Netflix dominated the 47th Annie Awards on Saturday, Jan. 25, picking up 19 trophies, including the top prizes of best feature (“Klaus”), best feature-independent (“I Lost My Body”), best TV/media production for preschool children (“Ask the Storybots”) and best general audience TV/media production (“BoJack Horseman”). Disney TV Animation’s “Disney Mickey Mouse” won best TV/media production for children.
The traditionally animated “Klaus” won seven Annies, the most overall, winning in every category in which it was nominated, with Sergio Pablos winning for both his direction and for storyboarding. “Klaus” also won for character animation (Sergio Martins), character design (Torsten Schrank), production design (Szymon Biernaki and Marcin Jakubowski) and editorial (Pablo Garcia Revert).
In addition to winning best feature-independent, “I Lost My Body” picked up trophies for composer Dan Levy and writing for director Jérémy Clapin and Guillaume Laurant, who together adapted the screenplay from Laurant’s novel “Happy Hand.
The traditionally animated “Klaus” won seven Annies, the most overall, winning in every category in which it was nominated, with Sergio Pablos winning for both his direction and for storyboarding. “Klaus” also won for character animation (Sergio Martins), character design (Torsten Schrank), production design (Szymon Biernaki and Marcin Jakubowski) and editorial (Pablo Garcia Revert).
In addition to winning best feature-independent, “I Lost My Body” picked up trophies for composer Dan Levy and writing for director Jérémy Clapin and Guillaume Laurant, who together adapted the screenplay from Laurant’s novel “Happy Hand.
- 1/26/2020
- by Terry Flores
- Variety Film + TV
Animation newbie Netflix was the big winner Saturday night at Asifa-Hollywood’s 47th annual Annie Awards at UCLA’s Royce Hall, with “Klaus” and “I Lost My Body” taking top honors for Best Feature and Best Indie Feature.
In fact, Sergio Pablos’ innovative 2D Santa origin story led the pack with seven Annies, while Jérémy Clapin’s existential French thriller about a severed hand took home three awards (including writing and the exquisite score by Dan Levy).
Both “Klaus” and “I Lost My Body” are competing against Pixar’s frontrunning “Toy Story 4” in the Oscar race, which was blanked at the Annies. But then so was everything else, except Disney’s “Frozen 2” (shut out of the Oscar race), which earned two Annies for Feature FX and Voice Acting for Josh Gad’s lovable Olaf.
Disney was also victorious with “Avengers: Endgame” taking Best Live Action Character Animation (from...
In fact, Sergio Pablos’ innovative 2D Santa origin story led the pack with seven Annies, while Jérémy Clapin’s existential French thriller about a severed hand took home three awards (including writing and the exquisite score by Dan Levy).
Both “Klaus” and “I Lost My Body” are competing against Pixar’s frontrunning “Toy Story 4” in the Oscar race, which was blanked at the Annies. But then so was everything else, except Disney’s “Frozen 2” (shut out of the Oscar race), which earned two Annies for Feature FX and Voice Acting for Josh Gad’s lovable Olaf.
Disney was also victorious with “Avengers: Endgame” taking Best Live Action Character Animation (from...
- 1/26/2020
- by Bill Desowitz
- Indiewire
Disney dominated the 18th annual Ves Awards with five nominations apiece for Jon Favreau’s frontrunner “The Lion King” and Robert Rodriguez’s surprising “Alita: Battle Angel” (acquired from Fox). Joining them for the top photo-real prize were the Disney-led “Avengers: Endgame” and “Star Wars: The Rise of Skywalker,” along with Ang Lee’s “Gemini Man”. The Ves Awards will be held January 29th at the Beverly Hilton Hotel.
Competing for supporting VFX were Martin Scorsese’s “The Irishman”, Sam Mendes’ “1917,” (which stitched together the World War I thriller as one continuous shot and offered various enhancements), James Mangold’s “Ford v Ferrari,” Todd Phillips’ “Joker,” and “The Aeronauts.”
In animation, Disney also fared well, with Pixar’s “Toy Story 4” (which grabbed five nominations) and “Frozen 2.” They were joined by Golden Globe nominee “Missing Link” from Laika, surprise nominee “Klaus” (the innovative 2D feature from Netflix and Spanish director Sergio Pablos), and,...
Competing for supporting VFX were Martin Scorsese’s “The Irishman”, Sam Mendes’ “1917,” (which stitched together the World War I thriller as one continuous shot and offered various enhancements), James Mangold’s “Ford v Ferrari,” Todd Phillips’ “Joker,” and “The Aeronauts.”
In animation, Disney also fared well, with Pixar’s “Toy Story 4” (which grabbed five nominations) and “Frozen 2.” They were joined by Golden Globe nominee “Missing Link” from Laika, surprise nominee “Klaus” (the innovative 2D feature from Netflix and Spanish director Sergio Pablos), and,...
- 1/7/2020
- by Bill Desowitz
- Indiewire
The Visual Effects Society has unveiled nominations for its 18th annual Ves Awards, which honor VFX work in film, animation, TV, commercials and video games. Winners will be revealed at a ceremony January 29 at the Beverly Hilton.
