13 Mayıs 2012 Pazar

Last Night A Movie Saved My Life

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Last night I simultaneously discovered the highs and lows of being a film geek.
Being such a massive nerd/geek, it might not surprise you to learn that I am currently single and live on my own.
This proved to be a terrible inconvenience yesterday when I nearly choked to death after getting part of a peanut butter sandwich stuck in my throat, and there was nobody around to give me the Heimlich manoeuvre.
After ten seconds of feeling sad that I had no one to help, my mood quickly shifted to panic as remained unable to either swallow or cough up the sandwich. I had made it to the bathroom where I was confronted in the mirror by a sight very similar to the photo below.
It was at that point that I remembered the film Choke. It is based on the novel by Chuck Palahniuk and is about a sex addict con-man played by Sam Rockwell who plays on the sympathies of those who rescue him from choking to death in restaurants.
There is one particular scene in the film where Rockwell forces a choking incident in a quiet restaurant only to discover that the sole customer is blind and doesn't notice him. He is then forced to perform a solo Heimlich manoeuvre by forcing the back of a chair into his midsection.
Grabbing the chair from the study, I did the same thing and after a couple of attempts, a piece of bread coated in peanut butter and spit went flying across the room.
So being such a film geek, I guess that in some strange way, because I saw the film, I owe a life debt to Sam Rockwell and director Clark Gregg aka Agent Coulson himself.
Just like by watching Die Hard I would know what to do if I was in a skyscraper that had been taken over by terrorists/thieves.
So my question to you is, has watching a movie ever saved your life or come in handy in a real-life situation?

Creature Official Movie Trailer

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  An ex-Navy seal, Niles (Mehcad Brooks, True Blood), his girlfriend Emily (Serinda Swan, Tron) and their friends head out on a road trip to New Orleans. When the group decides to stop at a roadside convenience store owned by Chopper (Sid Haig, Devils Rejects) they are introduced to the legend of Lockjaw, a Creature who is part man, part alligator...The Legend has it that an inbred local man by the name of Grimley (Daniel Bernhardt, The Matrix: Reloaded), lost his family to a monstrous white alligator, and because of the devastating loss of his family was driven to madness and was transformed into the Creature. Their curiosity peaked, the group decides to head deeper into the swamps to check out the birthplace of this Creature legend. As they journey further into the backwoods the group arrives at an old dilapidated cabin and decide to camp there for the night and inadvertently unleash the Creature who terrorizes the group.

In Theaters: Sept. 9, 2011

Drive Official Movie Trailer

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"Drive" is the story of a Hollywood stunt driver by day (Ryan Gosling), a loner by nature, who moonlights as a top-notch getaway driver-for-hire in the criminal underworld. He finds himself a target for some of LA's most dangerous men after agreeing to aid the husband of his beautiful neighbor, Irene (Carey Mulligan). When the job goes dangerously awry, the only way he can keep Irene and her son alive is to do what he does best—Drive!

In Theaters: Sept. 16, 2011

The Whistleblower Official Movie Trailer

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  In Bosnia in 1999, Kathryn Bolkovac, a U.N. peacekeeper whose post with the Intl. Police Task Force was arranged by DynCorp Inc., is assigned to run the IPTF office that investigates sex trafficking, domestic abuse and sexual assault. She ultimately alleges that peacekeepers, U.N. workers and international police are visiting brothels and facilitating sex trafficking by forging documents and aiding the illegal transport of woman into Bosnia. DynCorp responds by firing Bolkovac, who returns to the U.S. and files a wrongful termination case. She wins the suit but says she's still blacklisted.

In Theaters: Aug. 5, 2011

Warrior Official Movie Trailer

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  An ex-Marine haunted by a tragic past, Tommy Riordan returns to his hometown of Pittsburgh and enlists his father, a recovered alcoholic and his former coach, to train him for an MMA tournament awarding the biggest purse in the history of the sport. As Tommy blazes a violent path towards the title prize, his brother, Brendan, a former MMA fighter unable to make ends meet as a public school teacher, returns to the amateur ring to provide for his family. Even though years have passed, recriminations and past betrayals keep Brendan bitterly estranged from both Tommy and his father. 


