Daniel McCoy began his career with Pixar Animation Studios in March 1989 working with the RenderMan® software group for eight years. McCoy has been part of the shading team on a number of Pixar’s award-winning feature and short films including “Geri’s Game,” “A Bug’s Life,” “Toy Story 2,” “Monsters, Inc.,” “Finding Nemo,” “Up” “Ratatouille” and “Toy Story 3”. McCoy was the supervising technical director for the Academy Award ® -nominated short film “La Luna” which was released theatrically in 2012 in front of the Disney•Pixar feature “Brave.” He is currently developing new shading tools with Pixar’s Software Tools group.
Prior to coming to Pixar, McCoy worked with the NASA/Ames Research Center and at Sun Microsystems as a part of their computer graphics group. A native of San Jose, California, McCoy attended San Jose State University.
À la réouverture d’un parc, la vie reprend autour d’un banc laissé à l’abandon : les ouvriers municipaux balaient les feuilles mortes, les amoureux gravent leurs initiales, des employés en costume-cravate mangent leur sandwich triangle…
When a park reopens, life resumes at an abandoned bench: municipal workers sweep away the dead leaves, lovebirds engrave their initials, and office workers in their suit and ties eat their triangular sandwiches.
Join Director of Archives Karen Falk as she discusses her role at The Jim Henson Company—preserving the life and legacy of Jim Henson and curating exhibitions based on their beloved film and television projects, including Disney’s The Muppets, PBS’ Sesame Street (1969–present), The Dark Crystal (1982), and Labyrinth (1986).
This program was originally presented on June 16, 2021.
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As Pixar marks its 35th birthday, we join the filmmakers of their 24th original film Luca, a funny and exciting tale involving sea monsters on the Italian Riviera. Joining host Justin Johnson are director Enrico Casarosa, producer Andrea Warren and creative art director Deanna Marsigliese. As well as watching some clips from the film, you’ll learn more about the films that influenced Luca, the creative challenges the filmmakers faced and whether they’ve met any real life sea monsters.
This summer, you’re invited to Portorosso. Watch the new trailer for Disney and Pixar’s Luca and see the film June 18 on Disney+. Set in a beautiful seaside town on the Italian Riviera, Disney and Pixar’s original feature film “Luca” is a coming-of-age story about one young boy experiencing an unforgettable summer filled with gelato, pasta and endless scooter rides. Luca shares these adventures with his newfound best friend, but all the fun is threatened by a deeply-held secret: they are sea monsters from another world just below the water’s surface.
Directed by Academy Award® nominee Enrico Casarosa (“La Luna”) and produced by Andrea Warren (“Lava,” “Cars 3”), “Luca” releases June 18 on Disney+.
Netflix releases the first look and teaser trailer for the upcoming stop-animation musical holiday special, Robin Robin, which will debut on the service on November 27th, 2021.
The 30 minute special is produced for Netflix by Academy Award® winning studio, Aardman Animation, based in Bristol, UK.
The first look and teaser trailer coincides with Robin Robin inclusion at this year’s Annecy Film Festival in the Work in Progress Shorts 2021. The session will include a Q+A moderated by Peter Lord (Director and Co-Founder of Aardman); with Directors Dan Ojari and Mikey Please, and Executive Producer, Sarah Cox.
Golden Globe® winner Gillian Anderson (The Crown) and Oscar® nominee Richard E. Grant (Can You Ever Forgive Me?) lead the cast which also includes Bronte Carmichael (Christopher Robin) and Adeel Akhtar (Enola Holmes).
Created and Directed by: Dan Ojari (Slow Derek) and Mikey Please (BAFTA® winner for The Eagleman Stag)
Written by: Dan Ojari, Mikey Please and Sam Morrison
Produced by: Helen Argo (Tate Movie Project, Wallace & Gromit’s Musical Marvels)
Music and Songs by: The Bookshop Band
Executive Producer: Sarah Cox (Tate Movie Project and BAFTA® nominated Heavy Pockets)
Bronte Carmichael will voice Robin. When her egg falls from the nest, Robin is adopted by a family of mice, and raised as one of their own. Not quite a bird and not quite a mouse, but full of determination. Robin sets out on an adventure to prove herself and just maybe, get a sandwich.
Adeel Akhtar voices Dad Mouse, a caring but cautious soul who is single-handedly raising a family of five children (one of them happens to be an adopted bird).
Richard E Grant will voice Magpie, an obsessive collector of shiney ‘stuff’. Magpie takes Robin under his ‘wing’, on a journey of self discovery. Underneath his many ruffled feathers he really is a good egg.
Gillian Anderson voices Cat. The villain of our story who just so happens to know a place where everything is welcome, her tummy!
When her egg fortuitously rolls into a rubbish dump, Robin is raised by a loving family of mice. As she grows up, her differences become more apparent. Robin sets off on the heist to end all heists to prove to her family that she can be a really good mouse – but ends up discovering who she really is.
Netflix is the world’s leading streaming entertainment service with 208 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.
A number of Aardman’s beloved films, such as Wallace & Gromit: The Curse of the Were-Rabbit, Flushed Away, and Shaun the Sheep Movie are currently available for members to enjoy on Netflix in most countries.
Robin Robin joins Netflix’s fast growing original slate of animated features which includes Academy Award nominated Klaus, Kris Pearn’s The Willoughbys, Academy Award Nominated Over the Moon from Glen Keane; as well as the Fall 2021 comedy Back to the Outback directed by Clare Knight and Harry Cripps, Richard Linklater’s Apollo 10 ½: A Space Age Adventure, Chris Williams’ The Sea Beast, Henry Selick’s Wendell & Wild, Nora Twomey’s My Father’s Dragon, Guillermo del Toro’s Pinocchio, Wendy Rogers’ The Magician’s Elephant, Minkyu Lee’s The Witch Boy, Lupita Nyong’o’s Sulwe, an Aardman sequel to Chicken Run, as well as a Redwall film and event series.
