LA Cinema Youth

INTRODUCTION: Markus Manninen is one of the top effects talents at DreamWorks Animation today, having recently received attention for his work as visual effects supervisor on the Oscar-nominated Kung Fu Panda. His work on that film has also been recognized with a nomination from the Visual Effects Society (for Outstanding Effects Animation in an Animated Feature Motion Picture). Besides this, he also has worked in both animation and live action films as a digital effects artist.

Q: First, could you give us a list of your DreamWorks credits and briefly describe your role on each of these productions?

A: Before I came to DreamWorks Animation to work as Visual Effects Supervisor I was running the commercial computer graphics department at Framestore CFC in London and did work as a Director and CG Supervisor on projects. Before that I was a CG Supervisor at Filmtecknarna in Sweden, and before that I was self-employed/freelance animator and director.

My DreamWorks credits include:

- Kung Fu Panda [DreamWorks Animation] - Visual Effects Supervisor (release 2008)
- Kung Fu Panda Energizer (commercial) - Director (2008)
- Bee Movie [DreamWorks Animation] - Consultant (release 2007)
Over The Hedge [DreamWorks Animation] - CG Supervisor (release 2006)

I started in June 2003 at DreamWorks to do “Kung Fu Panda,” even though at the time the project hadn’t been identified. When I first arrived I went through the training and helped out on “Over the Hedge,” which was in pre-production. Mainly I supervised development and testing of the clothing pipeline, the procedural foliage system, and the procedural feather system. I also helped out on Bee Movie during early pre-production.

My main focus was obviously “Kung Fu Panda” which I started on part time in August 2003. As VFX Supervisor my role was to work for the directors and producers to make sure that we could deliver the film they wanted to make. My closest collaboration was with the Production Designer on the film. It was our job to strategize the best possible solutions for making the film “all it could be”. The two of us worked closely with Head of Story, Editor, Head of Character Animation, and Head of Layout. I had a large group of people as department heads that helped us make the film - Modeling Supervisor, Surfacing Supervisor, Head of Effects, Character Effects Supervisor, Final Layout Supervisor, CG Supervisors, Animation Supervisors, Matte Painting Supervisor, and Department TD Supervisor.

Early on the film my job is focused on understanding the needs of the film: planning the film according to those needs, developing strategies to accomplish the plan both artistically and technically, working with our technology development departments to make it possible, and following through with those plans with each department. As the film moves in to production I stay in constant communication to make sure that we follow the plan, or adjust the plan when needed. More and more of my time is spent directing the creative of the work during this time. It’s vital to have worked with the directors closely so that at this point the work that is done correctly to everyone’s satisfaction.

From about a year out from delivery I spend most of my time in “dailies”, where we basically watch the shots in a small digital theater without sound and give feedback to the artists and department heads to guide their work. In the last six months we start delivering a lot of material to DI (digital intermediate) for final color timing and continuity so a fair amount of time in the digital theater is that work. We start delivering reels for film out a few months out from when the film opens in theaters and that takes us to the different outside vendors. We also use outside vendors for commercial work, so a fair amount of time is spent giving them feedback from our studio, or going over to them to review material.

Q: What about for pre-DreamWorks for animation and live action?

Framestore CFC:

Underworld [Sony Pictures] - Senior FX Animator (2003)
Hagen Dasz [commercial campaign] - CG Supervisor (2003)
Harry Potter III [Warner Bros.] - Senior Animator Previs (2003)
Audi “Fish” - CG Supervisor (2002)
Tesco “What’s on Carrie’s mind” - CG Supervisor (2002)
Famous Grouse [campaign] - CG Supervisor (2002-2003)
Kellogg’s “Cow & Bear” - Animation Director (2002)
Nestea “T-Rex” - CG Supervisor (2002)
XBox “Mosquito” - CG Supervisor (2002)
Levi’s “Odyssey” - CG Supervisor (2001-2002)
Cingular Wireless “Good Vibrations” & “Goldfish” - Director (2001)
Richard Burbidge x 4 idents - Director (2001)
Whirlpool “Petals” - CG Supervisor (2001)
Fiat “Volcano” - Senior Animator (2001)
Shell “Fish” - Senior Animator (2000)
BT Cellnet [campaign] - CG Supervisor (2000)
British Gas “Mexican” - Senior Animator (2000)
NatWest “Dennis” - Senior Animator (2000)

I started at Framestore CFC as Senior Animator in the commercial department and after about 6 months I was helping run the department. We did a lot of commercials every year and I got to artistically touch maybe a 1/3 of them. I’ve selected a few of the commercials from that period here and the role I played on them. My job was usually to manage the client contact, strategize how to do the project, sometimes direct the project, and run the team on the project. I stayed pretty hands on as well.

We helped out in previs (pre-visualization) for some of the Harry Potter films, and my department also did the Bond opening title sequences with Daniel Kleinman (director). Before I left I also worked on the “Underworld” film doing werewolf to human transformations using Houdini and Shake, and composited the vampire interior body shot coming to life.

Filmtecknarna:

Boddington’s “Cream of Playboy”, “Horror Hoof” & “Market” - CG Supervisor (1999)
SF Movie Club “Monster”, “Beam” & “Walkers” - CG Supervisor (1999)
Sky Digital “Entertainment”, “Techie”, “Call Center” & “Installer” - CG Supervisor (1999)

I joined my friends at Filmtecknarna in my hometown Stockholm, Sweden, for a series of beer commercials to help make the CG/2D animation combination work. I had done some similar work on my own and got to experiment some more with how to do it successfully. My job was really to create a more streamlined workflow to enable the artists to work more efficiently on more material, and to develop the methods used to create the look of the spots. We started making full CG animated commercials as well. I also directed a Christmas commercial before it was time to try my luck in London.

