Mostrando entradas con la etiqueta -Holanda. Mostrar todas las entradas
Mostrando entradas con la etiqueta -Holanda. Mostrar todas las entradas
Christine van Doesburgh
Delire-Chinois
Quiet Show
Based on the lyrics of Quiet Show, this short film captures the mood of the song by creating an atmosphere that is magical yet dark and melancholy. Quiet Show leads us through a forest of cut-outs inhabited by shadow puppets, where lights move by, passing out of sight. We are taken to a world of shadows and solitude.
About toutine:
I have created motion graphics for projects ranging from corporate video to live rock concerts. In many of these projects I've been both director and motion designer. In my projects I apply both 2D and 3D
animation, as well as compositing techniques. You'll find that I've made visual content for single screen and complex multiple screen installations.
WEB de Christine van Doesburgh www.toutine.com
-Pedri Animation BV
"George and Paul" Presentation Pilot. Dirigida por Joost van den Bosch y Erik Verkerk.
WEB de georgeandpaul.com
Siguiendo la estética de Pocoyo, llega esta nueva oferta de programa infantil 3D para niños que tiene todo para ser un exitazo global y se titula George & Paul.
George y Paul son dos muñecos de madera con personalidades muy diferentes, quienes viven en un mundo de bloques de madera donde sólo la imaginación es el límite respecto a las cosas que pueden crear, mientras se embarcan en un viaje de descubrimiento, complementando sus personalidades y buscando formas únicas y creativas para lograr soluciones, enseñando con ésto el desarrollar lo importante de descubrir y crear nuestras propias habilidades para dusfrutar la vida.
La premisa principal del programa es: divertirse, pensar positivo y enfocarse en las soluciones, no los problemas.
Personalmente le veo un promisorio futuro a este programa. Esta claramente inspirado en una de las mejores ofertas infantiles, pero integra suficientes ideas propias como para hacerlo un producto fresco, atrayente y fácilmente marketeable (lamentablemente un factor clave para un éxito en este segmento de público).(via)
WEB de la serie
Pedri Animation is a stopmotion animation producer founded by employees of the former Toonder Studios.
The experience, knowledge and technical skills we have, enable us, with the help of our own facilities, to model, build and in the end make everything 'alive' in our own studios.
We strongly believe that working closely together with our relations and our free lance network leads to the best productions. (via)
PEDRI Animation BV es el estudio que lo ha desarrollado. En la web se pueden ver muchos otros trabajos de animación.
"Driftprikker" (2007)
KA-CHING Cartoons Animation Studios
Joris Bergmans
So who's Joris Bergmans then?
That'd be me. I was born and raised in the south of the Netherlands where they actually do have hills. Later I crossed the border to study classical and experimental animation at KASK in Ghent, Belgium. During those years I did some internships on some feature projects and co-created some TV commercials. More important, I made my own movies and learned how to develop my personal sense of style and direction, as well as how to pronounce "croque monsieur" instead of "tosti". Currently I'm working at Volstok Telefunken as an animator. (via)
Solomon Grundy
WEB de Joris
That'd be me. I was born and raised in the south of the Netherlands where they actually do have hills. Later I crossed the border to study classical and experimental animation at KASK in Ghent, Belgium. During those years I did some internships on some feature projects and co-created some TV commercials. More important, I made my own movies and learned how to develop my personal sense of style and direction, as well as how to pronounce "croque monsieur" instead of "tosti". Currently I'm working at Volstok Telefunken as an animator. (via)
Solomon Grundy
WEB de Joris
Co Hoedeman
Co Hoedeman nació en Ámsterdam en el año de 1940. Inmigró a Canadá cuando tenía 25 años, y se integró a trabajar a la Office National du film du Canada ONF, después de producir su primera película: ODDBALL, en 1969. Desde entonces ha trabajado en más de 20 producciones, incluyendo las cuatro partes de la serie en la cual Ludovic, el osito que descubre las estaciones del año.
Hoedeman ha ganado más de 80 premios internacionales y reconocimientos durante su carrera. Solamente THE SAND CASTLE (El Castillo de Arena) ganó 24 premios, incluyendo un Oscar en 1978 como el mejor cortometraje animado. Un mago de la animación, Hoedeman crea un trabajo con gran sensibilidad, y crea un mundo maravilloso utilizando diversas técnicas de animación. Es un gran clásico de la animación.
