, which includes Walt Disney Animation Studios and Pixar Animation Studios; Disneynature; Marvel; and Touchstone Pictures, which includes the distribution of live-action films from DreamWorks Studios. Original music and motion picture soundtracks are produced under Walt Disney Records and Hollywood Records, while Disney Theatrical Group produces and licenses live events, including Broadway theatrical productions, Disney on Ice and Disney LIVE!. For more information, visit www.waltdisneystudios.com.

Beverly Hills, CA – The lasting influence of Disney artist Mary Blair will be celebrated through an examination of her concept artwork for “Cinderella,” “Alice in Wonderland” and “Peter Pan” in the 1950s during “Mary Blair’s World of Color: A Centennial Tribute,” the latest installment of the Academy of Motion Picture Arts and Sciences’ Marc Davis Celebration of Animation, on Thursday, October 20, at 7:30 p.m. at the Samuel Goldwyn Theater in Beverly Hills.

Several of today’s top animation talents will discuss Blair’s work as an artist and stylist and will also demonstrate how her work has influenced their own. The panel will be moderated by animation critic and film historian Charles Solomon.

Blair’s unmistakably bold and colorful designs continue to inspire artists in all areas of animation today. Her unique and lasting impact on animation continues to this day, though Blair is best known for her design of Disneyland’s “it’s a small world” attraction, which she worked on with legendary animator Marc Davis, for whom the lecture series is named, and his wife Disney Imagineer Alice Davis.

Panelists for the evening include:

Pete Docter, whose Oscar nominations include Original Screenplay for “Toy Story,” “WALL-E” and “Up,” Animated Feature film for “Monsters, Inc.” and Animated Short Film for “Mike’s New Car,” received the 2009 Oscar for Animated Feature Film for “Up.”

Mike Giaimo, who served as a character designer on “The Brave Little Toaster” and “FernGully: The Last Rainforest,” was the art director on “Pocahontas” and a visual development artist on “Home on the Range.”

Eric Goldberg, who served as the supervising animator for the Genie in “Aladdin,” Phil in “Hercules” and Rabbit in “Winnie the Pooh,” was the co-director of “Pocahontas” as well as the director of the “Rhapsody in Blue” and “Carnival of the Animals” segments of “Fantasia/2000.”

Susan Goldberg, who served as an assistant animator on “Pocahontas,” “The Hunchback of Notre Dame” and “Hercules,” was the art director on the “Rhapsody in Blue” and “Carnival of the Animals” sequences in “Fantasia/2000.”
Daisuke “Dice” Tsutsumi, the lead color key artist on “Robots” and the lead color designer on “Dr. Seuss’ Horton Hears a Who!” was the art director on “Toy Story 3.”

Following the program, attendees will be able to view a selection of original works by Blair.

The Marc Davis Lecture on Animation was established in 1994 to provide a forum for established film animators and other experts in the craft to share their experiences as well as explore with their colleagues the challenges of creating animation for the screen. The lecture is named in honor of the man who gave life to characters as diverse as Brer Rabbit, the beautiful Cinderella, Alice (of Wonderland fame), Tinkerbell, and the delightfully wicked Maleficent and Cruella De Vil.

Tickets for “Mary Blair’s World of Color: A Centennial Tribute” will go on sale Monday, October 3. Tickets are $5 for the general public and $3 for Academy members and students with a valid ID. They may be purchased online at www.oscars.org, by mail, in person at the Academy during regular business hours or, depending on availability, on the night of the program when the doors open at 6:30 p.m. The Samuel Goldwyn Theater is located at 8949 Wilshire Boulevard in Beverly Hills. For more information, call (310) 247-3600 or visit www.oscars.org.

ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards – in which the members vote to select the nominees and winners – the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

FOLLOW THE ACADEMY
www.oscars.org
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy

Photos Courtesy of A.M.P.A.S

How do you take a hand-drawn animated Disney classic like THE LION KING and turn it into a 3D masterpiece? With the theatrical release on September 16th and on Disney Blu-ray, Hi-Def and Blu-ray 3D on October 4th, Disney Stereographer Robert Neuman provides some insight on what a stereographer does (responsible for all 3D aspects of cinematography on the film) & the process involved and for some insight on why Disney chose to convert THE LION KING to 3D.

How long has 3D cinema been around?

We all know that 2D cinema has a rich history spanning more than a century, but 3D cinema has been around much longer than most people think. Back in the 1930s, the Lumiere brothers - who invented film - remade one of their features in 3D. They were convinced that 3D was going to be the next evolution in storytelling, but it didn’t catch on in that period of history. This means that 3D cinema has been around for nearly 80 years, but thankfully we’ve now gone past the gimmick stage. Today we’re ready to use 3D in order to tell a better story.

What does 3D add to an animated movie like The Lion King?

From my standpoint as a filmmaker, the most important aspect of a movie is the story. I knew we could add something to the storytelling of The Lion King with 3D. If we couldn’t use 3D to enhance the story, I wouldn’t be interested in the project. However, I knew we could take a classic and plus it – and I think that’s exactly what we’ve done with The Lion King 3D.

