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A. Film L.A. is the Los Angeles associate of A. Film of Copenhagen, Denmark, Scandinavia's largest and Europe's most ambitious animation studio. Productions include 'Albert,' 'Miffy the Movie,' and 'The Flight Before Christmas,' 'Help! I'm a Fish,' 'Terkel in Trouble!,' 'Asterix and the Vikings,' 'Journey to Saturn,' 'The Little Vampire,' 'The Giant Pear,' 'Up and Away!' and 'Checkered Ninja.'
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posted by Hans Perk at 9:00 AM
Interested in animation since 1975, worked in Holland with Danish animator Børge Ring for four years (incl. on the Oscar-winning 'Anna & Bella'), then moved to Denmark in 1984. In SoCal since 2019.
Co-founder in 1988 of A. Film, Europe's foremost animation studio, in business for over 30 years. We are the studio behind 'The Flight before Christmas', 'Help! I'm a Fish', 'Asterix and the Vikings', 'Checkered Ninja' and many more...
Currently the President and CEO of A. Film L.A., Inc. in Los Angeles,
and director of "Miffy the Movie."
Though we are very involved in new techniques, I share a deep passion for Great Classical Animation with everyone at the studio;
Frank Thomas and Ollie Johnston's "Illusion of Life" is our bible.
Look us up on our website where
you can also see our showreels!
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9 Comments:
Jeffrey Varab animates Amos Slade, Dale Oliver animates Copper, and the Glen Keane unit (which I expect includes Mike Cedeno) animates the foxes. John Pomeroy's one scene is of the porcupine.
Nice to finally see one of the “Prodigious juniors “ that was said to be at the studio at that time. I’m still waiting to see if Brad Bird or Henry Sellick show up at all!
Curiously, on the "Bongo" draft the supervising animator was in parenthesis but this time, the supervising animator is in BLOCK CAPS and the animator's name is in parenthesis. I don't know if this indicates who was more responsible for the drawings, or anything at all, really. Like, is this a Glen Keane scene with assistance from Tim Burton, or is it a Tim Burton scene drawn under Glen Keane's supervision?
I remember listening to an interview with Tim Burton (I think it was for the release of Frankenweenie) where he mentions starting out at Disney drawing "dead foxes. They weren't supposed to be dead, that's just how they looked when I drew them."
I'm surprised that Henry Selick, Brad Bird and J*hn L*ss*t*r haven't appeared on the draft yet. I suppose they must have been assistants. I believe Brad Bird worked, appropriately enough, on the Boomer and Dinky sequences with Nordberg, Rees and Musker.
Is this the the only scene Tim Burton animated?.
Matt0765: He might have animated more but we cannot learn that from the draft. At times people weren't credited because they did not animate enough to merit crediting. I recall I animated well over 100 feet on FernGully, but when a scene I already had animated was cut (unseen) out of the STORY reel, I ended up below the 100 feet threshold and only got a "additional animation" credit there...
Well I’ve heard on IMDb that Tim Burton animated the character Vixey on distant shots at first because he struggled and did closeups afterwards. I don’t know if the scene with Tod and Vixey in the forest was a collab with Tim and Ron Husband. But anyways I have two different questions about this.
1. Do animators animate in order of the film or mixed. Because of this true than thats means that Tim Burton animated more than what we saw on the draft.
2. Are animators (like you of course) assigned to characters or is that mixed. Because IMDb said he did “the character animation for Vixey” so does that mean he always animated her? And that confuses me because a few Tod/Vixey scenes on the were animated by the famous Chris Buck and animator Ed Gombert.
Just asking.
Matt0765: To answer your questions,
1. Films are really never produced in sequence from start to finish. As an example, in Sleeping Beauty, the first part worked on was the Bot Meets Girl sequence. It allows for the development of the characters in motion, and possibly change things that seem not quite right. I recall how on FernGully the scenes were assigned seemingly at random, based on how well developed the sequences were in story and layout, and which sequences were actually finished in layout. That last reason was even more important on the Danish feature film Valhalla I worked on as supervising animator: we got scenes from any part of the film, just based on when there was a layout ready!
2. Because of that (layouts not ready), the scenes were at times with characters I had never drawn before. But mostly they were distributed according to what was considered the animator's strongest "type," so some get cute characters, some get forceful characters, and some just get the ones nobody else is able to draw (see: Milt Kahl being "stuck" with Peter Pan and Wendy). I recall that Glen Keane animated Vixey as well as the incredible bear fight, so I suspect this again was all about which sequence happened to be the one worked on.
Hope this explains something...
Well I’ve heard interview with Glen Keane and he said that he gave Tim Burton A lot scenes with Vixey https://didierghez.com/_private/interviu/Keane.html apparently he struggled a lot do he was depressed. It also says that him and Chris Buck were good friends so maybe thats why some Tod/Vixey scenes because he probably helped Burton. The Glen Keane scenes on the scenes on the draft could have been Burton animating under him because he’s supervising animator (which I don’t understand you refer to him saying He animates the scenes). He could of also have animated some of the Vixey scenes on this draft under Legend Ollie Johnston ( though they retired in 1978 though I heard John Lasseter animated baby copper and Ollie Johnston Supervised those scenes. So there’s could be a chance Burton animated some of Ollie’s Vixey scenes).
Geat love it
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