Q: What got you into the film industry, and specifically visual effects? What’s your educational background? And, how did you make the transition from live action to animation?

A: I’ve always been a film buff. When I came across computer graphics at the University of Massachusetts in Amherst it sparked my interest. I’d been pursuing dancing and choreography as a potential career in my youth, and the combination of moving characters using computer graphics just seemed to fit my personality. I was interested even though at the time the process was similar to doing stop motion but inside the computer, with a bad user interface. I remember seeing “Jurassic Park” in the movie theater and thinking that’s what I wanted to do.

When I returned to Sweden I got the opportunity to learn more by being part of setting up a Media Lab at the Royal Institute of Technology, which is where I got my M.Sc. degree. After a few years I felt the need to explore the creative arena more and started freelancing as an animator in Stockholm. After several bumps in the road, buying my own Silicon Graphics workstation with Softimage 3D software, working in my parents’ house and briefly co-owning an animation studio, I ended up at Filmtecknarna. At the time my focus was on character animation even though you had to pretty much know everything to get the job done. At Filmtecknarna it was really inspiring working with traditional 2D animators, inbetweeners, painters. It was a great time.

I’d met Mike Boudry, one of the founders of CFC while at the Media Lab. So when I was visiting London I hooked up with Mike, and that led to meeting Mike Milne (one of the original 3D artists in London), which led to me getting hired at Framestore. When I came to London I assumed I would be doing mostly fully animated commercials with a focus on character animation. Then the visual effects boom took off and we got tossed into making a lot more visual effects work. My specialty was always in character animation, but you had to do everything to get the work done. We were using new tools and methods for creating better integration with live action plates. Each project was a new venture in figuring out better processes to create more complicated visual effects and more believable integration.

When the opportunity came to go work for DreamWorks Animation it was surprisingly fluent. I knew the European representative from a few years back. She introduced me to a Producer and Visual Effects Supervisor when they were in London. We chatted for five minutes about the production process and the creative process. Next thing I knew I was on a plane to Los Angeles to meet everyone. I think my background in animation was helpful for everyone to understand that I was comfortable with the process. Mostly I think it was a fortunate combination of my experience, skills, and the timing of them needing someone like me, that worked out.

The work was a little different than what I was used to in London, but the practices I used in running projects, managing the creative process, and to deliver on time were all applicable. In many ways I think it helped “Kung Fu Panda” have a more visible strategy for everyone involved.

Q: Could you describe the differences between working in visual effects on a live action production and an animated production?

A: As a visual effects artist, my experience in visual effects for feature films was that you worked with a team of people in a facility with very little visibility or understanding of what the final film would be. You worked with internal supervisors, and changes and feedback came filtered down through them or production management.

In CG feature animation at DreamWorks Animation we do have our directors, producers, and key creatives of the film internal, so everyone on the show has the ability to get it “from the horse’s mouth” so to speak, every day. It’s a very collaborative process. We try to give visibility to everyone involved as much as possible.

The biggest difference though is the story process. Only making two films a year, an animation studio has a very different evolution of the film from a story perspective that starts in early pre-production development and finishes sometimes as late as 6 months out from delivery of the film. It’s a very iterative, intense and introspective process. But it works tremendously well.

Live action has a more direct way of finding the film in the process of shooting it. It then gets found again in editorial. Nowadays a lot of that seems to be happening concurrently even. But there’s a far more immediate interaction with the story than in animation.

I think both processes have pros and cons, and it will be interesting to see how these methods influence each other in the future.

Q: Some animation experts say that character animators have an ‘actor’s mindset’ that allows them to inhabit their characters. Do you think there is a ‘visual effects mindset’ in people who work in the field that makes them more inclined to this aspect of production?

A: I certainly think there’s an approach to the visual challenge at hand that some people seem to simply grasp more naturally than others when it comes to effects work. But I also think that it is a craft people can learn how to become very adept at performing. I think like most things, some people only see the final complete picture, where as others can see the construction of it, how it was put together, imagine it done differently. That natural ability in combination with the technical skills of understanding the underpinning of computer graphics techniques makes some people truly exceptional in the field.

Q: Digital effects are, in both live action and animation a necessary part of modern moviemaking, but in comparison to character animation have a tendency to be overlooked. From talking to animation fans, I have a sense that a lot of even the very dedicated and knowledgeable don’t really know what a visual effects supervisor does. Could you explain what this role within the production consists of, what your duties are, and how you supervise or head up the effects team?

A: It’s true that the Visual Effects Supervisor in Animation doesn’t fit into the traditional approach to 2D animation, and therefore it doesn’t have the history that many of the other roles have. Also, it’s a little different depending on which studio you are working for. It’s actually surprisingly similar to live action in many ways.

The job in its clearest form is basically that you are responsible for delivering the computer graphics images that the directors and producers expect. That means that you are working closely with them to plan the film that they want to make and it is the Visual Effects Supervisor’s job to figure out how to put tools, processes, techniques, resources, and people in place to make that possible. It also means following through on those plans to achieve the creative aspiration of the film in all departments. Since the job on a feature animated film is so vast, you work very closely with the other key creatives (experts in their specific area) to make the film. At DreamWorks Animation these are the Production Designer, Head of Story, Editor, Head of Character Animation, and Head of Layout. You have a number of departments that report to you directly through their supervisors - Modeling, Surfacing, Effects, Character Effects, Final Layout, Lighting, Department Technical Directors and Paint Fix. On top of that you are also responsible for working with outside departments to make sure that technology resources and development are meeting the needs of your show.