Disney’s CG redo of the The Lion King and 20th Century Fox’s Alita: Battle Angel lead all film nominees with five apiece, joining the top animated nominee Toy Story 4. In TV, Disney+’s Star Wars spinoff The Mandalorian and the final season of HBO’s epic Game of Thrones lead the field with six nominations each.
Along with naming winners in 25 categories, the group’s ceremony later this month includes honoring Martin Scorsese with the Ves Lifetime Achievement Award. The Ves Visionary Award will be given to Roland Emmerich, and the Ves Award for Creative Excellence will be presented to VFX supervisor Sheena Duggal.
Here’s the list of noms:...
Disney’s CG redo of the The Lion King and 20th Century Fox’s Alita: Battle Angel lead all film nominees with five apiece, joining the top animated nominee Toy Story 4. In TV, Disney+’s Star Wars spinoff The Mandalorian and the final season of HBO’s epic Game of Thrones lead the field with six nominations each.
Along with naming winners in 25 categories, the group’s ceremony later this month includes honoring Martin Scorsese with the Ves Lifetime Achievement Award. The Ves Visionary Award will be given to Roland Emmerich, and the Ves Award for Creative Excellence will be presented to VFX supervisor Sheena Duggal.
Here’s the list of noms:...
- 1/7/2020
- by Patrick Hipes
- Deadline Film + TV
With director Sergio Pablos’ “Klaus” (Netflix), the innovative 2D Santa origin story, Annie-nominated production designers Szymon Biernacki and Marcin Jakubowski achieved a unique retro look, channeling Disney’s “Sleeping Beauty” but looking forward instead of back.
“Our mission was to revive 2D animation and make it relevant again for audiences,” said Jakubowski, who filled in the gap with new tracking software for volumetric lighting and texturing around characters to make them stand out more in the environments. “But we had to operate within the broad appeal visual language that we are all used to. We couldn’t get too experimental.”
Disney is in Pablos’ DNA: he worked on “Tarzan” and “The Hunchback of Notre Dame” in the ’90s. “But our inspiration was Eyvind Earle with his backgrounds from ‘Sleeping Beauty,'” said Jakubowski, “and also his personal work, including the Christmas postcards. It looks like Scandinavia in winter and...
“Our mission was to revive 2D animation and make it relevant again for audiences,” said Jakubowski, who filled in the gap with new tracking software for volumetric lighting and texturing around characters to make them stand out more in the environments. “But we had to operate within the broad appeal visual language that we are all used to. We couldn’t get too experimental.”
Disney is in Pablos’ DNA: he worked on “Tarzan” and “The Hunchback of Notre Dame” in the ’90s. “But our inspiration was Eyvind Earle with his backgrounds from ‘Sleeping Beauty,'” said Jakubowski, “and also his personal work, including the Christmas postcards. It looks like Scandinavia in winter and...
- 12/23/2019
- by Bill Desowitz
- Indiewire
Netflix’s first animation productions, an increasing number of attendees and the imminent Disney+ were all under discussion.
The Annecy International Animated Film Festival celebrated its 43rd edition (June 10-15), with filmmakers and industry professionals arriving at the French lakeside town for the latest content across features, shorts, videogames and Vr. Screen reports on the key talking points for the film industry from the week.
Newcomers debut original feature animations
As part of Mifa, the festival’s market event, Netflix presented several scenes from Sergio Pablos’ Santa Claus origin story Klaus, the streamer’s first in-house feature-length animated production. Melissa Cobb,...
The Annecy International Animated Film Festival celebrated its 43rd edition (June 10-15), with filmmakers and industry professionals arriving at the French lakeside town for the latest content across features, shorts, videogames and Vr. Screen reports on the key talking points for the film industry from the week.
Newcomers debut original feature animations
As part of Mifa, the festival’s market event, Netflix presented several scenes from Sergio Pablos’ Santa Claus origin story Klaus, the streamer’s first in-house feature-length animated production. Melissa Cobb,...
- 6/17/2019
- by Ben Dalton
- ScreenDaily
Annecy, France — Netflix held a Works in Progress session for the platform’s first-ever animated feature “Klaus.” First-look images, story details and in progress and nearly-finished scenes were shared with a room that sold out minutes after tickets were made available online.
The film started as little more than a personal exercise by Spa Studios founder and “Despicable Me” co-creator Sergio Pablos to play within the framework of an origin story. Especially impressed by Christopher Nolan’s work on “Batman Begins,” Pablos started a list, checked it twice, and thought tales about Dracula or Napoleon would likely be naughty, but the history of Santa could be nice.
At first it seemed unlikely to produce a compelling story. An all good, all the time protagonist offers little by way of narrative development, so Pablos had to find a way to add irony, humor and heart.
“I thought for a while, and...
The film started as little more than a personal exercise by Spa Studios founder and “Despicable Me” co-creator Sergio Pablos to play within the framework of an origin story. Especially impressed by Christopher Nolan’s work on “Batman Begins,” Pablos started a list, checked it twice, and thought tales about Dracula or Napoleon would likely be naughty, but the history of Santa could be nice.
At first it seemed unlikely to produce a compelling story. An all good, all the time protagonist offers little by way of narrative development, so Pablos had to find a way to add irony, humor and heart.
“I thought for a while, and...
- 6/12/2019
- by Jamie Lang
- Variety Film + TV
imdb.1eye.us, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.