But when Brendan’s unlikely rise as an underdog sets him on a collision course with Tommy, the two brothers must finally confront the forces that tore them apart, all the while waging the most intense, winner-takes-all battle of their lives.

In Theaters: Sept. 9, 2011

Shark Night 3D Official Movie Trailer

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Arriving by boat at her family’s Louisiana lake island cabin, Sara (Sara Paxton) and her friends quickly strip down to their swimsuits for a weekend of fun in the sun. But when star football player Malik (Sinqua Walls) stumbles from the salt-water lake with his arm torn off, the party mood quickly evaporates. Assuming the injury was caused by a freak wake-boarding accident, the group realizes they have to get Malik to a hospital on the other side of the lake, and fast. But as they set out in a tiny speedboat, the college friends discover the lake has been stocked with hundreds of massive, flesh-eating sharks! As they face one grisly death after another, Sara and the others struggle desperately to fend off the sharks, get help and stay alive long enough to reach the safety of dry land.

In Theaters: Sept. 2, 2011

Pearl Jam 20 Official Movie Trailer

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  Pearl Jam Twenty chronicles the years leading up to the band's formation, the chaos that ensued soon-after their rise to megastardom, their step back from centre stage, and the creation of a trusted circle that would surround them—giving way to a work culture that would sustain them. Told in big themes and bold colours with blistering sound, the film is carved from over 1,200 hours of rarely-seen and never-before seen footage spanning the band's career. Pearl Jam Twenty is the definitive portrait of Pearl Jam: part concert film, part intimate insider-hang, part testimonial to the power of music and uncompromising artists.


In Select Theaters: Sept. 20, 2011 For One Night Only

Abduction Official Movie Trailer

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  Taylor Lautner will star in "Abduction" as a teen who has long felt disconnected from his parents, and figures out why, which unleashes a chain of violent events.  Centered around a young man who sets out to uncover the truth about his life after finding his baby photo on a missing persons website.

  Also Starring:
Sigourney Weaver
Lily Collins
Alfred Molina
Sigourney Weaver
Maria Bello
Jason Isaacs

In Theaters: Sept. 23, 2011




The Lion King 3D Official Movie Trailer

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Embark on an extraordinary coming-of-age adventure as Simba, a lion cub who cannot wait to be king, searches for his destiny in the great "Circle of Life." You will be thrilled by the breathtaking animation, unforgettable Academy Award®--winning music, and timeless story. The king of all animated films reigns on Disney Blu-ray 3D—Magic In A New Dimension!
In Theaters: Sept 16, 2011 for 2 weeks only!

Project X Official Movie Trailer

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"Project X" follows three seemingly anonymous high school seniors as they attempt to finally make a name for themselves. Their idea is innocent enough: let's throw a party that no one will forget... but nothing could prepare them for this party. Word spreads quickly as dreams are ruined, records are blemished and legends are born. "Project X" is a warning to parents and police everywhere. This film has been rated R for crude and sexual content throughout, nudity, drugs, drinking, pervasive language, reckless behavior and mayhem-all involving teens.









Starring:
Miles TellerOliver CooperJonathan Daniel BrownKirby Bliss BlantonDax FlameNichole O'Connor  In Theaters: March 2, 2012

Overseas Subcontracting

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... is ever-changing. Our friends at China Daily tell us:
Shrinking creative talent base a major concern for Chinese animation industry, experts say ...

In the last two years, the animation industry has seen a sea change with the focus increasingly turning toward originality and creativity, rather than outsourcing for global studios.

Not surprisingly, it is television programs that account for more than 45 percent of the business for most animation studios, figures provided by the Chinese Academy of Social Sciences show. ...

"Most of the animation companies in China are still surviving on outsourcing orders from overseas companies. There is still a huge gap between China and Western countries in core and sophisticated techniques," says [Song Yuefeng, director of Shanghai Paladin Max studio.] "It would be better for Chinese animation companies to consider purchasing technologies from Singapore, Thailand, or Europe, or look at more ways to bring overseas professionals to work in China." ...

As professionals often tell us, India and China are still behind the artistic levels of California, New Zealand, Australia, France and the land to our north. At the same time, salary levels in these emerging countries are rising steadily, while salaries in the U.S. and Europe are stagnant or falling.