Q: On a typical DreamWorks Animation production, is the effects supervisor expected to do some of the effects shots himself/herself, as a character animation supervisor would? And if so, could you tell us some of your shots in Kung Fu Panda?

A: So here’s the confusion. I have a Head of Effects who is the department supervisor for effects working for me. He or she may be expected to be hands on at times. Usually this is early on in pre-production when we are either doing look development or technical development. It depends on their skill set and how many artists are on the show. We quickly get to a place where the supervisors really focus on making sure their artists are successful. That’s the importance of the job and is always a struggle for artists doing their first stint as a supervisor.

My job as the Visual Effects Supervisor with the Effects Department is to plan with the Head of Effects how we will accomplish the film: setting clear expectations about the stylization of look and motion, figuring out how we will accomplish tent pole effects in the film, and what new techniques we will develop, how we will manage the creative process and approvals, scheduling, and budgeting. We constantly look back at the expectations to make sure that we are following through on them, or revise them if things have changed. After that it’s all about the artists doing the effects work. Mostly I see them in effects dailies every couple of days when they show their work, which I do together with the Production Designer. Sometimes I do rounds at artist’s desks to work with them a little less formally to discuss options and solutions.

I am always inspired by what artists bring to their work, and often the adaptation I want to make while we are making the film comes from new opportunities that come out of the excellent work that is achieved, and things I’d like the film to take advantage of more. I then go back to the directors and pitch that. On the directors and producer’s side that means they feel that there are opportunities to improve on the story they are telling during the evolution of the film, and that’s the kind of environment we crave when we make our films at DreamWorks Animation. On “Kung Fu Panda” I believe that’s how we ended up creating the rope bridge sequence quite late in production. It was truly an inspiring collaboration between everyone involved.

As far as doing hands on work, as a Visual Effects Supervisor, it may not be practical as your job is to make the 250 artists on the show successful doing their job. That’s the key responsibility.

Sometimes however, it’s necessary to get involved. It really depends on the situation. On “Kung Fu Panda” there were a few things that I took on and did in my “spare time” late in production. The production, thanks to my phenomenal department heads, was running smoothly so it was possible. I basically ran a small previs department in my office using Adobe After Effects. We had a series of conceptually difficult transitions between sequences and shots on the film that we hadn’t properly worked out. The directors had strong feelings about them, but weren’t able to articulate exactly what they wanted. To facilitate the process I started doing some compositing work to illustrate what it could be, to help nail down looks and timings, and allow lighting to create the final composites with few iterations. Since we had been working on the film together for years and I worked closely with the Production Designer, we were able to get together for 15 minutes once in a while in my office and figure out how to make these shots work.

The process was so successful that when we struggled with a flashback scene we used the same process to hammer it out, and we actually delivered the final frames that way. In the last moments of production I even did some paint fix work using this type of “creative compositing”.

Q: You were on Kung Fu Panda for about 4 years, longer than most of the other animators, as well as the directors! Over that period of time, how did the movie change from the original ‘Panda Project’ to the final film we see today?

A: I was on “Kung Fu Panda” for 4 years and 9 months. It was not a conscious decision, but more a result of many factors. When I first came on we were planning our schedule around a potential 2006 release, but other films were also in play at the time, so by the time all the scheduling for the films had crystallized we were a 2008 release. Which really worked in our favor.

The high concept part of the film never changed. It was always called “Kung Fu Panda”. What was really inspiring to be part of was the change with John, Mark and Melissa when we decided to make a film that honored the kung fu film genre and focused the comedy on the contrast of a panda voiced by Jack Black in a highly strict and structured Asian kung fu culture. It took us all a while to get that right, but from the start of that process we were all inspired by that concept. About the same time is when we defined the look of the film, and that really didn’t change. It simply evolved naturally through the filmmaking process into what you see on screen today.

Q: What scene or sequence are you most proud of on Kung Fu Panda?

A: A very difficult question to answer. Which one of your children do you love the most? I have many favorites for different reasons. I love the “Tai Lung Escapes” sequence, because that’s where we figured out the fantastical aspect of the film. The sequence was in development and production for a year and a half, and we continuously allowed ourselves to keep pushing it to be all that it could be.

One of my favorite scenes is the “Rope Bridge Fight” because we were able to take everything we’d learned and the relationship and trust that we’d developed on the show, and late in production create a sequence that was next to impossible to do within the resources and schedule we had. I see everyone’s strengths as artists and collaborators in that sequence, from the boards all the way to the finished frames on screen.

It’s difficult not to mention the “Chopstick Fight” since that was the first sequence that was approved through production. It really set the tone for the film in many ways.

From an emotional and acting perspective I love “Shifu Defends the Palace”. Not only is there some awesome kung fu in the sequence, with Tai Lung’s fist catching fire, which was a really cool and unique concept that worked well, but the exchange between Shifu and Tai Lung, both at the beginning of the scene and at the end carry so much of the emotional backbone of our story - which heart really lives within Shifu, his inner turmoil, and his relationship with Tai Lung and Oogway. I love the acting of Shifu at the end of the scene, which was animated by Dan Wagner, our head of character animation. What brilliance.

