AWN Oscar Travelogue

Oscar Showcase Tour 09 PDI/DreamWorks Gallery

oscartour — Tue, 24 Feb 2009 22:34:47 +0000

The tour members are welcomed to PDI by Eric Darnell and Gail Curry and some champagne.

Check a few shots from the stop at PDI/DreamWorks in Northern California.

The tour members pose for pic with Madagascar - Escape 2 Africa director Tom McGrath.

The Oktapodi contingent sit for a moment in the PDI lunchroom.

The filmmakers get a tour of the studio.

Gobelins' Eric Riewer and Oktapodi director Emud Mokhberi relax.

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Oscar Tour San Francisco Leg Rewind

oscartour — Mon, 16 Feb 2009 02:36:27 +0000

Ron introduces the boys to PDI's Eric Darnell and Gail Curry.

written by Barbara Robertson

The two and a half day fast forward is behind us, now. The nominees are on their way to Los Angeles for part two of Ron Diamond’s Oscar Tour, although for the second half, I don’t think he’ll be driving the giant white van (generously donated by PDI/DreamWorks), which he, amazingly, managed to squeeze into the only parking place in San Francisco’s Mission District that was big enough and still within walking distance to the ASIFA dinner. Finding a parking place for a Smart Car in San Francisco is hard, but somehow, the reality matched Ron’s optimism that it would all work out.

Now, for a rewind and some impressions from within the bubble.

Emud, Taki, Olivier and Kunio sip on some drinks in the PDI lunchroom.

At PDI/DreamWorks, in the conference wall room, watching the nominees wave at their image on the wall to check lag time while we waited for the system at the other end to come on screen.

During the Q&A, people at PDI, as had people at Pixar before them, asked Kunio why the title of his film is in French and he answered, as before, that the translation into English didn’t capture the meaning, so a French friend suggested a French title. And, once again during the Q&A session, Konstantin’s humor stole the show.

Question: How long did it take you to make the film?

Emud (“Oktapodi”): Between six and seven months.

Kunio (“La Maison en Petits Cubes”): One year. Four months of that for planning.

Konstantin (“Lavatory Lovestory”): Story, one year. Drawing two years. (pause) I’m slow thinking.

Question: What was the inspiration for your film?

Kunio: No special inspiration but I had the visual of a house on top of a house and drew a picture of that key image. I gave that to a scenario writer who made each floor a different stage of life.

Emud: Olivier saw a picture of Octopi in a book by Peter Seve and we thought why not? It would be interesting.

Konstantin: I go to the toilet more often than most people. I just looked at the woman’s eyes who worked there and found the story immediately.

Arriving at Skywalker Ranch at midnight. We each got a folder printed with our names on the front, a map, and a key to our room. We were all very tired, but as soon as we opened the doors to our rooms, we were so amazed that we had to share the experience, running from room to room to see what each one looked like inside. A grand piano in the George Gershwin room. A grand rock fireplace in the John Houston room.

Oktapodi's Emud Mokhberi, Gobelins' Eric Riewer, La Maison's Kunio Kato, Oktapodi's Quentin Marmier, Oktapodi's Olivier Delabarre, Oktapodi's Francois-Xavier Chanioux, Robot Communications' Taki Tsuyoshi, Lavatory Lovestory's Konstantin Bronzit, Presto composer Scot Stafford, Presto's Doug Sweetland, and tour host Ron Diamond.

In the morning, Doug Sweetland from Pixar (“Presto”) and Scot Stafford, who wrote the original music for “Presto,” joined us. The chance to get out, stretch our legs, and walk a little between the buildings in the beautiful open space at Skywalker Ranch, rather than being locked into seats in the van or in a theater or at a dinner table, or on a tour, gave the nominees a chance to relax and move more easily from one group to another. It was fun to see the “Oktapodi” team re-bond with each other after each going his separate way for the last year or so, but also to begin to see some interaction between all the nominees.

Another group shot in front of the Technical Building.