So the cost savings are dwindling, even as the quality of work lags behind the best of the West. Like The Wise Old CG Animator told me two months ago:

You can go get inexpensive labor a lot of places. I mean, you can go get people waiting for work in front of Home Depot and bring them back to the studio and plunk them down in front of a computer. But if they can't do the work, what good is it to pay them eight dollars an hour? They still can't do the work."

"Same thing applies to a lot of the sub-contracting facilities overseas. Some studios are good, but many are terrible. And it doesn't help the art form (or box office) if you get crappy product you can't use or make money with, no matter how cheap the product is."

Special Meeting, May 30

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On Tuesday night, the Animation Guild's Executive Board, still angry about the state of the latest round of negotiations for a new contract, put out an e-mail to membership which goes something like this:
On April 19, after two days of negotiations for a new contract with the major studios, your negotiating team (made up of regular members just like you) felt compelled to walk out.

The studios were not willing to consider most of our proposals, and we were far apart on wage issues.

Animated features and television series are the engine that drives the Hollywood gravy train, yet our workplace and salary concerns were mostly ignored.

TAG's Executive Board has voted to hold a special membership meeting on Wednesday, May 30, to discuss the contract negotiations. It is imperative that we have a full turnout to receive your input regarding our next moves in the battle for a fair contract.

In the meantime, we urge you to discuss these issues with your fellow members. Your livelihood, and that of your fellow workers in animation, is at stake. We have been disrespected for far too long. Do you want our Union to stand up for itself? Then YOU need to stand up for your Union. Attend the special meeting.

The special membership meeting will be held Wednesday, May 30, at the Guild's offices at 1105 N. Hollywood Way in Burbank. A reception starts at 6 PM with beer, wine, and refreshments, followed by the meeting at 7 PM. ...

Speaking for myself, I found the overall package offered by the producers on April 18 amazing ... and insulting. We had worked through some side issues, and I had thought we were making some progress.

Wrongo.

This, I guess, shouldn't be hugely surprising. Sitting through the Basic Agreement negotiations, I had an opportunity to talk to various locals, and none of them had an easy time of it in their individual negotiations. The IATSE leadership didn't have an easy time of it hammering out an agreement for the larger contract. So we should have expected lollipops and rainbows? Still, the TAG negotiations were a large splash of chilled water.

In the relatively near future, we will be going back for more contract talks. Any members reading this, I urge you to come to the meeting on May 30th. It's important for you to know what's going on and to give your input.


Disney Afternoon

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My work hours after lunch were whiled away inside the Hat Building on fabled Riverside Drive (The Burbank version, not the one in New York) ...

Work is going on with Frozen, with characters being modelled and production slowly ramping up. (One of the modelers showed me work in progress. The characters are going to have their own distinct looks.)

The annual caricature show was still up, and I dawdled over the drawings pinned up on over-sized storyboards on the second floor. A caricature of Walt Peregoy caught my eye; Walt was caricatured right down to the velocity of his rants (captured in pungent dialogue balloons on the drawing; captured in audio form here.)

There was also a witty depiction of David Stainton, referencing his quick exit from Paramount Animation a few months back. (Something to do with "karma.")

I had wondered why Mr. Stainton exited the Viacom company so quickly; a former animation exec cleared up the mystery* earlier this week:

Paramount hired David Stainton expecting him to make deals with different live-action directors. Like they did with Gore Verbinksi.

Only Stainton didn't know any live-action directors. When Paramount figured this out, they let him go.

And so a blossoming animation career (or should I say RE-blossoming?) was nipped in the bud.

* I assume here that my informant is correct.

Deep Immersion Triggers Deep Thought

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So you've got Peter Jackson doing The Hobbit at 48 frames per second, and James Cameron gearing up to do Avatar the second at 60 fps. And Doug Trumbull saying this:

... Jim Cameron’s idea of doing Avatar 2 and 3 at 60 frames is a stellar, excellent idea because Avatar is kind of a flying dream adventure.

... The movie I’m developing is a science-fiction space movie; I’m trying to pick up where I think 2001 left off. I’ve actually built a stage where I’m experimenting with 3-D at 120 frames a second projected on a deeply curved hemispheric screen that is silver, so it reflects the light back to the audience. It’s three times the brightness of a normal movie. I want to make something that goes as far into this very intense immersive experience for the audience that I possibly can. ...