Q: Since Kung Fu Panda had a very strong Chinese design motif as the visual center of the film, were any attempts made to give the effects themselves a ‘Chinese’ feel or look?

A: We did have some stylization of the effects in the film. We discussed this at length as we started making the film. There was a constant balance between stylizing effects and the amount of effects we could accomplish. We ended up in a place where we stylized the effects to live in the same world with the characters and the environment, but without taking the audience out of the film by making the technique pull the attention of the eye. A lot of the effects work became about supporting the design sensibility of the film and the fantastical aspect of the movement and shapes we wanted to see. The fire fists are a perfect example of this. We used fluid simulations for fire in the film to create the distinct shapes and behavior. In the fire fists we worked within that choice and pushed it to the fantastical aspect of drawing trails of the motion curves using the fire.

Q: Besides your work on Kung Fu Panda, what other experiences at DreamWorks Animation stand out most strongly for you?

A: “Kung Fu Panda” is of course the strongest as I was on the film from the very start. DreamWorks Animation is a very collaborative environment. Many of us also work in global capacities to make sure that we evolve our filmmaking process and tools to allow future films even more possibilities. The camaraderie and respect for each other across the many projects that we have in production at the same time is very inspiring for us as artists and as members of the DreamWorks family. It’s a truly unique environment that I cherish every day.

Q: Perhaps I’m inquiring into ‘state secrets,’ but can you give us any details about your next project (without having to kill anyone, of course)?

A: I am not allowed to talk about the specifics of the project. I am in early development on a film with Chris Sanders and Kirk DeMicco, that Kristine Belson and Jane Hartwell are producing. I jumped at the chance to work with this group of people who I love and trust. All I can say is that I am tremendously inspired by what we are doing creatively. I have the opportunity to pursue my personal passion in making a next generation animated feature film. I am very excited to share that with everyone when the film comes to the screen a few years from now. Stay tuned.

Q: Lastly, in your opinion, what at DreamWorks Animation sets it apart from other companies?

A: I haven’t worked at another animation studio here in the US, so it’s difficult for me to say what’s different. I suppose what I can reflect on is my thinking when I decided to come and work here, and as well, my thinking when I decided to stay and make my next film here.

The most inspiring aspect as an artist is to work on a project that inspires you, in an environment where you feel supported and nurtured to try to do something unique that excels what we do. When I look at the projects we have in production, when I talk to the people who are working on defining those projects, who help create and define the culture of our environment, it always strikes me how generous they are with their time, their insight, and their passion for what they do.

Making good films is a lot of hard work. Great films are double that in amount of effort. To work with people who feel passionate about the film that they are making, and looking at such a diverse, yet great, slate of films in production is truly inspiring for someone like me, who at heart is a film buff. Who was fortunate enough to take a passion, a hobby, and be able to make it into a career. I think DreamWorks Animation is filled with a lot of us who feel that way, and we all feel very connected and jointly pursue with our passion how to make every film we make great. That artist’s camaraderie is what I think is unique.

CONCLUSION: Thank you very much for taking part in this interview.

RESPONSE: My pleasure. I am honored that you want to hear my opinions.

Here’s a revised version of the article I previously posted from Nicholas. He’s included a few overlooked films, such as Sony’s Cloudy with a Chance of Meatballs (what he hasn’t told you is that this is being directed by the team who created the short-lived Clone High, which was respectable as far as TV animation goes).

Honestly, looking over this list, this year’s Oscars will be one wild ride. It’s likely we’ll see Laika, Pixar, Ghibli, and Disney all compete for the big prize. Let us all hope that animation fully arises once again (though John Kricfalusi will insist it’s still dead no matter what).

Beyond Coraline: Animated Film For The Rest Of 2009
By Nicholas Zabaly

What a year 2009 is looking to be! Not only did we get Coraline, one of the finest examples of the imaginative potential of animation, but eager fans the world over have a lot of other great films to look forward to in the next nine and a half months. I’ve included films that have already been released in March for the sake of providing a complete listing, and also for comparison purposes. And now, for your reading pleasure (and cinematic anticipation), here is the shortlist of what’s coming up, where it’s coming out, and why (or if) you should take note.

March 2009:

Doraemon: Shin Nobita no Uchū Kaitakushi (Doraemon: Nobita’s How Space Was Won New Edition)
Release: 03/07/2009, Japan (Shinei Animation)
Interest Meter: Low
Info: Doraemon is one of Japan’s best-loved children’s characters, but his films never see US releases. For the uninitiated, the titular character is a blue mechanical cat from the future who has enjoyable adventures in the present era while teaching young viewers simple lessons. His human friend, Nobita, is a perennial idiot who is primarily motivated by whatever desire he has at that exact moment (usually, desire for food). This film is a remake of an earlier movie from 1981 that concerned the same story arc in the source manga. While the Doraemon film sometimes have surprisingly good animation, the lack of US interest probably means this movie will be for the YouTube only crowd.

Chō Gekijōban Keroro Gunso 4 (Sgt. Frog Movie 4)
Release: 03/07/2009, Japan (Sunrise)
Interest Meter: Low
Info: Sgt. Frog is another Japan-created character that hasn’t made much of an impact Stateside. These film versions don’t typically build on the story, but instead adapt easy-to-digest manga plot arcs or go with movie-only adventures. Sgt. Frog is an alien who means to conquer Earth, but he and his band of soldiers find themselves reduced to frog-form upon arrival, thus defusing their menace and endearing them to a loyal adoptive family of humans. Their subsequent misadventures play upon this unforeseen development. This is basically anime’s equivalent of a movie serial: like Doraemon and a number of other shows, there is a new film every year to generate interest and make money. For the anime companies, these are typically the movies that bring in profits. For American fans, they’re suitable for followers of the show, and not of much interest otherwise.