As we walked from the parking lot at the “Technical Building,” past the vineyards, past the lake, Konstantin said to the group, “I will buy it. For filming. I will invite you.”

Quentin laughed, “You can call it Konstantin Farm.”

Inside the building, Glenn Kiser, the head of Skywalker Sound, which has received five Oscar nominations this year,” took us all into the scoring stage, demonstrating how the various panels in the walls and ceilings slide to change echo and decay for recording sessions. Kiser says that the studio is used 60% of the time for classical recording, but a library of 150,000 sound files makes it also a resource for lower-budget films including three that were at Sundance this year.

Inside the Big Rock theater.

At Big Rock, the animators working on the Clone Wars TV series saw a screening in yet another amazing theater. They asked about Kunio’s French title and also what inspired the filmmakers, but not surprisingly for crews working in television, they also asked how much each film cost.

Emud: We were students. We each had a machine and we had four render computers. It’s a mystery how much it cost.

Doug: I consider it a privilege that I don’t know how much it cost.

Kunio: About $50,000.

Konstantin: About $20,000. I had some government funding.

Question: Many of these films are about love. What is it about love?

Kunio: The main reason life is going on is to find love.

Konstantin: Love is all we need. But sometimes, we need toilets, too.

Boba Fett and Darth Vader joins the tour for a snapshot in the ILM lobby.

At ILM, the lunchtime screening in the studio’s huge theater played to a packed house. Once Ron had introduced all the nominees and they were standing on stage, before anyone raised a hand to ask the first question, Konstantin said, “Please, someone, ask Kunio why his title is in French.”

The humble George Lucas and the happy Ron Diamond.

Ron had told everyone that there was a chance they could meet with George Lucas for a few minutes, and sure enough, our host, Kate Shaw, led us to the seventh floor where Lucas has his office. Ron introduced Lucas to each of the directors, and Lucas greeted each nominee in turn, shaking his hand and congratulating him. I think that after spending the night at Skywalker Ranch’s fabulous guest suites, seeing the magnificent library in the main house with its stained glass cupola, and then the multi-building campus in San Francisco, they were unprepared to meet the master of this empire wearing bluejeans and a blue sweater. After the meeting, Francois – who everyone calls FX – said of George Lucas, with some astonishment, “He’s so humble.”

During the afternoon, I was sitting next to Kunio and Taki on the sky bridge that connects the main LucasFilm building and most of ILM’s facility in the park-like campus of the Presidio in San Francisco. By then, we had visited Pixar, PDI/DreamWorks, Lucas’s animation facility at Big Rock ranch in Marin County, and had met with George Lucas in his office at the Presidio. I asked him what he had learned from the visiting all these remarkable facilities and he answered, though Taki, “The work environment is really important.”

Following the screening, lunch, the meeting with George Lucas, and a tour of ILM, we had some down time before the ASIFA screening. It was pouring rain, which drowned any thoughts of walking around San Francisco. Instead, we moved to a nearby wine bar.

I asked Konstantin and Kunio, who were sitting together at the bar, whether they might ever work together on a film. Konstantin said, “But we’re already talking about it.” And, Kunio nodded. “I’m talking about it in Russian,” Konstantin said. “And Kunio is talking about it in Japanese.”

FX, sitting nearby, began teasing Konstantin about his name and they talked more seriously about how to get financing for films.

Then, back to the van and off to Dolby Labs for the ASIFA screening. Because the nominees had all seen all the films several times already, most of them stayed outside during the screening. When it was time to go in, we couldn’t find Kunio and FX. Finally, someone said, “Oh, they’re in the bathroom. Kunio is doing a painting for FX, and he needed water.”

Konstatin entertains the crowd at the ASIFA-San Francisco screening.

At ASIFA, too, the first question from the audience was about what inspired the filmmakers and, as Konstantin said, they knew the answers by heart. By the time they meet the press in Los Angeles as they near Oscar time, these nominees will be well-prepared for that question.

