August 1st, 2011 by dayna
July 29th, 2011 by dayna
Longtime ASIFA-East board member, Don Duga, depicts an ASIFA-East board meeting circa the late 1960s and one from 2003.
Article by David B. Levy.
It’s surprising to look back and realize that I’ve spent most of my animation career as president of ASIFA-East, and a large percentage of my adult life committed to ASIFA-East in some capacity. Now, after 11 years as el presidente, I’m stepping down from this office and I’m excited to see what the future holds for myself and for the organization that changed my life.
I joined the board in the fall of 1995, at the urging of one of my heroes, Howard Beckerman. The first meeting I attended turned out to be historic because everybody showed up naked. Okay, that’s not true, I was just trying to spice things up. It was historic because at the start of the meeting Linda Simensky announced she had accepted a job in development at Cartoon Network’s Atlanta headquarters so she’d have to give up the presidency. This was true for about five seconds until long-time board member (and gracious meeting host) Candy Kugel suggested the possibility that Linda could still be president from Georgia. Nobody wanted to see Linda go, so for the next four years, the office moved south to Dixie.
The ASIFA-East board members amazed me then and still do today. They do so much for so many, and never for pay. What brings them back month after month, year after year? All of these people with jobs, personal lives and commitments, feel it’s important to lend their time, talents, and energies to this cause, for this community. The group is a bit like Switzerland, a neutral territory—outside of the boarders of animation studios—where people can gather, mingle, and celebrate their shared love of animation.
Most people who attend board meetings are eventually assigned some task. My first responsibility was to assist then-membership secretary Jim Petropoulos. He taught me all the ins-and-outs of that role and a year or so later, when Jim stepped down, I became membership secretary. My co-worker at Blue’s Clues Chris Gelles became assistant membership secretary. To welcome us to our new posts, Linda and Jim treated Chris and me to a Japanese meal at a fine restaurant. The three of them devoured their fish with gusto (gusto was a popular cocktail of the time). I ordered the chicken, which came with a side of food poisoning (such was the auspicious start of my ASIFA-East career). Being membership secretary was a wonderful experience. It forced me to come out of my shell and engage with hundreds of animation people. Considering that this was pre-Facebook, that was no small feat.
After a few years of being an off-site president and doing a wonderful job in the position for 10 years, Linda Simensky decided it was time for a change. It was quite a shock when she asked me to be the next president. At first, I was reluctant, knowing what a commitment and responsibility it would be, but Linda is a great salesperson. I think I accepted the next day. When I became president it was all fireworks and barbecues, but I’ve since been told that was because it was the Fourth of July. My early days in the role were a lot like visiting a foreign country: you struggle to learn the language, try to pack the right clothes, and have trouble going to the bathroom.
My time as president turned out to be a period of great instability in the economy. New York animation was also affected by shifting media trends, a number of unstable studios, aborted productions, and a few large studio closures. But now may be the start of a new era of growth. New York is still the home of many celebrated indie filmmakers, a few mid-size to large studios producing series work, lots of scrappy and resourceful artist-run studios, a thriving CGI/SFX community, several world-class animation schools, and one of the best animation talent pools around. Besides ASIFA-East, the community is further served by such groups as WICM and WIA, and new institutions like Animation Block Party, Too Art for TV, and Midsummer Night Toons, each contributing much to the fabric of New York-area animation.
In 2000, when I stepped into Linda Simensky’s impressive shoes (I think they were Converse), I was nervous and felt a bit unqualified that first year. But the position forced me to sharpen my game, interact with a lot of people, and present myself as a public figure and community leader. I’m not sure I ever fully figured out that last part of the job, but with such an enthusiastic board of directors, and a wonderful group of supportive members, we achieved a lot! Membership is up, our books are in the black, the monthly screenings are well attended, submissions to our festival have risen by nearly 50%, which may have to with the fact that we have the most vital Web site (and social outreach) of any ASIFA chapter in the world.
Whatever we accomplished on the board of directors is your legacy too. To all the ASIFA-East members and all of the executive board members of the past eleven years, I’m forever in your debt for the amazing opportunity to be your president. I’m still astounded that anyone had faith that I could do this job! Thanks for believing in me. You changed my life and career in so many ways. I can’t thank you all enough!
Now, all that’s left to do is throw our support behind the next president…
On behalf of the entire board of directors, I’m excited to announce that the awesome, affable, and animated Linda Beck will be your next president. She’s no stranger to the ASIFA-East board or the community, having served on the former as membership secretary for over five years. She also has a prominent place in the industry, currently working on the hit Nick Jr. series Team Umizoomi as a production manager/line producer. Linda is also a terrific artist and illustrator, as well as friend to all animals, vegetables, and minerals. Perhaps most importantly, she’s a fierce and passionate fighter for all animation folks.
