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
The third annual Glas Animation Festival (Global Animation Syndicate) in Berkeley got a major boost last weekend with the appearance of Phil Lord and Chris Miller (“The Lego Movie”). The duo discussed success, failure, and how they’re pushing boundaries with “Spider-Man: Into the Spider-Verse” (December 21), which they are producing. They also announced that they are taking executive producer credit on “Solo: A Star Wars Story” (May 25), which they noisily departed as directors last year after being replaced by director Ron Howard.
Although they credited their successful partnership with being “horrifically relentless and willing to change things to continually improve the project,” Lord and Miller ran into irreconcilable differences over the particular production demands of the “Star Wars” franchise.
“We are very proud of our many contributions to the film. In light of the creative differences on ‘Solo: A Star Wars Story,’ we have elected to take an executive producer credit on the film,...
Although they credited their successful partnership with being “horrifically relentless and willing to change things to continually improve the project,” Lord and Miller ran into irreconcilable differences over the particular production demands of the “Star Wars” franchise.
“We are very proud of our many contributions to the film. In light of the creative differences on ‘Solo: A Star Wars Story,’ we have elected to take an executive producer credit on the film,...
- 3/26/2018
- by Bill Desowitz
- Indiewire
The 16th annual Boston Underground Film Festival will once again terrorize all of New England with a wide selection of international atrocities that span the globe from Japan to Belgium to the fest’s own backyard. The fest will run March 26-30 at the Brattle Theater.
The fest will open with the supernatural teen comedy All Cheerleaders Die by the dynamic directing team of Lucky McKee and Chris Sivertson, which will then be followed by the cult 1974 Japanese nunsploitation flick School of the Holy Beast by Norifumi Suzuki.
Other feature films screening at the fest include: The American warrior documentary My Name Is Jonah by Phil Healy and Jb Sapienza; the pre-apocolyptic party of Doomsdays by Eddie Mullins; The Strange Color of Your Body’s Tears by Belgian extreme filmmakers Hélène Cattet & Bruno Forzani; the collegiate conspiracy of Jerzy Rose’s Crimes Against Humanity; Jeremy Saulnier’s twist on the revenge thriller,...
The fest will open with the supernatural teen comedy All Cheerleaders Die by the dynamic directing team of Lucky McKee and Chris Sivertson, which will then be followed by the cult 1974 Japanese nunsploitation flick School of the Holy Beast by Norifumi Suzuki.
Other feature films screening at the fest include: The American warrior documentary My Name Is Jonah by Phil Healy and Jb Sapienza; the pre-apocolyptic party of Doomsdays by Eddie Mullins; The Strange Color of Your Body’s Tears by Belgian extreme filmmakers Hélène Cattet & Bruno Forzani; the collegiate conspiracy of Jerzy Rose’s Crimes Against Humanity; Jeremy Saulnier’s twist on the revenge thriller,...
- 3/20/2014
- by Mike Everleth
- Underground Film Journal
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