The ASIFA audience, though, asked some new questions and in answering, the nominees discovered some insights.

Question: What was the most interesting thing you learned?

Emud: I had done one-director, one-film. I wanted to go to Gobelins to work with a team. I had to learn how to explain and how to trust what other people do.

Scot: Music can’t really be funny. The funniest thing is to take everything literally.

Kunio: This was the longest film with the largest number of people I’ve worked on. The challenging thing was to share what I’m thinking with my staff. To work in this way, I needed leadership and to keep the team motivated. That was the biggest thing I learned.

Konstantin: There was nothing interesting in the process. Just suffering. Every step trying to get closer and closer and nothing. Many people think you just sketch, sketch, sketch, and then it’s ho ho ho. No, it’s not that way.

Doug: I had been an animator, but, like Emud, to work on the story, I had to question all the time. I’d fight for things I thought were awesome and they’d bomb. And I’d fight against things I thought would bomb and they’d turn out to be awesome.

Question (paraphrasing): Why did you pick the theme you picked?

Emud: We were in school and had between six and seven months to make a short film. It’s easier if it’s comedy. Our group knew we wanted to push technology, and make a fast, cartoony, rhythmic film. They story came out of the brainstorming process. We banged our heads together 120 hours a week. After the fatigue wore off and we all wanted to go off and do something on our own. But now, I want to make another film with these guys.

Kunio: Taki answers for Kunio to much laughter… He always wanted to make a comedy film.

Taki then gives Kunio’s more serious answer: He didn’t pick comedy or drama. The main object was to depict a man’s life in a quiet and uneventful way, so it had to be a serious, quiet drama.

Konstantin: Every time, the story depends on an idea, on finding the only way to realize an idea. I realized all I need is love. But, also, I need toilet. So, I combined Love. Toilet.

Doug: I tried to make a three-minute film, but it’s five minutes, to make it as quick as possible. So, it borrows from classic cartoons, but it has a classic Hollywood reconciliation ending.

Question: What was your inspiration for becoming an animator?

Konstantin: Mickey Mouse

Doug: I just learned that Ron produced the Tourneys of Animation in the late 80’s and I saw that in middle school. Also, Luxo Jr. When I saw universities listed at the end of the films, I realized I could study animation. I had an insatiable appetite.

Kunio: Originally, I wanted to be a painter, not an animator. I took a class in animation and wanted to move my drawings.

Quentin: All the great 2D films.

FX: I was always drawing. I saw a documentary of people drawing lions for “Lion King,” and that inspired me.

Emud: I went from computer science to computer graphics to moving CG parts to animation.

Question (paraphrased): What did you think of the reaction of audiences to your film?

Doug: I went through such a struggle to get this film made. I learned that I’m not funny. I pitched 10 stories in seven months and they bombed every time. Only the last one clicked. So that fact that people embrace this film so well is overwhelming.

Konstantin: When I first try to put comedy in action I learned it’s impossible to calculate how to do it. I suffer. I asked my teacher why I suffer every time I make a film and why I suffer when I show the films. He said, “You are clever minded and understand your mistakes and it looks for you like you are showing your mistakes and you think everyone sees your mistakes.” I thanked him. But I still suffer.

Kunio: I couldn’t help seeing my mistakes in the finished film. So I’m very grateful that the audience appreciates.

Emud: With multiple directors, I learned that if Olivier and Quentin both think something is funny, maybe it is. Our final animation is pretty much like our story reel. We had Chris Wedge come in and look at our story reel and he reacted well to it. The reaction of audiences has exceeded all our expectations. It’s hard to put into perspective when we killed ourselves making it.

When Ron introduced the nominees to the ASIFA group, he said, “Rarely does any other group [of Oscar nominees] come together like this to celebrate their work. We don’t have enough reason in our lives to celebrate and the fact that our community comes together to celebrate these Oscar nominees is really terrific. We had people packed into the theater at Pixar and standing in the aisles and also at ILM. We met with Ed Catmull, Tom McGrath, Eric Darnell, and George Lucas. The nominees met for the first time only on Wednesday and now we’ve become a small community. I think this is really important.”