Co Hoedeman declaro en alguna ocasión: Permítanme explicar cuál es el contexto en el cuál yo trabajo. Soy al mismo tiempo un artista y un funcionario del estado. Trabajo para la Office National du Film de Canadá que es una institución Gubernamental. Es una institución cuyo fin es la producción de cine documental y de animación. Cada año tenemos un presupuesto general de alrededor de 70 millones de dólares canadienses. Cuando tengo una idea para hacer una película no tengo que buscar dinero para hacerla, sino que ya está dentro de la institución y eso es una ventaja. Primero hago el proyecto de la película lo presento a los productores de la Office y después ellos me dejan desarrollarlo o no. Cuando estoy listo para la segunda parte (guión, personajes etc.) en ese momento tengo que presentar el proyecto ante un comité. Cuando el proyecto es aprobado por los comités, entonces tengo ya la libertad y el tiempo para realizar la película.
Otra ventaja que tengo es que no tengo entregas definidas, entonces no estoy obligado a cumplirle a un cliente sino que me enfoco mucho más al compromiso con el público. Todo esto para decirles que soy uno de los cineastas más afortunados del mundo.(via)
"Lumaaq, an Eskimo Legend" (1975)
Co Hoedeman (2002) -Taller de Cine "El Mate"-
Hoedeman ha ganado más de 80 premios internacionales y reconocimientos durante su carrera. Solamente THE SAND CASTLE (El Castillo de Arena) ganó 24 premios, incluyendo un Oscar en 1978 como el mejor cortometraje animado. Un mago de la animación, Hoedeman crea un trabajo con gran sensibilidad, y crea un mundo maravilloso utilizando diversas técnicas de animación. Es un gran clásico de la animación.
Co Hoedeman declaro en alguna ocasión: Permítanme explicar cuál es el contexto en el cuál yo trabajo. Soy al mismo tiempo un artista y un funcionario del estado. Trabajo para la Office National du Film de Canadá que es una institución Gubernamental. Es una institución cuyo fin es la producción de cine documental y de animación. Cada año tenemos un presupuesto general de alrededor de 70 millones de dólares canadienses. Cuando tengo una idea para hacer una película no tengo que buscar dinero para hacerla, sino que ya está dentro de la institución y eso es una ventaja. Primero hago el proyecto de la película lo presento a los productores de la Office y después ellos me dejan desarrollarlo o no. Cuando estoy listo para la segunda parte (guión, personajes etc.) en ese momento tengo que presentar el proyecto ante un comité. Cuando el proyecto es aprobado por los comités, entonces tengo ya la libertad y el tiempo para realizar la película.
Otra ventaja que tengo es que no tengo entregas definidas, entonces no estoy obligado a cumplirle a un cliente sino que me enfoco mucho más al compromiso con el público. Todo esto para decirles que soy uno de los cineastas más afortunados del mundo.(via)
"Lumaaq, an Eskimo Legend" (1975)
Co Hoedeman (2002) -Taller de Cine "El Mate"-
Piet Kroon
Piet Kroon (Nederland, 1960) studied Film and Theater Studies at the Utrecht University, specializing in animation. He graduated cum laude in 1986. As a student he made The Balancer, a four minute film that was shown at several international animation festivals.
After his studies he worked as animator, illustrator and cartoonist. In 1990 he animated in London on An American Tail II/Feivel Goes West, a Steven Spielberg production in classic Disney style. Since then he animated on several other international productions.
In 1994 Piet Kroon finished DaDA, a ten minute independent animated film that Kroon wrote and directed, was produced by Cilia Van Dijk Filmproductions and his own production company Picture Start, and financed by the Dutch Film Fund. The film was shown at numerous festivals around the world (among others Berlin Filmfestspiele '95, Espinho '95, Zagreb '96, Hiroshima '96, Ottawa '96) and received seven awards.
In 1995, Kroon moved to Los Angeles and now works as a storyman for Warner Bros. Feature Animation, first on The Quest for Camelot, and presently on Iron Giant, T.R.A.N.S.I.T is director Piet Kroon's second film. (via)
Transit (1997)
Ver el corto "Transit" en VEOH
"Dada" (1994)
Don't Quit Your Day Job,
Work the Night Shift by Piet Kroon. Animation World Magazine.
