ANIMATORS WHO HAVE DEVELOPED AND PUSHED THE BOUNDARIES OF ANIMATION.

ANIMATORS WHO HAVE DEVELOPED AND PUSHED THE BOUNDARIES OF ANIMATION.

ANDREW STANTON

- Andrew Christopher Stanton Jr.

- Rockport High School – CalArts.

- Born 3rd December 1965.

- Boston, Massachusetts, USA.

- 18 Years ago he became the second animator hired by Pixar.

- Spouse: Julie Stanton (2nd August 1991 – present) 2 children – Ben & Audrey.

- Uses Thomas Newman’s music – Trade mark.

- Joined Pixar in 1990 as its second animator and ninth employee.

• “Andrew Stanton has made you laugh and cry.”

• The writer behind the three "Toy Story" movies

• Writer/director of "WALL-E,”

• Wrote the first film produced entirely on a computer, Toy Story.

• Toy Story was a classic, it wasn't the history-making graphic technology - it's the story behind it.

• Stanton wrote all three Toy Story movies at Pixar Animation Studios.

• He has two Oscars, as the writer-director of Finding Nemo and WALL-E. Also as Edgar Rice Burroughs nerds.

THE CLUES TO A GREAT STORYHTTP://WWW.YOUTUBE.COM/WATCH?V=KXDWIEKPAWG&LIST=PLF29518BAC742AB09

“Story telling, is joke telling. Its knowing your punch line, your ending, knowing that everything your saying from the first sentence to the last leis leading to a singular goal and ideally confirming some truth that deepens our understandings of who we are as human beings. We all love stories, we’re born for them. Stories are from who we are. Nothing does a greater affirmation than when we connect through stories, it can cross the barriers through time, past president future, and allow us to experience to similarities between ourselves and through others, real and imagined.”

From watching this video on The Clues to a great story, opens your eyes and perspectives to things you never realized when watching a film or television which has a story behind it. His limits of understanding are brilliant and shows on the video different projects and films (John Carter) that he has explored through and created!

In 1998, Stanton finished writing Toy Story In a Bugs Life, and he was completely hooked on screenwriting so he wanted to become much better at it

and learn everything he possibly could. So he researched everything he possibly could and came across a fantastic quote by a British play write, William Archer:

“Drama is anticipation mingled with uncertainty”

‘It’s an incredibly insightful definition. When your telling a story have you constructed anticipation? In the short term maybe you will want to know what will

happen next, but more importantly, maybe you will want to know how it will all conclude in the long term’

Andrew works with around 200 people who are all doing different jobs. Just as ordinary as any other production. They all have the same jobs as a live action sets (e.g. camera, lighting, costume, directing, art directing, acting). They use tools on the computer to do it. So it’s the same plans, directions, etc. that you

would do on a live action set.

• Stanton decided in his teens and first thought about becoming an animator as a career.

• This led him to enrolling in Los Angeles’ California Institute of the Arts.

• Graduated with a BFA in character animation

• His reputation as a ‘talented up-and-comer’ made him quickly a hot commodity within the animation community.

• He followed his instinct and for in on the ground floor, which has since become the most prestigious animation house on the planet!!!

• His first feature length film was Toy Story for Pixar after he was a part of the team.

• Toy Story allowed Stanton to be noticed and named as a story artist, character designer, and even a background performer (voice during the Buzz Lightyear commercial)

• 1999- Toy Story 2

• 2001 – Monsters Inc

• 2003- Finding Nemo – Directed by Stanton, won the Oscar for Best Animated Feature

• 2008- Solo directorial debut – WALL-E (“MASTERPIECE”)

• 2009- John Carter (instantly became the first of Pixar to leave the animation realm)

PERSONAL QUOTES

“A lot of people think if they make

a computer-animated film, it's

going to be a hit. I'm afraid we're

going to see a glut of really bad

films in the next couple of years”

“I never think about the

audience. If someone

gives me a marketing

report, I throw it away.”

“I'm not naive about what's at stake.

But I almost fe

el like it's

an obligation to

not further th

e status quo if you

become somebody with influence and

exposure. I don't w

ant to paint th

e

same painting again. I don't w

ant to

make the same sculpture again. Why

shouldn't a big movie studio be able to

make those small independent kinds of

pictures? Why not change it up?”

SOURCES:

http://www.boston.com/ae/movies/articles/2008/06/21/wall_e_

world

/

https://twitter.com/andrewstanton

http://www.ted.com/speakers/andrew_stanton.html

http://www.ted.com/talks/andrew_stanton_the_clues_to_a_grea

t_story.html

http://www.youtube.com/watch?v=KxDwieKpawg&list=

PLF29518BAC742AB09

http

://movies.about.com/od/animatedmovies/a/andrew-stanton-bio

graphy.htm

MAX HATTLER

-Max Hattler

- Moving image artist

- Interested in the space between abstraction and figuration

- He works around the fields of film, video installation

- Live audiovisual performance

- Graduated from Goldsmiths College in 2001

- Graduated from the Royal College of Art with an MA in animation in 2005

LIVE AUDIO VISUALS PERFORMED WORLWIDE:• European Media Art Festival

• Onedotzero,

• Rotterdam,

• Edinburgh,

• Annecy,

• Animafest (Zagreb)

• Image Forum Festival (Japan).