Why stop at 60 fps if 120 is better?

But this raises a question, ladies and gentlemen of the jury. The higher frame rates kind of kick hell out of the idea of doing hand-drawn features, don't you think? Unless, of course, computers do the lion's share of the inbetweening and breakdowns.

I'm assuming here that rendering speeds continue to increase and technology keeps moving forward. Even so, the bean counters at our fine entertainment conglomerates will be pushing back against the higher frame counts because ... one way of the other ... it will mean higher costs.

Foreign Super Heroes

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... are performing remarkably like domestic super heroes.
A muscular opening in Russia plus extraordinarily strong holdovers in key overseas markets propelled Marvel’s The Avengers to a commanding No. 1 weekend perch on the foreign theatrical circuit with $151.5 million grossed in 52 territories, hoisting the film’s 12-day offshore box office total to $441.5 million. ...

Visual effects movies consume more and more box office dollars. The old favorite Battleship has now gobbled up $200.1 million in foreign lands, and Dr. Seuss' The Lorax continues to ruck along:
... Lorax is just $7.6 million shy of the $100-million overseas gross mark after registering $2.7 million – of which $1.3 million came from a Korea opening at 249 venues ...
Which give DSL a worldwide total of $301.4 million.

Vancouver, the Rising Hub

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Tax subsidies are powerful tools.
Vancouver has been invited to host its own showcase day at a digital effects conference in Germany this week that brings together industry leaders from around the globe ...

“The world is taking notice and everyone is talking about Vancouver as a rising star and we’re joining London and Los Angeles as a global leader in digital media,” said [Vancouver Mayor Gregor] Robertson. “I think there is a lot of growth ahead of us.” ...

When MPC [Moving Picture Company] Vancouver first opened its doors in Yaletown at the end of 2007, it had 30 employees. Last week it moved into its new facilities on Hamilton Street with space for 300 people. ...

As studios have chased tax breaks in and out of the U.S., Vancouver has prospered. It's got an educated talent pool, it's got infrastructure, it's got a decades long tradition of being "Hollywood North."

Pixar has an outpost in Vancouver, and Disney Toons used to. (Diz Co. had a studio in place for a few years during the 1990s.) But the cost-of-living, as VFX Soldier points out, is the highest in North America. Which might indicate that the city, absent the tax goodies, could have challenges down the road attracting all the work it would like to bring into town.

It's always useful to remember that our fine entertainment conglomerates are unendingly interested in getting more bang for their buck, and always on the lookout for bigger, better government handouts.

Long live free enterprise!

TAG 401k Enrollment Meetings

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Due to requests, here is my 401k Enrollment Meeting Schedule for the rest of the month:

Film Roman -- Tuesday, May 8th, 10 a.m. 3rd Floor Conference Room

Fox TV Animation -- Wednesday, May 9th, 2 p.m. Main Conference Room

Sony Pictures Animation -- Thurs. May 10th 10 a.m. North 2000

Dreamworks Animation -- Tuesday May 15th, 2 p.m. Dining Room B & C

Cartoon Network -- Wed. May 16th, 1 p.m. Main Conference Room ...


And now for my enrollment meeting mini-spiel! In writing on the blog! Just for youuu ...!!

If you're under 50 (fifty) this year, you can put up to $17,000 worth of pre-tax moolah into the Plan. ($22,500 if you are fifty or older.)

The Plan has a plethora of actively managed funds and index funds. In my opinion, the best option available is to plunk all or most of the contributions into the Vanguard Target Retirement Funds option*.

Mass Mutual, the Plan Administrator, sends out paper statements quarterly. You can access your accounts online by setting up a PIN number and going to MassMutual.com, clicking through to "The Retirement Center" and typing in your Social Security Number and Personal Identification Number (PIN) in the appropriate rectangular white box.

You can deduct from 2% to 40% of your weekly wages into the TAG 401(k) Plan (and more if you're over fifty.) Your take-home pay will not drop by 100% but by 80% ... 70% ... 60% depending on your state and federal income tax brackets.

You'll need to fill out the enrollment form and the beneficiary form, and you'll be good to go. Enrollment deadlines are the first of each month. (May 1st, June 1st, and so on ...)

* Isn't this what I ALWAYS say?