And, it is.
END

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San Fran Whirlwind - PDI, Skywalker Ranch, ILM, ASIFA, George Lucas

oscartour — Sat, 14 Feb 2009 17:32:49 +0000

The filmmakers meet the George Lucas.

written by Barbara Robertson

It’s been a busy an exciting three days, but such a wonderful time. Some highlights and pictures. I’ll sketch in details tomorrow.

The tour checks in at PDI.

Thursday: A champagne reception, a screening, and a tour at PDI, plus a live demo of the studio’s amazing video wall during which Eric at PDI made a dinner appointment with John from DreamWorks in Glendale who would be flying to San Francisco on Friday.

Thursday night: Skywalker Ranch

The filmmakers prepare for the awesomeness of Skywalker Ranch.

Outside Skywalker Sound.

Classic Pic in the Ranch Library.

Westward ho for Robot Communications' Taki Tsuyoshi and Presto director Doug Sweetland.

Friday morning: We had boxes of cereal and breakfast bars in our rooms, coffee and milk in the refrigerator, but most of us walked to the “The Inn” for breakfast. Then, we screamed through Skywalker Sound, hurried up the road past vultures sunning their long wings, to the main house where George Lucas has his office and film library, scurried back down the road on a glorious sunny morning, jumped in the big white van, drove to nearby Big Rock where the group animating the television series work, held the first of three screenings and Q&A’s today, and then zigzagged back on Lucas Valley Road to the freeway to make an 11:30 date at ILM in San Francisco.

Outside Big Rock.

Oktapodi's Olivier Delabarre (m) chats with tour master Ron Diamond (l) and his fellow director Francois-Xavier Chanioux about the experience.

Before the Big Rock screening with Ron (l-r), Olivier, and Oktapodi's Quentin Marmier.

Our gracious host Kate Shaw led us all to George Lucas’s office. Amazingly, George Lucas gave the Oscar nominees more than a half hour of his time – more about that later. After, the screening in ILM’s grand theater, which was totally packed, the Q&A, lunch in a private dining room off the main dining room with some of the ILM artists, and a break before the next screening – with ASIFA at Dolby labs.

The directors have loosened up now. They’ve become much more comfortable onstage, more of the Oktapodi directors are now answering questions, and they’ve become friends as you’ll see in the pictures. More words tomorrow.

The arrival at ILM.

The great Kate Shaw (r) gets the filmmakers ready for their tour of ILM.

Oktapodi's Francois-Xavier Chanioux relaxes in the Lucasfilm lobby.

Tired yet?

La Maison's Kunio Kato (l-r), Taki and Lavatory Lovestory's Konstantin Bronzit take in some downtime.

Oktapodi directors Olivier, Quentin and Emud Mokhberi discuss life after ILM.

Can't miss another group shot opportunity.

The ILM wonders begin.

Konstantin takes a pic of the Jurassic Park T-Rex.

Olivier checks out the Judge Doom prop from Who Framed Roger Rabbit.

George Lucas poses with nominee Kunio Kato.

George Lucas meets with the filmmakers.

Perfect ending - the wine bar.

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Exclusive Video: Madame Tutli-Putli’s Train

oscartour — Sat, 23 Feb 2008 23:23:17 +0000

Watch It On AWN TV!

Directors Chris Lavis and Maciek Szczerbowski talks about the inspiration for the train in their film Madame Tutli-Putli at the PDI/DreamWorks Q&A.

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Oscar Showcase 08 PDI/DreamWorks Photo Gallery

oscartour — Tue, 19 Feb 2008 00:22:46 +0000

Are we having fun yet? (front left ccw) BUF post producer Lucie Bloze, I Met the Walrus director Josh Raskin, Walrus illustrator Jame Braithwaite and Madame Tutli-Putli director Chris Lavis. © 2008 AWN Inc.