The first thing I do in the morning is check my fax machine. Most mornings I will find designs sent to me by Gill Bradley, the art director of my film T.R.A.N.S.I.T. Sometimes I find key poses from one of the animators for approval. Then I log in to pick up my email. Production notes from Iain Harvey, T.R.A.N.S.I.T.'s British producer, or correspondence from Picture Start, the Dutch co-producer. Real urgent issues I try to deal with straight away, but there is not a lot of time in the morning. I have to get to work.
I drop off my son at his school, after a busy family breakfast, and get on the freeway to drive into Glendale. By day, I work as a storyboard artist for Warner Bros. Feature Animation. By night, I direct a 10 minute animated short, that is being produced in Europe.
From time to time everybody who works in the animation industry should make a short personal film. Most people haven't done their own thing since college. Don't get me wrong. I enjoy working in feature animation very much. The quality standards are high in feature animation. You have to push your limits, so you grow as an artist.
But on the other hand there's the"cog in the machine" trauma. Working in a big studio your artistic scope is precisely defined: you are animating, doing lay outs, clean ups or painting backgrounds etcetera. It is virtually impossible to influence anything beyond your scope. You are making the film that the studio has bought off on. The reels are locked, the dialogue is recorded. The big machine is running.
That's why every now and again you should put together your own little machine. Celebrate your strengths and learn to live with your weaknesses. Exorcise some of your own demons along the way.
Dropping Out to Make DaDA
After having animated on Amblimation's Feivel Goes West /An American Tail II in London, I dropped out of the feature animation business to make DaDA, a 10 minute short, produced by Cilia van Dijk and financed by the Dutch Film Fund. I wrote the script while I animated with Paul Driessen on his film The Waterpeople. I guess I took a cue from his work: to develop a film out of a simple, strong, visual idea.
In DaDA, everybody walks around carrying books on their heads. The more books stacked on your cranium, the smarter you are perceived to be. The story takes off when a little boy is born with a perfectly round head. To the horror of his parents no books will stay put, no matter what they try. Ultimately, they take their son to a hospital, where a learned scholar saws off the top of the kid's skull to study his brain. The doctor discovers the kid is really a genius. He realizes that it is not the books you carry around that matter, it is how you "process" them and create something new out of them. The final twist of the film, that somehow seems to be especially shocking to American audiences (maybe because they are suckered out of a happy ending), is that the father feeds the brilliant brain to the cat. Because with the top sawed off, he can pile an infinite amount of books on his son's head. He'd rather have a kid that looks intelligent, than an intelligent child.
While I was working on DaDA, I became a father myself. Actually, the last scene I animated before my son Jesse was born was the one of the expectant father nervously pacing the room (off screen sound effects provided by my wife). Beyond that, life has not imitated art yet. We have no cat.
So what demons did I exorcise? The story has a lot to do with my background in university. Somehow, the book list you attached to your papers always seemed more important than the paper itself.
I studied Film and Theatre Studies, that is where I (re)discovered animation and made my very first film, The Balancer (1987).
DaDA made it's international debut as an official selection of the 1995 Berlin Film Festival. Since then, it was screened at Zagreb, Hiroshima, Ottawa and many other international film festivals. Over the two year period it toured the festival circuit, it received a number of special mentions and won a couple of awards, like the Golden Mikeldi for Best Animated Film at the Bilbao Short Film and Documentary Festival 1995.
Ready To Be a Cog Again
It took me two-and-a-half years to complete DaDA. I wrote and directed it, animated (most of) it, organized the xerox and paint (with the help of numerous volunteers), personally put down every single cel under the camera (those are my fingerprints up there!), edited it, and supervised the effects and sound editing. Believe me, even though it was a blast, after that you are ready to be a cog in the machine again.
So a year-and-a-half ago I moved out to Los Angeles to work as a storyboard artist for Warner Bros. Feature Animation. WBFA is a brand new outfit, which is great from my point of view, because everything is still in flux. There are a lot of opportunities to grow.
Animating is like acting. Storyboarding, to me, is filmmaking in the truest sense. It is about experimenting and developing. You basically get to take the first whack at visualizing a script or a treatment. You go through the whole cinematographic process of staging, breaking down sequences into shots. And you explore character relationships, dream up gags, anything to make the film more entertaining.