Not Really

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DreamWorks Animation's Gail Currey says:

... We are seeing more women enter the field of animation with the technological foundation you need. I think women have always been well represented in the specifics of the painting and drawing and even the storytelling piece, but we're seeing more on the technology side. ...

Well, it's pretty to think so. But I've got news. Three years ago TAG's employment data was as follows:

Women in Animation (2009)

directors - 15%

layout - 17.8%

model designers - 15.4%

storyboard - 13.3%

visual development - 9.4%

Sorry, Ms. Currey. Women are under-represented. With the exception of ink-and-paint and checking positions, women have been a tiny fraction of the cartoon work-force for decades.

(A few additional bits of data here, here, and here.)

Besides the union stats, I walk around studios on a daily basis and I can tell you, there are way more men doing art than women. It's the way animation is ... and has been. (Happily, women are coming into positions from which they were previously absent or chronically under-represented.)

Ms. Currey's quote above is upbeat but, sadly, incorrect.

Dominatrix

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Fox's Sunday night cartoons are nothing if not consistent.
A repeat of The Simpsons led into a relatively even showing from Fox's animation block. The Cleveland Show was down a tenth a 1.5 rating among adults 18-49, with Simpsons down to a 2.1. Bob's Burgers and Family Guy also slipped a tenth of a point, for a respective 1.8 and 2.7, while American Dad returned with a 15 percent jump for a 2.3 in the demo. Fox nabbed a 1.9 adults rating for the night and 4.1 million viewers. ...

The fact that AD came back with a roar bodes well for another season's pickup. Or maybe it's true that Seth is less interested in the show than previously, doesn't want to do Mr. Smith's voice anymore, and that a new Fox exec is pushing to get the series off the air so that another cartoon can replace it.

I bop over to the studio later this week, so maybe I'll find out what's going on. Hopefully the staff of American Dad is no longer on pins and needles wondering if employment will be ongoing.

Had lunch with a former Family Guy staffer who said: "The problem with the business now is that everyone's scrambling to keep work going. Nobody's relaxed. It's not like it was in the nineties when everyone was making more money and not worried about their next job."

The only consistency in the cartoon biz is change.

Maurice Sendak, RIP

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A towering artist moves on.
Maurice Sendak, widely considered the most important children’s book artist of the 20th century, who wrenched the picture book out of the safe, sanitized world of the nursery and plunged it into the dark, terrifying and hauntingly beautiful recesses of the human psyche, died on Tuesday in Danbury, Conn. He was 83 and lived in Ridgefield, Conn.

The cause was complications from a recent stroke, said Michael di Capua, his longtime editor. ...

It's hard to overstate the impact he had on Kid Lit. And numerous other things in modern culture.

Speaks for Itself -- Part I

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The lastest statistics:

I think women have always been well represented in the specifics of the painting and drawing and even the storytelling piece, but we're seeing more on the technology side ...
-- Gail Currey, DreamWorks Animation
The chart above only tells a small part of the story.

On the morrow, we'll put up what job categories fill that 18% pie slice occupied by women. Is it storyboard? Animation? Visual Development? Others?

We'll soon find out.

Disney Makes Money!

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The Mouse is, apparently, still profitable.
Overcoming its disastrous film flop "John Carter," Walt Disney Co. reported strong quarterly earnings, helped by robust television and theme park income, and forecast a rosy future with plans for a sequel to its current hit, "The Avengers."

Disney posted quarterly net income of $1.14 billion, or 63 cents a share, a 21% increase from a profit of $942 million, or 49 cents a share, a year earlier. Revenue rose 6% to $9.6 billion for the second quarter ended March 31 compared with the same quarter last year. ...

The movie studio part of the company didn't do very well, dragged down by John Carter. (It lost $84 million.) But that's old news. Top-kick Robert Iger focused on The Avengers' opening weekend. (Why dwell on the disasters of a month ago when there are brand new victories to crow about?)

Hiring for Animation

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Mr. Kaplan and I circled around these data points today. They represent animation hiring nationwide, but they track local trends we've observed here at the Animation Guild.
During the past 90 days, recruiters posted more than 4,000 online job ads for animation skills, increasing 25% year-over-year, according to WANTED Analytics™. ...