Here is the last photo gallery from the San Francisco leg of the Oscar Showcase tour. We closed out the event at PDI/DreamWorks, where the Q&A audience asked some new questions and the nominees had a chance to chat with the studio’s artists.

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New Questions Emerge at PDI/DreamWorks

oscartour — Sun, 17 Feb 2008 01:41:44 +0000

Conversation was brief on the ride over to PDI/DreamWorks. With the tour winding down, I think we were all winding down as well. When we arrived at the studio, the screening was already in full swing. With a bit of down time, we mingled around the lobby and cafeteria, where the draw of more ping-pong was irresistible for I Met the Walrus‘ Josh and James, who said that ping-pong is needed for animation productions to work.

With the screening more than 90 minutes, most of the packed theater needed to get back to work. However, those who stayed asked some questions that were never heard before. One audience member asked Madame Tutli-Putli directors Chris and Maciek what powered the train? Chris, impressed by a question that had nothing to do with eyes, said the inspiration for the train was to design a Chicago’s World Fair-like futuristic locomotive that was rundown. The train’s breathing has inspired by the strangely organic slow pulse of the LED light of computers’ power buttons. But along with the brand new question, eye questions cannot be denied. Chris explained that Laurie Maher provided the eyes for the title character, while he and Maciek were the eyes of the chess players. Suzie laughed when asked about taking on the difficult challenge of animating to music and then adding music to animation. She added that the orchestra members said that the live performance of the music with the film was the toughest performance they ever had. Hugh added that they re-commissioned a new version of the score, not to change the notes, but to create new emphasis for their version of the story.

After the Q&A, PDI/DreamWorks treated the group to lunch, but, because of our late arrival, filmmakers from the studio were not able to join us. Knowing that the nominees were there, we did have visits from Madagascar 2: The Crate Escape’s head of layout Noel Meyer and head of animation Rex Grignon, as well as Shrek the Third supervising animator Cassidy Curtis and animator Jason Schleifer, who are working one of the studio’s upcoming features. Rex and Jason, whose credits include Shrek the Third and the Lord of the Rings series, warmly introduced themselves to all the nominees, congratulating them on their nominations. Hearing that they would be in L.A. for the Oscars, Ron invited them to the Chocolate Oscars party next Saturday.

After lunch, Chris and Maciek and Josh and James needed to leave to make it back into San Fran to catch a train to Berkley and visit Tippett Studios. On Saturday, they’re joining a pub-crawl with Phil Tippett and artists from the studio. So with hugs and handshakes, Chris, Maciek, Josh and James bid us ado until we met again on the L.A. leg of our journey.

The rest of the crew stayed for a tour of the studio. First, we were treated to clips from DreamWorks’ 2008 releases Kung Fu Panda and Madagascar 2. The Kung Fu Panda clip was the introduction of Po, the Jack Black panda character, to the Furious Five and his less than successful introduction to kung fu training. For Madagascar 2, we saw the first images from the film we’ve ever seen. The clip, which introduces the returning characters to Africa, was a mix of animation at various stages ranging from finished shots to 2D storyboards to rough 3D animatics. Both clips featured some big laughs. After seeing the clips, the nominees were given the tour of production art from recent productions, highlighting the advances from Shrek 2 to Shrek the Third and showing us the detailed models of Shrek’s swamp hut and the Far Far Away palace. With security very tight, we were not able to see where the animators work, but I asked if we could visit the “magic” conference room. With the conference room where one whole wall is a video screen in use, we were able to visit the Halo room where three smaller screens are connected directly to DreamWorks in L.A. with no delay. Because the connection is on 24 hours a day, there is no wasted time fumbling with adjusting cameras and making sure the audio is working.

With that the San Fran leg of the tour came to a close. We said our goodbyes and wished each other well before joining up again for the busy week before the big night.