Monsters vs. Aliens
Release: 03/27/2009, US (DreamWorks Animation)
Interest Meter: Medium
Info: An interesting concept and some stylish effects animation highlight the previews for Monsters vs. Aliens, the first big studio American animated release this year. But overly silly humor (that strikes this reviewer at least as humorless) and shaky execution mar the anticipation ratings. This is one of those films that could go either way: maybe the trailers don’t do the movie justice, and passing early judgment is a mistake. On the other hand, this could be an example of too much general parody at the cost of an engaging take on the material. DreamWorks has been on a roll lately (with both the Bee Movie and Kung Fu Panda showing off in both the artistic and story departments), so I have hopes for Monsters vs. Aliens, but I’m carefully keeping them under control until the final product is revealed.

April 2009:

Crayon Shin-chan: Otakebe! Kasukabe Yasei Ōkoku (Crayon Shin-chan Movie 17)
Release: 04/18/2009, Japan (Shinei Animation)
Interest Meter: Low
Info: Anyone doubting the popularity of the foul-mouthed child Shin-chan need only observe the fact that this is his seventeenth movie, well over a decade and a half since he started tearing up Japan’s airwaves. While artistically these movies are nothing to rave about, they have the reputation of being funny, so fans will likely be amused. For non-fans, though, there’s really no way in at this point, so a return to earlier films (or TV episodes) would be encouraged. The likelihood of a US release is also rather slim.

Meitantei Conan: Shikkoku no Chaser (Detective Conan: The Raven Chaser)
Release: 04/18/2009, Japan (Tokyo Movie)
Interest Meter: Low-to-Mid
Info: Detective Conan, known as Case Closed in America, is an enduring and famed crime series with a kid’s sensibility: a genius teenage detective is, thanks to some misadventures, trapped in a child’s body. As a junior sleuth, he still takes on dangerous and tricky assignments and is never far from people who, remembering his teen form, want him dead. This film is the thirteenth in a long-running series, which also involves a manga and TV version. The higher interest on this film than the other franchise pics is due to the fact that we might get to see it in America: FUNimation has been distributing the series (as well as a few of the films) for years now, so a license might be in the future.

Tenjō-nin to Akuto-nin Saigo no Tatakai (Munto the Movie: Last War of Heavenloids and Akutoloids)
Release: 04/18/2009, Japan (Kyoto Animation)
Interest Meter: Mid-to-High
Info: A theatrical version of the final episodes of this year’s Sora o Miageru Shōjo no Hitomi ni Utsuru Sekai (commonly known among fans as Munto), this is fan-favorite studio Kyoto Animation’s first movie. Kyoto Animation has in the past few years developed an extremely high reputation for animation and storytelling quality with their TV works, so needless to say, expectations are mounting for this movie effort. However, the film has limited appeal, since it serves as a cap for the concluding TV series, and it will be shown in just two theaters across Japan for two weeks. Besides this, much of the actual animation will be taken from the TV version (which is already near-theatrical quality), with just some new scenes added. The likelihood of a US release will probably depend on how well the TV version DVDs sell, and in any case, we can’t expect a theatrical release here even under the best of circumstances. This movie is of great interest to anime fans and Kyoto Animation watchers, and will probably be an interesting discovery for more casual animation watchers in video rental stores in the years to come.

Tengen Toppa Gurren Lagann: Ragan-hen (Gurren Lagann Movie 2)
Release: 04/25/2009, Japan (GAINAX)
Interest Meter: Medium
Info: The second recap movie of the fantastically popular TV series Gurren Lagann, this film version will follow in the footsteps of an earlier film (released last year) that summarized the show’s first half. This movie will tackle the second half (approximately thirteen episodes worth of content) while mostly using existing footage. However, some new animation will be created to fill in storytelling gaps and ‘plus’ the action scenes. The film will also feature an all-new song sung by idol Shoko Nakagawa, who rose to fame after singing the TV version’s opening theme. For the uninitiated, Gurren Lagann is a send-up of the mecha anime of the 1970s and 1980s, where manly strength and bravery were the weapons that really won the day. In this way, the show is a return to an earlier, more innocent time in the mecha genre, which was inexorably altered by GAINAX’s own classic 1995 series Neon Genesis Evangelion. Evangelion took mecha into a deeper, darker, and more introspective and existential direction, so Gurren Lagann gloriously returns to the stupid, fun ‘manliness’ the genre was once known for. Gurren Lagann is undoubtedly one of those shows that every anime fan will (and must) see, but the fact that the movie is primarily a recap intended for new fans (and the hardcore who will watch everything) means it probably won’t get the same boost or interest level that it might otherwise.