To top it off, Linda has strong ties to the CG/SFX community, having worked as producer for two years at Mechanism Digital. A couple of years ago she used her expertise in this area to put together a killer panel featuring five of the top CGI/SFX studios in town. As the worlds of character-based animation and CG/SFX and composite work blend together more and more, Linda Beck is just the person to keep ASIFA-East relevant in this changing media landscape.
Linda’s term as president begins on September 1st, and I know you’ll join me and the executive board in giving her a warm enthusiastic welcome. We’ll announce further changes to the board of directors this fall as well as planned improvements to the festival.
Till then, have a great summer!
July 26th, 2011 by dayna
Our friends at Project Twenty1 are having a really great event in Philly this weekend to celebrate their festival launch. See below for all the info:
LAUNCH EVENT – THIS SATURDAY, JULY 30TH
It’s nearly here! After months of waiting, The 21-Day Filmmaking Competition 2011 is finally about to begin. This year we welcome at least 55 Teams of filmmakers from all over the U.S., Canada, and Hong Kong!
If you’re local, don’t miss the:
Project Twenty1 Launch Event & Networking Party
Saturday, July 30th, 2 pm – 6 pm EDT
Lucky Strike Lanes & Lounge
1336 Chestnut St. (map)
Philadelphia, PA 19107 USA
FREE, all ages welcomed! RSVP on EventBrite RSVP on Facebook
Come one, come all! Many attendees will be making a film in the three weeks that follow, so meet enough people, and odds are good you’ll end up working on at least one film this August, doing anything from acting to composing music to graphic design to PA work. The Launch Event will conclude with the announcing of the 2011 Rules, followed by the reveal of this year’s “Secret Element” that all the 21-Day films must include. All the filmmakers will then set off to make their films, and they’ll be due back at Lucky Strike on August 20th by 6:00pm EDT.
Win hundreds of dollars in door prizes from Sony Creative Software! Want to know what to expect? Check out clips from prior years’ Launch Events!
Not local? We’ve got you covered! We’ll be e-mailing the Element to all Team Leaders as soon as we announce it so everybody has the exact same 21 days to make their films.
Special thanks to event sponsor Lucky Strike for hosting!
LAST 2 DAYS – 21-DAY COMPETITION TEAM SIGNUPS
We’ve heard it all month, from filmmakers all over: “Is it too late to sign up? I just heard about it! How do I sign up as a Team?” So, due to overwhelming demand (and because we’re just so damn nice), we’ve kept open the 2011 21-Day Filmmaking Competition signups until the Launch Event. Take advantage of it now or hold your peace until 2012!
For those of you who have signed up already, don’t worry, there’s reward for your punctuality. The Early Deadline was $100 back in March, the Late Deadline was $150… if you decide to join us now, it’s $200. It’s only fair to the Teams that were first on board. But we still want to give everybody a fair chance to participate, because trust us, and ask any of our prior years’ Participants… it’s the best $200 you’ll ever spend on a film. If you don’t believe us, check out the Prizes page, featuring over $1000 in software from Sony Creative Software and Final Draft, not to mention the guaranteed theatrical screening of your film, and the MASSIVE amount of marketing and promotion you will receive to other festivals once your complete your project!
You will be showcasing your filmmaking skills up against competitors from all over the U.S. as well as the UK and Greece! Among them, last year’s winners for Best Film, Audience Awards, Best Animation, Best Writing, Best Soundtrack, Best Marketing, Best Acting and the EPIC Award.
We promise nothing short of a great time, and at its best, perhaps an actual life-changing experience.
Your friends, as always,
Stephanie Yuhas, Executive Producer
Matt Conant, Director
July 17th, 2011 by dayna
It’s picnic time! This fun event was created by our lovely member Debra Solomon! Come be laid back and hang out with the coolest people on the face of the earth … which includes you! Bring some food or something to drink – its community time so think share the bounty maybe you make a mean pineapple upside down cake? Or heavenly tuna sandwiches… plates and utensils will be provided, Bring a blanket or a sheet… for sitting … there will be slightly annoying games and more fun than there is space here to describe! Facebook invite: http://www.facebook.com/event.php?eid=117129105046107
Saturday, July 30 · 2:00pm – 9:00pm
Riverside Park at 108th street near the outdoor cafe
July 10th, 2011 by dayna
Councilman Jimmy Van Bramer of the 26th District of Queens, and Freddie Adelman, Director of Exhibitions of the Smithsonian Institution Traveling Exhibition Serivce, making opening remarks for the Muppet show
Article by Tristian Goik.