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On Our Way to EA

oscartour — Sun, 17 Feb 2008 01:15:53 +0000

With the screenings so tightly packed, once My Love ended at Skywalker Ranch and the final film Peter and the Wolf began, a sedan raced off with our bags and the prints for the first four films to deliver them in time for the PDI/DreamWorks screening later in the day. After wrapping up the Q&A at Skywalker, the tour crew hopped into the van and headed to EA, where a screening in digital projection had already began. I Met the Walrus‘ Josh had planned to head to New York the next day for the Academy screening there, but the pace of the tour made him reconsider the extra flight, especially upon learning that he was the only one going, considering instead to stay behind and take a relaxing ride down the coast to L.A.

During the car ride, James chatted with Hugh about how the Peter and the Wolf producer got started in the industry. Hugh said he got a quick introduction into the biz by winning third prize at the Cannes Film Festival with his student short Crow Stone and receiving the Sam Mendes screenwriting scholarship. His other work has included two short films with the Monty Python team for the Holy Grail DVD and the visual effects for La Vie En Rose. When asked about securing funding for films, Hugh said that in the U.K. they have systems set up where individuals can invest in schemes where the profits are not taxed. For Peter and the Wolf, the smallest single investment was 20,000 GBP and the largest was from a couple at 200,000 GBP. Hugh likes the freedom of funding projects this way, because there are no studio execs nitpicking creative decisions. The most striking thing he said is that he hasn’t made any money on Peter and the Wolf and won’t until they see projects. For those in the U.S., they can see Hugh’s labor of love on PBS on March 26th along with a half hour making-of documentary.

When we finally arrived at EA, the screening had already ended. Our host Bob Nicoll shared that 150 people packed their screening room and clapped after every production. Bob invited the audience to come back at 12:30 to meet the filmmakers. Having some time before then, Bob took us outside to show the filmmakers the campus, which features a huge courtyard where employees can play football or soccer during lunch. Maciek had gone outside to have a smoke and ran into two very enthusiastic Madame Tutli-Putli fans. He made them happier by giving them copies of the film, which they asked for him and Chris to autograph. They even asked to have their picture taken with the directors. Groupies I guess are the price of becoming an Oscar nominee.

A dozen or so employees and students from Carnegie Mellon, who are at the studio working on internship projects, returned to hear the filmmakers speak and as always the questions included Tutli-Putli’s eyes and how did Josh get involved with the John Lennon recordings. When asked about their approach to animating, Maciek said they filmed actress Laurie Maher as reference, because they are two dudes and the secrets of femininity aren’t there’s.

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Ron’s Oscar Tour San Fran Pics Gallery

oscartour — Sun, 18 Feb 2007 10:43:09 +0000

Outside the Hotel Sofitel in Redwood Shores. Rick DeMott (l to r), Mike Thurmeier, Marcy Page, Roger Allers, Don Hahn & Ron Diamond. © AWN Inc.

Ron and I snapped quite a few pictures during the San Fran leg of the tour. Here’s a gallery of some of the pics that Ron took. Keep checking back for more exclusive photos from the Oscar Tour.

Bob Nicoll (center left) shows us around the expansive EA campus.

The nominees check out PDI/DreamWorks state-of-the-art conference room, which is link directly to the L.A. studio. © AWN Inc.

The nominees have lunch with PDI/DreamWorks head Gloria Borders and Beauty and the Beast director Gary Trousdale (right of Gloria). © AWN Inc.

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A Long Day Rewarded With A Night at Skywalker Ranch

oscartour — Fri, 16 Feb 2007 14:09:39 +0000

Don Hahn (l to r), Roger Allers, Ron Diamond, Mike Thurmeier and Marcy Page talking about their films at PDI/DreamWorks. © AWN Inc.

Thursday was an absolute whirlwind day on the tour. I couldn’t possibly write everything interesting that was said during the course of the day. So I’m going to set out to recap the day in full, but tease you with details to come later.