The five metropolitan areas with the highest volume of job ads for animation skills were Los Angeles, New York, San Francisco, Washington (DC), and Seattle. Although Recruiters in Los Angeles posted the most ads of any city, hiring demand over the last 90 days actually declined about 2% ... In comparison, Recruiters in Washington, DC saw the most year-over-year growth over the past 90 days, with 77% more job ads than were seen online during 2011. ...

The thing of it is, animation takes in a wide sweep of territory in 2012. It ain't hole-punched paper and painted cels anymore. Now it's broadcast and internet graphics, online games, commercials, visual effects, hand-drawn and cgi television animation. And if you don't know the requisite software packages, you better go learn them.

There's more people working in animation (and related disciplines) than ever before, but the idea that the gigs are all high-paying is a happy fiction. There are jobs going for ten bucks an hour, and jobs paying a hundred. Demand for talent, geographical location, and the size, budgets and schedules of projects determine what the wages will be.

I don't see demand for animated product slackening off anytime soon. I also don't see the pools of talent growing smaller. Lots of colleges have animation curriculums, and they're all turning out eager recruits who want to get into the cartoon business.

Fox's Pins and Needles

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Spent part of the afternoon at Fox Animation walking around and doing a 401k enrollment meeting. Visited with the Family Guy crew, then the American Dad staff ...

And I'll tell you, morale is kind of low at AD. First person I met said: We still don't know if the show is getting canceled or picked up."

This has got to be frustrating because:
May 8, 2012 -- 8 of the Top 20 programs among Adults 18-34: FAMILY GUY (No. 3), AMERICAN IDOL-Wed (No. 4), AMERICAN DAD (No. 7 tie) ...

10 of the Top 20 programs among Teens: AMERICAN IDOL-Thurs (No. 1 tie), FAMILY GUY (No. 1 tie), AMERICAN IDOL-Wed (No. 3), GLEE (No. 4), AMERICAN DAD (No. 5) ...

AMERICAN DAD at 9:30 pm did 2.3/6, up 15% from five weeks ago (4/1/12, 2.0/5). AMERICAN DAD was the second-highest rated program of the night in Adults 18-34, Teens and key male demos (behind FAMILY GUY) and won its half hour in those same demos. ...

So you can believe how some of American Dad's crew members are contemplating slitting their wrists over corporate's blank silence. People are looking at end dates of May 30th and mid-June, and are acutely aware that The Flintstones (a potential life raft) has been delayed indefinitely. An artist who's been with the show for years told me:

"I don't know why they haven't told us yes or no. I've got some money saved, and when my end date comes I'm going to take some time off and sleep. Because it's been non-stop around here.

But a lot of people have mortgages and family and can't afford to do that. And they're going to have to go look for other jobs.

"And I think that's crappy, because if Fox picks up Dad for one, or two more seasons, they won't be able to get a lot of the artists back because many will have taken other jobs to keep their heads above water. And that's a shame, because we've got a good crew on this show. Everybody knows what they're doing. And that will be gone."

Cartoonists needed for City Of Hope

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The City Of Hope is holding its 15th Annual Pediatric Picnic on Saturday, June 2 and the good folks in charge need me to assemble up to 30 professional cartoonists to volunteer to draw for the kids and their families. The event is from 10 am to 4 pm and will be located in the Griffith Park area.

Art supplies, food and drink will be furnished. We need folks who can draw characters from comic books, comic strips and animated cartoons. We also need people who can draw in an anime/manga style. We need caricaturists. But mostly, we need artists who can work this gig with a smile on their face; we have a lot of fun, but unlike comic cons, this is a charity event for the sick kids and their families and we not only have to produce quickly but also be versatile to meet the requests. And you can't bring your family along; we're there to do an important job.

If you can help the City Of Hope, please contact me at shawcartoons@gmail.com. Thanks!

Aloha,

Scott Shaw!

Journey to the SPA

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Spent the morning at Sony Pictures Animation, where I had yet another 401(k) enrollment meeting ...

Setting up for the meet, I got a call from Sony corporate. They wanted to know if I was running around proselytizing for unionism. (Sony Imageworks, you see, is in the same building. And not blessed with a union contract.)

Apparently I got the call due to this:

Because of our odd multi-tiered benefit system ay Imageworks, we have a unique opportunity on Thursday 5/10.