What does the job of Stereographer entail?

As Stereographer on The Lion King 3D, I’m responsible for all of the 3D aspects of cinematography. I designed the 3D look of the film, which involved working out how the characters were going to look in 3D, as well as what was going to move back into the screen and what was going to come out of the screen when you watch it in 3D. I also had to come up with a way to use depth to enhance the storytelling, which was of paramount importance.

How do you use depth as a storytelling tool?

The way I approach depth on the movie is to create a depth score, which is a similar process to the way that a film composer creates a musical score. A film composer uses the rises and falls of the score to echo the emotional content of the film. I try to do the same thing with depth in the movie.

How did you achieve that with The Lion King?

To do this with depth, I created a chart by going over the story of the film. I quantified the chart from a scale of one to ten. At a level of one would be a scene that has very low emotional content, for example an expositional scene. At a level of ten would be a big emotional moment in the movie, a big action sequence or a climatic action point. The chart is called my “depth script.”

What do you do with the depth script?

I equate stereoscopic depth to emotional depth. In other words, the shots in the depth script with a value of one get the minimum amount of depth. We’d pull out all the stops on shots with a value of ten by using as much depth as possible. Additionally, if there’s a scene where we’re supposed to feel detached from a character, then I put the character further back into the background. If we’re supposed to feel connected to a character, I bring them further forward. In this way, we’re not using 3D randomly. We’re using 3D as part of the narrative.

Is a Stereographer responsible for anything else in a movie?

I also spend a lot of time researching viewer comfort. There have been plenty of 3D movies that don’t consider viewing comfort when they are made. They don’t maintain depth continuity to ensure a great viewing experience, but that was extremely important to us. I wanted to make sure that the viewer would be comfortable and that their eyes aren’t strained when they watch the action in 3D.

How large was the team that worked on the conversion of The Lion King?

A team of 60 artists worked on the project, alongside four Sequence Supervisors and myself, the Stereoscopic Supervisor. We divided the artists up into teams that would take on one sequence at a time. That way, we were able to ensure there was 3D continuity within that sequence.

How long did it take to convert the movie into 3D?

It took four months to complete the conversion. It was extremely challenging and a very busy four months, but we got there in the end. We couldn’t be more proud of the outcome.

What was the first step in the conversion process?

At the onset, our technology team had to de-archive the original movie. The Lion King was one of the first features created with a pioneering digital ink and paint system that Disney developed called CAPS. Before that, everything had been painted by hand and was photographed on multi-plane cameras. The technology team had to convert the old system into images that we could use. Once we had the images, we could start the conversion.

The original film image.

The 3D Depth Map created by Robert Neuman, the 3D Stereographer on the film. Positive numbers refer to the amount of pixels the image will come out of the screen and negative numbers refer to the amount of pixels the image will go deeper into the screen, creating the 3D depth.

Grey Scale – The final image in the computer representation of depth. Darker images will be furthest away, and lighter images will be closer to the viewer.

What was the most difficult scene to convert into 3D?

The wildebeest stampede was very difficult. There were a lot of effects elements in that sequence and there was an entire herd of wildebeest to deal with. We also discovered that some of the movie’s characters were more difficult than others. The idiosyncrasies of the design of the bird Zazu were challenging because he has very angular features in his beak, wings and tail. Angular details are more difficult to work with in comparison to the more rounded features of other characters, such as Simba or Mufasa. That was certainly a challenge, too.

Is the same 3D version used in theaters and on Blu-Ray?

It’s basically the same version; although we slide everything back a little for Blu-Ray because a television screen isn’t as big as a movie theater screen. We take the final images and slide them along by a few pixels. But other than that, everything is identical.

How much input did the original filmmakers have into the 3D version?

One of the great things about working on this project was the fact that we had access to the original filmmakers. The input we were able to get from the original directors, Roger Allers and Rob Minkoff, and the producer, Don Hahn, was extremely reassuring. It was great to make sure that what we were implementing was their vision.

Why did Disney decide to convert The Lion King into 3D?

Why do this with such a great, classic film? In creating this 3D version, we’re creating a whole new art form, a whole new medium. You have all of the charm and the energy of the hand-drawn line that the original artists put down on paper, but there’s a tangibility that you usually only get out of something that has more dimensional framework. Let me give you an example – It feels like you can touch the characters in Toy Story because they’re starting from this truly dimensional framework. The Lion King 3D has the same characteristics. It has this tangibility, charm and, in my eyes, it has become a distinct form of animation. Even if you’ve seen the movie a hundred times, you’ll feel like you’re seeing it for the first time when you see it in 3D.

Will we see more classic Disney animations in 3D?

It’s certainly a possibility, but nothing has been decided yet. We have the technology available, but there are no specific plans to do anything else right now. Personally, I think it would be amazing to see something as vintage as Snow White come to life in 3D. I’m keeping my fingers crossed that it happens one day soon - and that I get the opportunity to work on it.

Become a fan on Facebook: http://facebook.com/DisneyTheLionKing

Official website: http://disney.com/TheLionKing