Japan’s Studio Ghilbi is back in action–to produce films, at least. The studio is co-producing French animator Michael Dudok de Wit’s first feature film, The Red Turtle, set to premier at the Cannes Film Festival this year.
Mamoru Hosoda has been one of the most reliable directors in the anime film industry the past decade. In an increasingly rare craft helmed by a selected few in Japan, Hosoda usually delivers. His newest film, The Boy and the Beast, released an English subtitled trailer today. It will hit theaters in Japan on July 11. There is no release date for the English yet. To learn more about the film, refer to this piece on the film from Variety.
Marnie was originally released in Japan on July 19, 2014. It will be released in America on May 22.
Studio Ghibli was founded in 1985. The first film they released was Hayao Miyazaki’s Laputa: Castle in the Sky, a Jules Verne-esque adventure fantasy made to delight all audiences. With the release of Princess Mononoke and Spirited Away, they achieved international recognition.
I think it’s safe to say that all animation fans hope Marnie will not be Ghibli’s last. Sometimes studios go through ebbs and flows. Maybe Ghibli and its executives need a little bit of time to sort things out and take a break. And after producing over a dozen critically-acclaimed animated movies over the years, they deserve it.
A few weeks ago, looking for great stories across the web about the animation industry, I stumbled across a project on Kickstarter called: Boxhead- An Animated Horror Film (funding page). I was fascinated by the premise of the film, which I discussed in a previous post. Project funding closes on April 22 and less than $2000 remain to reach the intended $26,000 goal.
Randall Kaplan (originally from Brooklyn and now living in Los Angeles), the mind behind the darkly engrossing film, was kind enough to provide The Animation Curation further insights into the film, his inspirations and the flush of ideas yet to be explored in the industry.
Why did you choose to make Boxhead animated?
I’ve been drawing my entire life, and I always wanted to tell stories. I think this is the key to eventually doing animation.
The creature, Boxhead, came to me at around 11 years old. Back then I’d draw my own comic books, photocopy them, and sell them on the street in front of my house for $1. I tried doing this with Boxhead, but never finished the comic. The image of Boxhead never went away. Over the years I drew the creature again and again, and slowly a distinct storyline began to emerge.
Nickelodeon’s new animated series, Harvey Beaks, which aired last week, is a fresh comedy that is beautiful to look at. The story concerns Harvey, a curious blue little bird who always does the right thing, and his exploits with his friends in a dreamlike forest. This is a different type of show for Nickelodeon and the change is much welcomed.
In a previous post, I explored the trend of Disney animated films getting green-lit for live-action remakes. This trend can no longer be ignored. In the past few weeks, it was announced that both Winnie-the-Pooh and Mulan are getting the live-action treatment.
Gary Wright, writer for Rotoscopers, presents his case for so many Disney live-action adaptions, highlighting the pros and cons of each side of the argument. The general consensus seems to be that if the films are done correctly, everything will be okay. If the films are done with little regard to the original source and are created haphazardly, people will not happy.
Acclaimed animation director Ari Folman has released the first images of his animated take of Anne Frank’s diary. He previously directed the Oscar-nominated Waltz with Bashir and the experimental live-action/ animated hybrid, The Congress.