Steve Hulett from the Animation Guild will be live in the North building at 10am in room 2000 to talk about the SPA 401k plan.

I told corporate:

"No, I'm just here to talk about union pension benefits and the Animation Guild's 401(k). I'm not responsible for what Imageworks employees put up on the internet. And no, I'm not proselytizing for unionism [not inside the Imageworks facility, anyway.] And I'm not handing out rep cards."

Happily, nobody threw me off the campus.

After the meeting, I talked to artists under IA jurisdiction. There's several projects in various stages of work. Hotel Transylvania is in the last couple of months of animation. Cloudy with a Chance of Meatballs Deux is moving forward with story work. The Familiars,, a fantasy book series, is in early development. Popeye is moving forward.

And there is the the small, blue people franchise:

Sony Pictures hasn't even finalized a sequel to "The Smurfs", but it already plans a threequel to the 2011 hit animated film. Sources revealed to Variety that the studio has moved forward to develop "The Smurfs 3" and that the script is already in the works.

So SPA has a bit of work going on, even as the mother ship takes a financial hit.

Sony Pictures Entertainment May 10 reported fourth-quarter (ended march 31) operating income of $104 million, down nearly 76% from operating income of $432 million during the previous-year period. ... It said the results reflected in part the strong theatrical performance of The Smurfs and Bad Teacher, offset by the theatrical underperformance of Arthur Christmas.

Animation giveth, and animation taketh away. But we all soldier on, don't we?

Negotiations Past and Present

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As you've probably deduced by now, this year's contract negotiations have been ... painful.

But that's nothing new. The first union negotiation I chaired, a bit over two decades ago, was no picnic either. I was full of piss and vinegar at the time, brimming with tall ambitions. The union put together a negotiating committee with different skill sets in it and a sizable list of proposals. The first thing that happened was ....

The then West Coast IA representative (now long departed) yelled at me for fifteen minutes in the TAG caucus room for having so many damn proposals. ("What do you think you're doing?!") But I was young then, and resilient, and I only cried myself to sleep for a couple of nights afterwards. (If memory serves. And maybe it doesn't.)

The thing I have always told members about contract negotiations is, they are a somewhat like dinner theater in Glendale: lots of words, lots of attitude, but the acting often leaves something to be desired. (And the sneering condescension too often wrapped around the words doesn't help the performances go down easy.)

This year's go-round has been similar to festivities in the past. The studios are shocked, SHOCKED, that you are making proposals to equalize pay or to boost wages that catch us up to where other labor organizations have been over the past three years, and tell you that of course those things are out of the question.

And then they roll out their proposals, which they inform you are just, fair and altogether right, each one of the numbered paragraphs accompanied by the unspoken assumption that they are as inevitable as death.

I get asked all the time: "Does the Animation Guild have leverage?" "Do we have the power to get a better deal?" I always answer that we do, because the studios need a new, ratifiable collective bargaining agreement as much or more than the Guild does. Which isn't to say it will be easy or simple to reach agreement. Since the economic meltdown of 2008, no entertainment labor union has had an "easy" contract negotiation, even though profits for our fine international conglomerates have been robust. The studios keep saying "times are tough" like a mantra, even when the only entities struggling are corporate employees, not the corporations themselves.

I don't know where we finally end up after the smoke and cannon fire fades away, but it will be a different place than where we are now. The next thing that happens before we go back to the table is, the membership gets to have its say at the special meeting on May 30th. (Please note that this is one day later than TAG's normally scheduled meeting, the better to get away from Memorial day.)

It's important that members come, find out what went down over the three days we met with the animation producers, and give their input. (The committee has ideas about where we need to go, but we need to hear member voices.)

At the end, we will get the deal we have the leverage to get. All the threats and posturing will be a memory and there will be a tentative contract on which people can vote "yes" or "no." Our overarching goal is to achieve a fair outcome that doesn't leave animators and assistants, tech directors and writers, board artists and everyone else in the Los Angeles animation community as second-class citizens.

With members' support, we'll get there.

Digital D in Florida

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John Textor goes for a more upbeat impression in yesterday's CNN interview:
"We like to think that if a film maker can dream it, we can put it on screen," said Chief Executive Officer John Textor. "There is no scenario that's too big for us to imagine or too complicated for us to deliver."