You sketch out you story ideas and pitch them to the director and the producer. Like a carsalesman you talk them through the continuity boards, giving your best shot to sell the exitement, the drama, the fun. Sometimes they buy it, sometimes they don't. Your soul gets stepped on a lot in story. It's one thing when an idea or gag is rejected, what is worse is when they are half used or used the wrong way.
On the basis of the storyboards the timing of the film is worked out in the storyreels, the first mock up version of the film to be, complete with soundeffects and scratch dialogue. Then the exact cinematography of the shots is determined in lay out and the scenes are distributed to the animators. So when you work in story there will never be a single drawing on the screen that you can call your own. Nothing to point at. There are not many people willing to be bored to death with endless stories about who thought of what and which idea sparked what gag three months later.
The film I work on at Warner Bros. is called Quest for Camelot, directed by Frederic DuChau and produced by Frank Gladstone. It is to be the first fully animated feature that this studio produces, not counting Space Jam, as a combination of live action and animation, and Cats Don't Dance (which Warners basically acquired as part of the merger with Turner).
Mixing Arthurian myth and fantasy elements, Quest tells the story of a young girl who has to rise above herself to find the lost sword Excalibur before a ruthless barbarian overthrows Camelot. For the story crew, it presented a great challenge, since the film was, to a large extent, developed on the boards. A crew of 12 storyboard artists delved in and produced numerous sequences and put several versions of the film on a reel. Of course, there were trials and tribulations and, as always, it had to get really bad in order to get any better. There are always war stories. The good thing is that Warners did not lose its cool. They kept hammering away at it to get it right. Story on Quest is winding down now and the studio is already in full production.
Of all the major studios that got into feature animation, Warners has, in my mind, the biggest potential to actually get a piece of the Mouse's action. The box office success of Space Jam is a case in point. The studio is part of a gigantic media conglomerate and can really put a film in the marketplace. My son had never heard of Michael Jordan, but guess who he pretends to be when he is within 10 feet of a ball now?
T.R.A.N.S.I.T.
Set in the 20s, T.R.A.N.S.I.T tells the story of a tragic love triangle. We meet three characters and find out just how they interrelate as the film sweeps across Europe in seven sequences. Working out the art direction proved to be an enormous task. London-based art director Gill Bradley selected and defined seven graphic styles, derived from the art deco period, inventing new animation techniques along the way.
Getting the characters to translate consistently from style to style was one of the biggest tricks of the film. We decided to base the characters on real actors. Last November, when I was on a quick working visit to London, we arranged a video shoot. We had cast the film beforehand. We had the actors act out scenes from the film, as reference for the animators. The main purpose was to give the animators a clear picture of who the characters are. But they might also pick up some little idiosyncratic quirkinesses: pouting lips or a sweltering blink. To me, that is what separates great animation from good animation: if the animator reaches into his or her own experience and captures the stuff that life is made of. Have your characters rub their noses like your aunt Edna and you've made them human. The extraordinary lies in the ordinary.
I was lucky to get a great team of animators to work on T.R.A.N.S.I.T. Michael Dudok de Wit, whose film The Monk and the Fish was nominated for an Academy Award in 1994, is doing a sequence that is set on an luxurious ocean liner. Keiko Masuda, who did marvelous work on The Taylor of Gloucester, animates a fateful night in Venice. Arjan Wilschut, a young and coming Dutch animator who also animated on DaDA (and most recently on Joanna Quinn's Famous Fred), has a bloody confrontation in Amsterdam. Valerie Carmona, a charming independent filmmaker from France, presents a champagne picnic in St. Tropez. A great new talent fresh from the Royal College of Art, Andrew Higgins, will conduct a murderous tour of Egypt, together with Gill Bradley. Another great Dutch animator, Jeroen van Blaaderen, gives chase on the Orient Express. Nicolette van Gendt, who did some amazing work on Geoff Dunbar's Daumier's Law, gets to handle the steamy love scenes in Baden-Baden.
In April, I will take another trip to England to direct the opening and closing sequences. They will be done by Richard Randolph of Ealing Animation and involve the North Sea, a diver, and hopefully no rain.