Roger Allers and Don Hahn meet the rest of us at our hotel and we ventured right down the street to EA. Boy, that seems like days ago and not just this morning. Our host Bob Nicoll showed us the immense campus, which has pool tables and videogame systems set up in a common area for the employees to use. A Starbucks is even opening up in the building so that the employees don’t have to leave to get their caffeine fix in the morning. During crunch times, the studio brings in oil change services, masseurs and dry cleaners to help the employees balance their personal lives with their busy schedules.

The screening went over well with many of the questions centering on what inspired the stories and distribution channels, which were common questions throughout the day. Marcy Page, who produced The Danish Poet, commented that the short wasn’t based specifically on the story of how director Torill Kove’s parents meet, but from a tale her father told her about how a collection of choices can profoundly affect the direction of one’s life. As the EA employees were leaving to go back to work, I overheard many of them talking about how moving Little Matchgirl was for them. Roger said during the day that he found that men with daughters seemed to be the most moved by the short. Strangely, the EA staff was more interested in the 2D films, asking Marcy about the difficulties co-producing the film of Canada and Norway. She said for this film, because Torill did most of the work herself and Torill’s husband did the music, it made the collaboration much easier.

After the screening the nominees received a nice gift bag with games and various other shwag as well as a chance to tour The Sims floor where many of the animators were hard at work in their cubicles, decorated with unique individual personality. But the tour had to be short due to the tight schedule of jetting over to PDI/DreamWorks next.

At PDI/DreamWorks, we were treated to some artwork from the past productions like Shrek 2 and Madagascar as well as some of the upcoming projects Shrek the Third, Kung-Fu Panda, Creature Feature and How to Train Your Dragon. But the big highlight of the tour was the chance to see the legendary conference room, which Jeffery Katzenberg had special designed for the studio and then sold the conferencing system to HP. The room is set up where an entire wall is a screen that is linked to the Los Angeles conference room, which is designed exactly the same way, giving the impression that you’re in the same room sitting across a conference table from the people in the studio at the other end of California. All the nominees want one now. Apparently, animators who use to roll in at about 10 or 10:30 are coming into work at 7 am just to get a timeslot in the coveted, high-tech conference room.

The crowd at the DreamWorks screening was more reserved than the one at EA, however many of the questions were relatively the same. Check back for follow-up entries to find out in more detail about what was asked and more so what was said by the nominees. After the screening, PDI/DreamWorks treated us to lunch from their commissary, which is free to all the employees at the studio. During the tour earlier, Roger and Don were ecstatic to run into Beauty and the Beast director Gary Trousdale in the hall. Gary took time out of his schedule, working on the TV special Shrek the Halls, to come to the screening as well as join us for lunch. He seemed very happy to have the chance to catch up with Don and Roger. Throughout the day, many of the nominees had chances to catch up with old colleagues and friends at the various venues.

After PDI/DreamWorks, we had a few hours to spare before heading over to ILM. So we hit some of the sights in San Fran. For Mike Thurmeier, it was his first time in San Francisco. The trip from PDI/DreamWorks to downtown San Fran allowed time for plenty of interesting conversation. Some of the wonderful topics (which I will go into in greater detail in future posts) included the reemergence of 3-D, Don’s idea for a third Fantasia, watching films in the theater vs. at home, the secret to how the 2D equipment was saved at Disney and what it was like living in San Francisco in 1969. It was simply wonderful sitting back and listening to the filmmakers talk about other animators that inspired them and the work they admire. But I could fill volumes so I’ll save the nice details for later. How’s that for a cliffhanger?

After riding the trolley to Fisherman’s Warf, which was the first time for both Mike and Don, we went down to the beach along the bay, where we joked that we wouldn’t strip down bare and go for a swim like Aleksandr Petrov did when he was on the Oscar tour in 2000 for The Old Man and the Sea. After taking a spin by the Ghirardelli store, so everyone could buy sweets for their sweethearts, we walked along the Warf area looking for something hot to drink, settling on the very L.A. choice of Starbucks. Again, it was just fascinating to listen to the nominees chat about which festivals they like and don’t like as well as how they got to the place they are today.