And there is no cliche too overused when you're striving to put your best foot forward. Especially after the deep hole you dug with an earlier performance.

"Free labor is much better than cheap labor."

Free labor or not, Digital Domain Media Group has its work cut out for it, diving into the deep end of the pool with feature animation. A handful of studios have been successful, and a lot more have crashed and burned trying to replicate the successes of John Lasseter, Jeffrey Katzenberg, and Chris Meledandri. DD Florida's elephant feature might just be the ticket to the animation big time, but since the era of elephant features begin and end with Dumbo, and since Dumbo II and Tusker both ended up still-born twice (a neat trick when you consider the amount of time and effort that was put into them), Digital Domain's elephant movie has its work cut out for it. (You don't have a good story crew, you'll have challenging mountains to climb.)

So here's to DD's success with the pachyderm. And its lack of success using college interns for production.

Whole Lotta Options

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Robert Iger is cashing in a few chips shares of stock:

Chairman and Chief Executive Officer Robert Iger sold $81.6 million in stock after the record-setting box-office performance of “Marvel’s The Avengers” powered the shares to new highs.

The sale of 1.8 million shares took place on May 10 at an average price of $45.36, according to a regulatory filing yesterday. Disney closed at a record on May 9, after the company outlined plans for an “Avengers” sequel on its second-quarter earnings call, and set subsequent marks on May 10 and May 11. ...

Years ago, long before Mr. Iger's time, the Disney animation staff regularly got stock options from the company. (As I've noted here before, Woolfgang Reitherman once told me: "We didn't get rich from the salaries the company paid. We got rich from the stock.")

This practice was ended by Michael Eisner in the middle 1980s; thereafter, some animation employees got generous stock options, while others received none.

Good for Mr. Iger that Diz Co. has showered him with abundant stock options. It would be even better if employees on lower rungs of the corporate ladder were accorded similar treatment.

Maytime Derby

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Pirates! Band of Misfits doesn't appear to be breaking any records, but The Avengers does.

1. Marvel’s The Avengers (Disney) Week 2 [4,349 Theaters] PG13
Friday $29M (-64%), Weekend $100.0M, Cume $368.0M

2. Dark Shadows (Warner Bros) NEW [3,755 Theaters] PG13
Friday $10.5M, Weekend $28.0M

3. Think Like A Man (Screen Gems/Sony) Week 4 [2,052 Theaters] PG13
Friday $1.5M, Weekend $6.5M, Cume $82.0M

4. The Lucky One (Warner Bros) Week 4 [2,839 Theaters] PG13
Friday $1.3M, Weekend $4.1M, Cume $54.0M

5. The Hunger Games (Lionsgate) Week 8 [2,531 Theaters] PG13
Friday $1.2M, Weekend $4.3M, Cume $387.0M

6. Five-Year Engagement (Universal) Week 3 [2,569 Theaters] R
Friday $955K, Weekend $3.2M, Cume $24.5M

7. Pirates! Band of Misfits (Aardman/Sony) Week 3 [3,079 Theaters] PG
Friday $740K, Weekend $3.2M, Cume $23.2M


8. Best Exotic Marigold Hotel (Fox Searchlight) Week 2 (178 Theaters] PG13
Friday $665K, Weekend $2.8M, Cume $4.0M

9. Girl In Progress (Lionsgate) NEW [322 Theaters] G
Friday $408K, Weekend $1.5M

10. The Raven (Relativity) Week 3 [1,888 Theaters] R
Friday $405K, Weekend $1.2M, Cume $15.5M

Worldwide, Pirates has grossed $91 million, not as robust an accumulation of cash as Sony and Aardman were hoping for, I'm sure.

Renewal

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So finally the American Dad crew can breathe a collective sigh of relief?

After what seemed like an eternity of agonizing suspense, the “American Dad” crew, along with their friends on “Family Guy” and “The Cleveland Show,” were relieved to hear of the renewal of the series for the 2013-2014 television season. The news was a long time coming, so long that people were beginning to worry that the jig was up for the second animated sitcom created by Seth MacFarlane ...

I was over at Fox Animation late last week, and people were still seating bullets over the show getting picked up. People were telling me their end dates with sighs of resignation and looks of foreboding.

(TV By the Numbers and TheWrap confirm the happy news.)