By July 1997, T.R.A.N.S.I.T should be ready, and strawberries will never be the same . . .(via)
imdb
After his studies he worked as animator, illustrator and cartoonist. In 1990 he animated in London on An American Tail II/Feivel Goes West, a Steven Spielberg production in classic Disney style. Since then he animated on several other international productions.
In 1994 Piet Kroon finished DaDA, a ten minute independent animated film that Kroon wrote and directed, was produced by Cilia Van Dijk Filmproductions and his own production company Picture Start, and financed by the Dutch Film Fund. The film was shown at numerous festivals around the world (among others Berlin Filmfestspiele '95, Espinho '95, Zagreb '96, Hiroshima '96, Ottawa '96) and received seven awards.
In 1995, Kroon moved to Los Angeles and now works as a storyman for Warner Bros. Feature Animation, first on The Quest for Camelot, and presently on Iron Giant, T.R.A.N.S.I.T is director Piet Kroon's second film. (via)
Transit (1997)
Ver el corto "Transit" en VEOH
"Dada" (1994)
Don't Quit Your Day Job,
Work the Night Shift by Piet Kroon. Animation World Magazine.
The first thing I do in the morning is check my fax machine. Most mornings I will find designs sent to me by Gill Bradley, the art director of my film T.R.A.N.S.I.T. Sometimes I find key poses from one of the animators for approval. Then I log in to pick up my email. Production notes from Iain Harvey, T.R.A.N.S.I.T.'s British producer, or correspondence from Picture Start, the Dutch co-producer. Real urgent issues I try to deal with straight away, but there is not a lot of time in the morning. I have to get to work.
I drop off my son at his school, after a busy family breakfast, and get on the freeway to drive into Glendale. By day, I work as a storyboard artist for Warner Bros. Feature Animation. By night, I direct a 10 minute animated short, that is being produced in Europe.
From time to time everybody who works in the animation industry should make a short personal film. Most people haven't done their own thing since college. Don't get me wrong. I enjoy working in feature animation very much. The quality standards are high in feature animation. You have to push your limits, so you grow as an artist.
But on the other hand there's the"cog in the machine" trauma. Working in a big studio your artistic scope is precisely defined: you are animating, doing lay outs, clean ups or painting backgrounds etcetera. It is virtually impossible to influence anything beyond your scope. You are making the film that the studio has bought off on. The reels are locked, the dialogue is recorded. The big machine is running.
That's why every now and again you should put together your own little machine. Celebrate your strengths and learn to live with your weaknesses. Exorcise some of your own demons along the way.
Dropping Out to Make DaDA
After having animated on Amblimation's Feivel Goes West /An American Tail II in London, I dropped out of the feature animation business to make DaDA, a 10 minute short, produced by Cilia van Dijk and financed by the Dutch Film Fund. I wrote the script while I animated with Paul Driessen on his film The Waterpeople. I guess I took a cue from his work: to develop a film out of a simple, strong, visual idea.
In DaDA, everybody walks around carrying books on their heads. The more books stacked on your cranium, the smarter you are perceived to be. The story takes off when a little boy is born with a perfectly round head. To the horror of his parents no books will stay put, no matter what they try. Ultimately, they take their son to a hospital, where a learned scholar saws off the top of the kid's skull to study his brain. The doctor discovers the kid is really a genius. He realizes that it is not the books you carry around that matter, it is how you "process" them and create something new out of them. The final twist of the film, that somehow seems to be especially shocking to American audiences (maybe because they are suckered out of a happy ending), is that the father feeds the brilliant brain to the cat. Because with the top sawed off, he can pile an infinite amount of books on his son's head. He'd rather have a kid that looks intelligent, than an intelligent child.
While I was working on DaDA, I became a father myself. Actually, the last scene I animated before my son Jesse was born was the one of the expectant father nervously pacing the room (off screen sound effects provided by my wife). Beyond that, life has not imitated art yet. We have no cat.
So what demons did I exorcise? The story has a lot to do with my background in university. Somehow, the book list you attached to your papers always seemed more important than the paper itself.
I studied Film and Theatre Studies, that is where I (re)discovered animation and made my very first film, The Balancer (1987).
DaDA made it's international debut as an official selection of the 1995 Berlin Film Festival. Since then, it was screened at Zagreb, Hiroshima, Ottawa and many other international film festivals. Over the two year period it toured the festival circuit, it received a number of special mentions and won a couple of awards, like the Golden Mikeldi for Best Animated Film at the Bilbao Short Film and Documentary Festival 1995.