Then sad news came. Marcy received a phone call from Ryan director Chris Landreth, telling her that legendary animator Ryan Larkin had passed away from brain cancer. Marcy, who produced Ryan and was very close with the director, was very shaken by the disturbing news. When it was time to head over to ILM, we all stood at the corner of Jones and Jefferson. As we waited, I saw Marcy put some money in the cup of a scruffy homeless man sitting near by and thought to myself – what a fitting and poignant tribute to Ryan Larkin.

We arrived at ILM later than planned and we were unable to take the tour before the screening so the filmmakers opted to tour the studio while the films were playing. And as I predicted Roger is already tired of seeing his film. However, there are roughly nine more screenings to go before the end of next week. Kate Shaw, the head of training at Lucasfilm, was a wonderful host and valiantly protected us from an overeager security guard who sprung to the scene drawn to the flashes of our cameras. Seeing the many props from the films ILM worked on, which included Lemony Snicket, Galaxy Quest, a scraped Frankenstein animated feature at Universal and a little film called Star Wars, was a great treat. One of the actually R2-D2 units was a very popular photo spot once again on the Oscar tour.

Slipping in right at the end of the screening, the nominees were bombarded with the most questions due to ILM’s invite of ASIFA-San Fran members to the screening and Q&A. Afterwards, ILM treated us to dinner at a restaurant across the street where we met up with head of Lucasfilm Animation Catherine Winder, ILM animator Steve Rowlins and the new producer on the Clone Wars TV series Athena Portillo. The dinner was another great opportunity to listen in on various stories about the filmmakers work. Athena, who is a big Disney fan, was thrilled to hear about Disneyland’s secret Club 33 overtop the Pirates of the Caribbean ride from Don. Likewise, everyone in my general seating area was thrilled to hear Steve’s tales of working on the Harry Potter films. He candidly spoke about which directors understood animation and which ones didn’t. And I have taken an oath of secrecy to not divulge the answers. If you’re curious if I was able to find out anything about Clone Wars, I must report that I was unsuccessful to even get a hint from either Catherine or Athena. The company secrets are truly safe with them. In future posts you can look forward to the filmmakers thoughts on motion capture, the difficulty of continuity on the Star Wars projects and what recent films the animators didn’t like and what upcoming films everyone is looking forward to.

After the wonderful dinner, it was around 11 pm and the nominees, Ron and I hopped into our van for the long trip to Skywalker Ranch. The fog had set in on the winding country roads. The conversation along the way had turned from the business to more personal tales. Marcy talked of an experience when she was younger taking her film to screen at San Quentin prison. The sensation of the doors locking behind her made her wonder if bringing her slightly erotic film to screen for convicted rapists and murders was a wise decision. However, the inmates turned out to be polite and generally engaged in what Marcy had to show.

As we arrived at the gate to the Ranch, the tired assembly in the van seemed to get a burst of energy. A firewoman at the Ranch’s private fire station was holding the keys to our rooms and she escorted us to the beautiful Arts & Crafts decorated building. Like a group of kids who just arrived at camp, we all excitedly scoped out each others rooms. I got the Orsen Welles room. Marcy is across the hall in the NC Wyeth room .Don is in the Norman Rockwell room, which includes an original Rockwell painting. This year the Winsor McCay room went to Roger and the Frank Lloyd Wright room is being occupied by Mike. And for the life of me (maybe because it’s 5:30 in the morning) I can’t remember which room Ron received. I guess like many other interesting details, you’ll have to check back another day. But like kids on Christmas we couldn’t just go to sleep so we raided the fully stocked kitchen and sat down in the cozy, stone-walled sitting room and Don lit a fire in the fireplace. Ron informed us that Geza and Tamas are on their way from the airport and will be joining us for the Pixar screening and lunch tomorrow. After a bit of unwinding, we all set off for our rooms. Everyone was thankfully for this chance to stay here at the Ranch. It’s an awe-inspiring place. I can see how, like Marcy said, one could easily be distracted here. But I can equally see how someone could be inspired.

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