Kōkyō Shihen Eureka Seven: Pocket ga Niji de Ippai (Eureka Seven The Movie: Pocket Full of Rainbows)
Release: 04/25/2009, Japan (BONES)
Interest Meter: Very High
Info: The 2005 TV series Eureka Seven was Studio BONES’ second attempt at the mecha genre (after their early series RahXephon), and to this day remains one of the triumphantly fun and imaginative adventures that anime is so well-regarded for. While plenty of individual plot motivations were been borrowed from other shows, the enthusiasm of the characters and their twisting relationships (which led to romance) was what drove this series and made it so enjoyable to watch. Additionally, the concept of mecha that wind-surf (while it sounds preposterous, it actually looks amazing) allowed a lot of the great action animation and choreography BONES is known for and gave the show extreme-sports appeal. This new movie is reportedly a new take on the story and characters, with a revision of both the plot and the general world. This makes it similar to the Escaflowne Movie, BONES’ earliest, which to this day remains one of the triumphs of anime cinema. Whenever BONES does a theatrical film, they pull out all the stops and spare no creative expense, so expect talent, pizzazz, show-stopping action scenes, and, according to the promotional material, “one more love story.” Besides this, a recently released spectacular trailer (which can be found on the show’s official website, http://www.eureka-prj.net/) has raised expectations even higher. With the TV series having done well in America, animation fans here can probably expect at least a DVD release in the years to come.

May 2009:

Up
Release: 05/29/2009, US (Pixar)
Interest Meter: Very High
Info: Pete Docter’s new movie just might be Pixar’s biggest gamble yet. A story about an elderly man who tours the world in his flying house, this is the kind of tale that one expects to find in a children’s picture book, not on the big screen. But on screens it will be, and in 3D no less: the first of Pixar’s films to be thus converted. The animation world has been speculating about this film for years, and there’s little to say that hasn’t already been said. But as the hype and rumors about this film have asserted, for Pixar to keep going Up from here might be a challenge: with WALL•E already under their belt, they’ve not only outdone themselves, but the entire animation world. Nonetheless, as Pixar’s efforts until late 2011 will be sequels, this looks to be the last (for a while) original wonder trip from them, so my bets are that it will not only be amazing, but unlike anything we’ve seen before.

June 2009:

Suske en Wiske: De Texas Rakkers (Luke and Lucy: The Texas Rangers)
Release: 06/17/2009, Belgium (Skyline Entertainment)
Interest Meter: Low
Info: The first CG animated feature film to be produced in Belgium, this take on the American western is essentially a children’s film for the local market. Other than it being a first for its respective country, it doesn’t seem like the sort of thing that will be released in America, or would have a lot of appeal if it were. However, you never know, really.

Evangelion: 2.0 You Can (Not) Advance
Release: 06/27/2009, Japan (Khara)
Interest Meter: Very High
Info: Evangelion is probably the single most famous anime-unique franchise (this excludes game-based franchises like Pokémon) the world over, and without question helped propel the medium to its tremendous success globally. Now, fourteen years after the original series, the second in a set of four new movies will hit theaters at the end of June. A direct continuation of 2007’s Evangelion: 1.0 You Are (Not) Alone, the film will continue to retell the TV story with a number of changes and twists, and all-new animation. The first film was a visually spectacular revelation, quite simply among the finest crafted animated movies of all time, so expectations for Evangelion 2.0 are understandably astronomical. Studio Khara, which is handling the production, was set up just to make these four films (they are likely to shut down after the project is completed), and to achieve their goal they reunited much of the original staff, plus dozens of the best talents in Japan, to create the highest quality animation. With Evangelion 2.0 going in a decidedly different direction than the original TV series story, fans are eagerly anticipating what will happen next. While we won’t see it in America this year, Evangelion 2.0 is one of those films that every animation fan should watch for. If it follows in its predecessor’s footsteps, it will easily be among the best (if not the best) of the year.

Summer 2009:
(I’ve created a generic ‘Summer’ label simply because many of the films due out do not have assigned release dates — expect them between July and August)

Summer Wars
Release: Summer 2009, Japan (Madhouse)
Interest Meter: Very High
Info: Mamoru Hosoda, the director originally slated to helm Howl’s Moving Castle (before Miyazaki took over) is heading up this project at Madhouse. His name alone should attract attention: besides the Howl involvement, he also directed the 2006 film The Girl Who Leapt Through Time, easily the best non-Ghibli anime of the past five years (in this humble reviewer’s opinion). This time, unlike with The Girl Who Leapt Through Time (which was partially based on a famous novel from the 1960s), the story is completely original, and revolves around a family’s adventuresome road trip vacation, initiated at the behest of a 90-year-old woman. Apparently, the genre for this movie will be “family action entertainment.” What is certain, however, is the staff assembled: along with Hosoda, there is screenwriter Satoko Okudera (who wrote The Girl Who Leapt Through Time, and is better known for her live-action scripts), character designer Yoshiyuki Sadamoto (most famous for Evangelion), and art director Youji Takeshige (one of Ghibli’s best art directors, who has held that position on both Princess Mononoke and Spirited Away). The studio, Madhouse, also was the production company behind The Girl Who Leapt Through Time, and their name recognition (and inclusive attitude towards the artists) allowed Hosoda to assemble a dream team of animators for the previous film. This time around will likely be a similar case. While Hosoda’s films don’t usually feature explosive action, they convey interpersonal relationships and individual character animation brilliantly, so his work is always a pleasure to behold as a refreshing change of pace from standard anime. Watch for this film… it might just be the best of the summer.