Aardman, based in Bristol (UK) and co-founded in 1976 by Peter Lord and David Sproxton, is an independent and multi-award-winning studio. It produces feature films, series, advertising, games and interactive entertainment – such as the ‘visually astonishing’ (Guardian), BAFTA® nominated console game, 11-11: Memories Retold, and the four-times Gold Cannes Lions-winning StorySign app – and innovative attractions for both the domestic and international market, including a new 4D theatre attraction at Efteling in the Netherlands.
Its productions are global in appeal, novel, entertaining, brilliantly characterised and full of charm reflecting the unique talent, energy and personal commitment of the Aardman team. The studio’s work – which includes the creation of much-loved characters including Wallace & Gromit, Shaun the Sheep and Morph – is often imitated, and yet the company continues to lead the field producing a rare brand of visually stunning content for cinema, broadcasters, digital platforms and live experiences around the world.
The studio runs the Aardman Academy, which is committed to nurturing talent by delivering excellence in film and animation training and mentoring. . The Aardman Academy offers a variety of courses from intensive one-day workshops teaching production skills and storyboarding, to comprehensive twelve-week courses for professionals in craft based subjects from model making to animation.
In November 2018 it became an Employee Owned Organisation, to ensure Aardman remains independent and to secure the creative legacy and culture of the company for many decades to come. www.aardman.com
– Emmanuèle Petry Sirvin, Producer and Distributor at Dandeloo
– Mattheiu Zeller, Producer at Octopolis / nWave
– Rémi Chayé, Director of „Calamity“ and „Long Way North“
Moderated by Axel Scoffier, Deputy executive Director at UniFrance
Preview : Le Petit Nicolas
Récap‘ du Work In Progress du Petit Nicolas de Benjamin Massoubre et Amandine Fredon
Détails et infos sur www.cloneweb.net
Somewhere, between Montmartre and Saint-Germain-des-Prés, Jean-Jacques Sempé and René Goscinny lean over a large white sheet of paper and bring to life a mischievous and endearing boy, Little Nicholas. From schoolyard games and fights, to summer camp pranks and camaraderie, Nicholas lives a merry and enriching childhood. As Nicholas and his friends‘ adventures unfold, the boy sneaks into his creators‘ workshop and light-heartedly questions them. Sempé and Goscinny will recount the story of their friendship and careers, and reveal their childhoods filled with hopes and dreams.
Rise Up Animation Presents A Conversation on Animation: Wayne Unten
Our friend Wayne Unten, character animator at Disney Animation! Wayne will share with you his process and speak about subtext in acting, showing examples from his work on the Disney Features! Wayne has been a character animator on such films as Meet the Robinsons, Tangled, Wreck-it Ralph, and a supervising animator on Bolt, Frozen, and Frozen 2 where he supervised the animation for Elsa.
Wayne Unten | Character Animator, Walt Disney Animation Studios
Rise Up Animation Founders: Bobby Pontillas Frank Abney Trent Correy Monica Lago-Kaytis
Berlin, 16. Juni 2021 – Welche Schäden Corona hinsichtlich Besuchszahlen und Umsatz 2020 im deutschen Kinomarkt verursacht hat, ist inzwischen hinlänglich bekannt. Wie sich die Pandemie auf soziodemografische, konsumrelevante und filmspezifische Aspekte ausgewirkt hat, analysiert nun die FFA-Studie „Kinobesucher*innen 2020“. Demnach sind aufgrund der Schließungen und Einschränkungen sowohl die Anzahl der Besucher*innen, die Besuchsintensität und die Besucher*innenreichreichweite im Vergleich zum Vorjahr gesunken:
Die Zahl der Personen, die ein Kino besuchten, sank um 40 Prozent auf 15,4 Mio.
Die Besuchsintensität sank um 45 Prozent auf 2,4 Tickets pro Person.
Die Besucher*innenreichreichweite gemessen an der Gesamtbevölkerung sank von 38 Prozent auf 23 Prozent.
„Kinobesucher*innen 2020“ hält aber auch eine durchaus positive Aussicht für die Zukunft bereit: Der Wunsch, endlich wieder ins Kino gehen zu können, wächst signifikant. Wollten im Juli 2020 nur 51 Prozent der Befragten sechs Monate nach einer möglichen Öffnung wieder mindestens so häufig wie zuvor ins Kino gehen, waren es im Januar 2021 schon 71 Prozent. Dies geht aus einer repräsentativen Ad-hoc-Studie der GfK hervor, bei der Kinobesucher*innen der letzten zwei Jahre befragt wurden.
Info: Die FFA veröffentlicht seit 29 Jahren regelmäßig Studien über die Struktur des Kinobesuchs und die Entwicklung im Besucher*innenverhalten. Grundlage für die Auswertungen ist das Individualpanel Media*Scope der Gesellschaft für Konsumforschung (GfK), dessen filmwirtschaftliche Daten der FFA exklusiv zur Verfügung stehen. Das Panel umfasst 20.000 Teilnehmer*innen (brutto) und steht repräsentativ für die deutsche Bevölkerung ab 10 Jahren. Nicht erfasst werden Kinder unter 10 Jahre, ausländische Bürger*innen sowie Personen, die ständig auf Reisen sind oder deren Bewegungsfreiheit vorübergehend eingeschränkt ist.