• He has performed live audiovisuals worldwide, including

• ICA (London),

• Animae Caribe (Trinidad),

• Cimatics (Brussels),

• Animation Show (California),

• SuperDeluxe (Tokyo)

• The Museum of Image and Sound (Sao Paulo)

6 MILLION WAYS OF GETTING INTO THE ARTS: ANIMATION' PANEL DISCUSSION AT UNIVERSITY OF SALFORD, MEDIACITYUK, 16 MAR 2013.

IAN MACKINNON (MACKINNON AND SAUNDERS),

PUPPETS FROM TIM BURTON'S FRANKENWEENIE. PHOTO © CASTLEFIELD GALLERY.

INTERVIEW WITH MAX HATTLER(GO SHORT INTERVIEWS 2012)

Reporter:

Max, can you tell me what it was like to have the performance last night?

Max:

It was ok I think, I make films and they are very precise, and I can control exactly what's in them, it ’s a very precise way of working. If I work live it’s the complete opposite which is why I like doing it, because

it kind of forces me to do something in the moment and in front of an audience, its quite scary. Improvising. So things cant be as controlled which is why I’m doing it. Things can go wrong, sometimes they work better, sometimes they don’t work as good.

Reporter:

What is your take on people who are saying that people should actually specialize at just one thing? Because you do everything really?

Max:

Well, yes and no, I sort of have a background in music but I don ’t make music. I make films but their not narrative, my work revolves around obstruction, so in a sense, I'm very specialized, as well. I work across different fields but in a very specialized way. You know, part of that is just to do with my interests, but also I find that constricting yourselves in certain ways enable you to be creative within that because my main field is working with animation, working with digital technologies, you can do anything.

EDUCATION

• - Professional Doctorate in Fine Art (DFA), University of East London, 2009-2014 (expected)

• - MA (RCA) in Animation, Royal College of Art, London, 2003-2005

• - European Master in Visual Effects (distinction), ECAM, Madrid, 2002

• - BA in Media and Communications (first), Goldsmiths, London, 1998-2001

• - BTEC in Graphic Design, London College of Printing, 1999-2001

PLYMOUTH UNIVERSITY EXPLORING YOUR FUTURE ARTS SHOWCASE

BROCHURE 2013

"Moving image artist Max Hattler presents a selection of his work – experimental animations,

music videos, concert visuals and audiovisual performances. He will talk about his experience of making a career on the interstices between art and commerce, music and film, TV screen

and internet, nightclub and art gallery."

At the beginning of a biography video on Max Hattler, a animation has been created with music and texts that completely makes you relax and you could even find that it gives you unintentional emotions, like being tense, or nervous, just from the music that he has used in the background, its made a big impact for the start of the video when audiences watch it.

The lyrics are:

(Russian)

“So now I ask you to focus on your breathing…

listen to the rhythm of your breath…

breath-exhale (x3)…

with every breath just allow your body to relax more and more…

The relax is growing…

And you can go deeper and deeper…

With every breath…

Imagine that you are lying on a big fluffy cloud…

You’re safe, you’re warm, the cloud supports you…

Theres only you, I am- Cinemire…

And Max Hattler

At the beginning of an interview with Max Hattler, the

introduction to the video is a Russian voice. It sooths the

viewer and puts them in a calm

mindset, illustrating the animation of Max Hattlers’.

WHAT OTHERS HAVE SAID…

"Max Hattler surprises his

audience with the gripping

force of his abstracted images,

combined with sounds he often

composes for his own films.

The German media artist and

animator lives in London and

has made a real leap into the

media art and festival scene

since he graduated from the

Royal College of Art in 2005."

Klaus W. Eisenlohr, Directors

Lounge, 2013

"Max Hattler's films are

symmetrical worlds of rotating

kaleidoscopic wonder that are

truly entrancing." Garrick

Webster, Design Week, 2011

One of "the new

breed of creators

operating today …

stand out, world-

class work." Onedotzero, 2010

“He is a great example of

a modern operator who

does not require a huge

studio backing to make

work." John Parry,

Animation Lecturer,

University of the West of

England, 2010

SOURCES:

• http://www.directorsnotes.com/tag/max-hattler/

• http://www.directorsnotes.com/2012/07/03/rssf2012-

the-pushing-boundaries-award/

• http://www.maxhattler.com/

• http://www.maxhattler.com/talk/

• http://www.maxhattler.com/about/