Ready To Be a Cog Again
It took me two-and-a-half years to complete DaDA. I wrote and directed it, animated (most of) it, organized the xerox and paint (with the help of numerous volunteers), personally put down every single cel under the camera (those are my fingerprints up there!), edited it, and supervised the effects and sound editing. Believe me, even though it was a blast, after that you are ready to be a cog in the machine again.
So a year-and-a-half ago I moved out to Los Angeles to work as a storyboard artist for Warner Bros. Feature Animation. WBFA is a brand new outfit, which is great from my point of view, because everything is still in flux. There are a lot of opportunities to grow.
Animating is like acting. Storyboarding, to me, is filmmaking in the truest sense. It is about experimenting and developing. You basically get to take the first whack at visualizing a script or a treatment. You go through the whole cinematographic process of staging, breaking down sequences into shots. And you explore character relationships, dream up gags, anything to make the film more entertaining.
You sketch out you story ideas and pitch them to the director and the producer. Like a carsalesman you talk them through the continuity boards, giving your best shot to sell the exitement, the drama, the fun. Sometimes they buy it, sometimes they don't. Your soul gets stepped on a lot in story. It's one thing when an idea or gag is rejected, what is worse is when they are half used or used the wrong way.
On the basis of the storyboards the timing of the film is worked out in the storyreels, the first mock up version of the film to be, complete with soundeffects and scratch dialogue. Then the exact cinematography of the shots is determined in lay out and the scenes are distributed to the animators. So when you work in story there will never be a single drawing on the screen that you can call your own. Nothing to point at. There are not many people willing to be bored to death with endless stories about who thought of what and which idea sparked what gag three months later.
The film I work on at Warner Bros. is called Quest for Camelot, directed by Frederic DuChau and produced by Frank Gladstone. It is to be the first fully animated feature that this studio produces, not counting Space Jam, as a combination of live action and animation, and Cats Don't Dance (which Warners basically acquired as part of the merger with Turner).
Mixing Arthurian myth and fantasy elements, Quest tells the story of a young girl who has to rise above herself to find the lost sword Excalibur before a ruthless barbarian overthrows Camelot. For the story crew, it presented a great challenge, since the film was, to a large extent, developed on the boards. A crew of 12 storyboard artists delved in and produced numerous sequences and put several versions of the film on a reel. Of course, there were trials and tribulations and, as always, it had to get really bad in order to get any better. There are always war stories. The good thing is that Warners did not lose its cool. They kept hammering away at it to get it right. Story on Quest is winding down now and the studio is already in full production.
Of all the major studios that got into feature animation, Warners has, in my mind, the biggest potential to actually get a piece of the Mouse's action. The box office success of Space Jam is a case in point. The studio is part of a gigantic media conglomerate and can really put a film in the marketplace. My son had never heard of Michael Jordan, but guess who he pretends to be when he is within 10 feet of a ball now?
T.R.A.N.S.I.T.
Set in the 20s, T.R.A.N.S.I.T tells the story of a tragic love triangle. We meet three characters and find out just how they interrelate as the film sweeps across Europe in seven sequences. Working out the art direction proved to be an enormous task. London-based art director Gill Bradley selected and defined seven graphic styles, derived from the art deco period, inventing new animation techniques along the way.
Getting the characters to translate consistently from style to style was one of the biggest tricks of the film. We decided to base the characters on real actors. Last November, when I was on a quick working visit to London, we arranged a video shoot. We had cast the film beforehand. We had the actors act out scenes from the film, as reference for the animators. The main purpose was to give the animators a clear picture of who the characters are. But they might also pick up some little idiosyncratic quirkinesses: pouting lips or a sweltering blink. To me, that is what separates great animation from good animation: if the animator reaches into his or her own experience and captures the stuff that life is made of. Have your characters rub their noses like your aunt Edna and you've made them human. The extraordinary lies in the ordinary.