Musashi: The Dream of the Last Samurai
Release: Summer 2009, Japan (Production I.G)
Interest Meter: Very High
Info: Mamoru Oshii (not to be confused with Mamoru Hosoda) is, along with Miyazaki, among a small handful of anime directors who have achieved true international fame and respect. The director of the landmark Ghost in the Shell and co-creator of the Patlabor franchise, his touch on a project is almost always a sign that it is one to watch. Such is the case with his latest, Musashi: The Dream of the Last Samurai, which he has created and is writing. The actual directorial duties for the film have fallen to long-time animator and master craftsman Mizuho Nishikubo (formerly known as Toshihiko Nishikubo), who has worked with Oshii a number of times in the past. The film itself is a samurai action film, and knowing Oshii’s philosophical streak, it will likely be at least partially contemplative in nature. The staff also includes character designer Kazuto Nakazawa (he is best known in America for designing the characters of Samurai Champloo), art director Shuichi Hirata (known for Metropolis and Ghost in the Shell 2: Innocence), and animation director Kazuchika Kise (a major figure at Production I.G and among their best talents). For those interested, an English-subtitled trailer is available (at http://www.animenewsnetwork.com/video/1622/), although an American release is probably at least a year or more off.

July 2009:

Ice Age: Dawn of the Dinosaurs
Release: 07/01/2009, US (Blue Sky)
Interest Meter: Low-to-Mid
Info: Blue Sky wowed animation fans with Horton Hears a Who last year, but this third installment in the Ice Age franchise seems like a return to their normal mid-level quality work. While Ice Age fans will likely enjoy this, it’s hardly the place to join the series for newcomers, and the original creator (Chris Wedge) is not in the director’s chair this time around. Appreciation of this will probably be dependent on familiarity with the previous films, and of course appreciation for the humor style (something I, sadly, have little of).

Pocket Monster Diamond & Pearl: Chōkoku no Jikū e (Pokémon Diamond and Pearl: To the Conquest of Space and Time)
Release: 07/18/2009, Japan (Oriental Light and Magic)
Interest Meter: Low
Info: The latest in the long series of Pokémon films (this is the twelfth), this particular movie completes the Diamond & Pearl trilogy started two years ago. The Pokémon movies always do good business in Japan, and are sometimes surprisingly decent (past films have dealt with important issues for children, such as self-identity, rebellion, and even notions of destructive violence), but when they are released in America, they are always dubbed, rescored, and re-written, sucking their interesting and meaningful elements out. Other than for dedicated Pokémon fans (who will watch this online) or for children who like the Americanized version, this movie will likely not have mass appeal or promote any deeper notions than completing the popular trilogy-story and of course marketing new characters.

August 2009:

Ponyo on the Cliff by the Sea
Release: 08/14/2009, US (Ghibli, released by Disney)
Interest Meter: Very High
Info: Hayao Miyazaki’s latest film is finally making it to America, sometime this summer. Not only has the movie received rave reviews around the world, but it is also the most animation-intensive work Ghibli or Miyazaki has ever created: 170,000 animation drawings, all done without the aid of the computer. The entire film is handcrafted, without any digital touch-ups or effects. This monumental achievement, when hand-drawn animation is on the wane, will surely interest animation fans. But the simple story of the film, which harkens back to My Neighbor Totoro and is at least partially inspired by the childhood of Miyazaki’s own son, Goro (director of the 2006 movie Gedo Senki), has great appeal for both children and adults. I won’t reveal any of the premise here, because doing so would give away a lot of the magic that comes from ‘discovering’ Miyazaki’s worlds as they unfold on the screen. However, this is probably the best ‘family’ animated film to come out of Japan in many years. Shortlist this, along with Up, for likely Oscar consideration at year’s end.

September 2009:

9
Release: 09/09/2009, US (Starz Animation)
Interest Meter: High
Info: Based on director Shane Acker’s short film of the same name, 9 is a post-apocalyptic rag-doll movie… something I can safely say I never thought I would see. Nine separate sentient dolls each struggle against mechanical creatures bent on their destruction, and all the while attempt to save the legacy of humanity. While the plot is at best a shadowy proposition (more details are likely forthcoming, but the marketing has left things drenched in mystery), the celebrity voice cast (which includes Elijah Wood and Martin Landau) and the interesting style are sure to attract many curious movie-goers. It is a CG film, but meant to resemble stop-motion. Huge, highly-detailed environments of great realism are the haunting grounds of the dolls, and their adventures in these places, even if not ultimately the most original, are promised to look great. This is probably one of the more high-concept animated films that we’ll get, similar to other CG experiments of the past, so while I can’t make any predictions on the actual quality of the story or film, I can practically guarantee it’ll look great.

Cloudy with a Chance of Meatballs
Release: 09/18/2009, US (Sony Picture Animation)
Interest Meter: Medium
Info: Sony’s big animated release for the year, this film (which is adapted from the children’s book of the same name) promises to provide a comical spin on the disaster movie and parody the genre’s conventions. If Sony’s past works are an indicator, this will probably be a good-looking movie with big plusses in the effects, although the studio’s handling of characters has always seemed to me a bit uneven. This might be their big break, though, in that they are working from an existing source and are shooting for a specific aim (parody) in the content, much as Horton Hears a Who did last year. Sadly, details on the film are few and far between at the moment, so we’ll just have to wait and see how it ultimately turns out.

October 2009:

Astro Boy
Release: 10/23/2009, US (IMAGI)
Interest Meter: Medium
Info: This CG film version of the classic Japanese anime by Osamu Tezuka features a Hollywood voice cast and animation done by IMAGI (previously known for the TMNT movie, aka Teenage Mutant Ninja Turtles) at their Hong Kong studio, but has been plagued by production problems which have primarily stemmed from lack of steady financing. If the movie does make it out at its scheduled time, it will be the first of several planned Hollywood-driven CG remakes of anime, so from that standpoint, it may be a trendsetter or breaker. I haven’t seen much of the movie in action, but if one keeps managed expectations, there could be a pleasant surprise here (especially for children not familiar with the Astro Boy mythos or the darker themes explored in the original).