I was lucky to get a great team of animators to work on T.R.A.N.S.I.T. Michael Dudok de Wit, whose film The Monk and the Fish was nominated for an Academy Award in 1994, is doing a sequence that is set on an luxurious ocean liner. Keiko Masuda, who did marvelous work on The Taylor of Gloucester, animates a fateful night in Venice. Arjan Wilschut, a young and coming Dutch animator who also animated on DaDA (and most recently on Joanna Quinn's Famous Fred), has a bloody confrontation in Amsterdam. Valerie Carmona, a charming independent filmmaker from France, presents a champagne picnic in St. Tropez. A great new talent fresh from the Royal College of Art, Andrew Higgins, will conduct a murderous tour of Egypt, together with Gill Bradley. Another great Dutch animator, Jeroen van Blaaderen, gives chase on the Orient Express. Nicolette van Gendt, who did some amazing work on Geoff Dunbar's Daumier's Law, gets to handle the steamy love scenes in Baden-Baden.
In April, I will take another trip to England to direct the opening and closing sequences. They will be done by Richard Randolph of Ealing Animation and involve the North Sea, a diver, and hopefully no rain.
By July 1997, T.R.A.N.S.I.T should be ready, and strawberries will never be the same . . .(via)
imdb
Paul Driessen
El holandés Paul Driessen es uno de los más importantes realizadores del cine de animación actual. Nacido en 1940 en Holanda, Paul Driessen trabaja actualmente entre Canadá y los Países Bajos. Cuenta con una extensa filmografía, y ha obtenido numerosos premios en festivales internacionales como los de Venecia o Annecy. También ha obtenido una nominación al Oscar por 3 Misses (2000). Ha contribuido enormemente a la reputación internacional del cine de animación independiente realizado en los Países Bajos, y también ha ejercido una gran influencia en otros realizadores de este género. Con sus personajes generosos en formas, la sutileza del dibujo y su personal estilo de contar historias y dividir el plano cinematográfico, sabe cómo llegar al corazón del espectador e introducirlo en un mundo de desbordante imaginación. (via)
"The killing of an egg"
"Le monde animé de PAUL DRIESSEN" dvd
"Paul, el holandés" artículo de Lorena García
"Tangled tales" artículo de RUPERT BOTTENBERG
wikipedia
"The killing of an egg"
"Le monde animé de PAUL DRIESSEN" dvd
"Paul, el holandés" artículo de Lorena García
"Tangled tales" artículo de RUPERT BOTTENBERG
wikipedia
Michaël Dudok de Wit.
Michael Dudok De Wit nació en Holanda en 1953. En 1978 se gradúa en la universidad de arte del oeste de Surrey en Inglaterra con su primer trabajo "La entrevista". Tras trabajar un año en Barcelona se traslada a Londres donde dirijio y animo varios anuncios. En 1992 crea su primer corto "Tom Sweep",en su segundo corto "Le moine et le poisson" (El monje y el pez) 1994 combina magistralmente movimiento y música para relatarnos en clave de humor la historia de un monje obsesionado en capturar un pez que se encuentra en el estanque de la abadía, para muchos es la mejor obra de Michael Dudok.
Su tercer obra "Father and daughter" (padre e hija) 2000, gano un oscar al mejor corto. Yo lo descubrí gracias a ello, pues ese mismo año en el Canal + emitieron todos los cortos nominados y este me impresiono por la sencillez de las imágenes y la historia que, al menos para mi, están llenas de ternura y amor, despertando sentimientos sencillos pero poderosos.
Tras seis años de espera ha realizado su cuarto corto, "The aroma of Tea"2006.(via)
"Tom Sweep" (1992)
"Le Moine et Le Poisson" (1994)
"Father and Daughter" (2000)
"The Aroma of Tea" (2006)
wikipedia
Cinemascope
Su tercer obra "Father and daughter" (padre e hija) 2000, gano un oscar al mejor corto. Yo lo descubrí gracias a ello, pues ese mismo año en el Canal + emitieron todos los cortos nominados y este me impresiono por la sencillez de las imágenes y la historia que, al menos para mi, están llenas de ternura y amor, despertando sentimientos sencillos pero poderosos.
Tras seis años de espera ha realizado su cuarto corto, "The aroma of Tea"2006.(via)
"Tom Sweep" (1992)
"Le Moine et Le Poisson" (1994)
"Father and Daughter" (2000)
"The Aroma of Tea" (2006)
wikipedia
Cinemascope
Suscribirse a:
Entradas (Atom)