November 2009:

Fantastic Mr. Fox
Release: 11/06/2009, US (20th Century Fox Animation)
Interest Meter: Mid-to-High
Info: This is a rather interesting project, in that live-action filmmaker Wes Anderson is directing. Originally, this was to be an Anderson / Henry Selick co-production (with Selick serving as animation director), but Selick left in early 2006 to work on Coraline, and so the project went through several gyrations (and a studio change) before coming together. Work has been going on in London, with Anderson and new animation director Mark Gustafson overseeing much of the same crew that created Corpse Bride with Tim Burton in 2005. It is primarily a stop-motion film, but will feature other methods and styles as well. George Clooney and Cate Blanchett are set to lead the voice cast, which also features many Anderson regulars. Plot details are scarce, other than that it will involve a wily fox who outwits three exploitative farmers, but expect a fairy tale, Wes Anderson style, and you’ll probably have a good idea of what this will be like. Could very easily be the most interesting and unique animated film of the later part of the year.

Evangelion: 1.0 You Are (Not) Alone
Release: 11/10/2009, US (Khara)
Interest Meter: Very High
Info: The date listed above isn’t for a theatrical release, but rather the DVD release, of this film. I am listing this because there will almost certainly be a theatrical release, probably the same week as the DVD comes out, as this has been the pattern in the past from this distributor, FUNimation Films. As mentioned above in the Evangelion: 2.0 preview, this is the first film in a set of four which is (slowly) being released. Evangelion: 1.0 originally came out in Japan in the fall of 2007, and went on to be the second best-selling DVD of the year in 2008. Having seen the film several times already, I can promise viewers spectacular action sequences, marvelous art direction, memorable music, terrific voice acting, and a great story that leaves you ready for more. This was 2007’s animated movie, the best of the best, and should be seen on the big screen when it finally comes out. FUNimation is also sending this around the festival circuit, so keep your eyes and ears open for a screening near you.

- EVANGELION HEADS UP! - A special advanced screening of this film will be held on Saturday, April 11 at 7 p.m. at the Laemmle Monica 4-Plex in Santa Monica as part of the Japan Film Festival Los Angeles. The screening will be in Japanese, with English Subtitles. Tickets are just $10 each. Details and ticket information are available at:

http://www.jffla.org/films/evangelion-10

Planet 51
Release: 11/20/2009, US (Ilion Animation Studios & HandMade Films, distributed by TriStar Pictures)
Interest Meter: Low-to-Mid
Info: This CG film, produced in Madrid, Spain, follows a human astronaut who lands on an alien planet, only to discover the ‘little green men’ living the American dream, 1950s-style. While, like many of the projects listed here, details are scarce, it looks like it will be an amusing send-up of sci-fi films, and should be fun for kids. Despite the Spanish origins, TriStar is set to give the movie the Hollywood dub treatment, complete with stars (and not the ones in the sky), including Gary Oldman. It’s tough to say what this will be like, but at the very least, seeing some Spanish animation should be interesting.

December 2009:

Yona Yona Penguin
Release: 12/??/2009, Japan (Madhouse)
Interest Meter: High
Info: The first CG anime from Madhouse (with much of the actual animation done by an international collection of companies in France, Thailand, and of course Japan), this engaging children’s film is about a young girl with a penguin obsession who is transported to a fantasy world where, due to her penguin pajamas, she is mistaken for the savior of a kind-hearted civilization of goblins. I happen to be somewhat personally invested in this film (I was involved while interning at Madhouse’s US office). I can tell potential viewers that this is a wonderful story, cutely realized, and helmed by Rintaro (one of Madhouse’s most senior and respected staff directors). This is likely to be a great family film with a delightfully realized fantasy setting and engaging, likable characters. The movie will be released around the world in 2010, with a US release probable (if it is licensed soon).

The Princess and the Frog
Release: 12/11/2009, US (Walt Disney Animation Studios, Feature Animation)
Interest Meter: Very High
Info: As the first hand-drawn Disney film since 2004, a lot is riding on The Princess and the Frog… a whole art form! Depending on how this film does, Disney may officially revive hand-drawn animation, so everyone (even animation people who normally diss Disney) is hoping for a hit. The credentials: Ron Clements and John Musker in the director’s chair(s), and an all-star assemblage of the surviving Disney animation greats, including Andreas Deja and Eric Goldberg. The music for this New Orleans-set movie is to be provided by Pixar regular Randy Newman, and Anika Noni Rose and Keith David (of Coraline) will be headlining the voice cast. Riffing on the fairy tale The Frog Prince, this will be a Broadway-style musical set in turn-of-the-century New Orleans, with plenty of voodoo and animal sidekicks to match. It also may well be the last animated-on-paper American film, since Disney (among others) have been pushing for drawing on digital tablets for future productions. While the movie has had its share of changes during production (including a change of title and the main character’s name), Feature Animation has been very carefully guiding the film and attempting to ensure success. It’s a tremendous gamble, but it could have equally tremendous rewards if things work out. As the cap to the 2009 animated year, the whole world will be watching, waiting, and hoping for a return to the Disney golden age.

And there, my friends, are 2009’s previews. Now go forth, and watch as many as you can! The animated world can only continue to grow if filmgoers continue to support the movies, and this year’s batch of movies looks to be among the very best. See you at the theater!