I recently picked up a two-pack of “Muppets in Space” & “The Muppet Movie” from a $5 bin in K-mart. Definitely a perfect find in a barren place. It reminded me that the Muppets had an animation appeal to not just kids but all members of the family. Gonzo came out to Kermit as… an alien, and Kermit just wrinkled his fuzzy little face in a way that both worked in the story but still was a sly nod to the audience. Good times all around.
“Jim Henson’s Fantastic World” at the Museum of Moving Image has a great and valuable exhibit on all things Henson. This would include storyboards, concept drawings, posters, and of course, the puppets themselves. There is an educational video that simultaneously screens a short film of Henson’s and the corresponding storyboards. As you look over his simple characters and framing, you realize that Jim really trained his skills in a ton of advertising work. You could probably call him a Renaissance man, since he did most of his own voices, wrote his own jokes, and sketched out specific mechanical designs for his puppets. As you wind your way through the museum, you’ll see that Jim Henson had a remarkable sense of color, and you can see his art evolve from low brow coffee commercial humor, to the intricately detailed “The Dark Crystal.” Almost all of his creations are covered in the exhibit, which ends with a homey video of interviews with the artist, which you can watch while sitting on a plush toadstool. It reminded me that there are vast amount of Muppet Show footage I haven’t seen, which means there is much more to understand. Fortunately, the museum will be screening many of his films, some of which will even have live guest speakers!
The best guest at Thursday’s Muppet party was Mayor Bloomberg. He was very suave with the hostess, cracking jokes and encouraging us to dim the lights to save on electricity. He even slicked back his hair with a fuzzy orange hand and asked for a Metro-card swipe so he could get home. Oh, haha, I guess it was just a puppet.
June 28th, 2011 by dayna
ASIFA-East is currently on hiatus for the summer. We will have occasional posts from time to time til the fall. Have a great summer!
June 27th, 2011 by dayna
Pratt Institute: Part Time Instructor, 2-D Animation Fall 2011
Department of Digital Arts seeks qualified, artistically minded 2D animation instructors who address the creation and use of traditional and digital animation for artistic expression as well as commercial production.
Candidates should have a knowledge of frame by frame hand drawn techniques (pose to pose as well as straight ahead), 2D digital animation production, a history of motion picture animation, and experience producing short animated films. An MFA, a record of professional activity, and evidence of professional production or art studio practice are required.Professional production experience and minimum of one year college teaching experience is preferred.
Courses meet weekly between 15 weeks during the fall semester.
Salary: Based on Pratt part-time scale and commensurate with qualifications and experience
Please send letter of addressing qualifications relevant t the responsibilities specified above and a statement of your teaching philosophy, CV, and a link to your portfolio of personal and student work to:
Include “2D Instructor/ your name” in the subject line.
May 31st, 2011 by dayna
Pilar Newton at work on Kabala Toons
Article by Emmett Goodman.
It’s June (or almost the end of it anyway). And ASIFA-East goes dormant for the summer yet again. So for our last event of the season, ASIFA-East presents a discussion on Virtual Studios.
Its no secret (at least within the animation industry) that the recent economic recession wrought havoc on jobs in animation. Henceforth, a lot of industry veterans began taking on freelance work by the load. Looking at the whole situation in retrospect, starting up a virtual studio seems to be out of necessity. For those who don’t understand, a virtual studio is run out of the head director/artist’s home, and instead of within a studio, is managed through a network of different people in different places.
Tonight’s panel discussion, hosted by Dayna Gonzalez, features established LLC runners David Cowles, Pilar Newton, and Alan Foreman. Each panelist presented a reel of their work, each one demonstrating three different and unique talents. However, the evening didn’t seem to be about the art of their animation, but the art of their own businesses. Right at the start, it is stressed that one needs good communication skills and discipline. And although some of it sounds exciting for newcomers looking to start up their own business, this panel should hopefully have demonstrated that running your own business relies on your experiences and contacts, and not just on skill alone.
Alan Foreman: Cat Slap
David Cowles began his career as an illustrator for nearly 20 years. In 2000, he began his animation business working with They Might Be Giants (the patron-saints of animated music videos).
Pilar Newton began her career working for MTV and then John R. Dilworth (among her credits are Courage the Cowardly Dog and Daria). In 2007, work started slowing down, so Pilar began to take on freelance clients, some of which are still with her today.
Alan Foreman started out at Animation Collective, which was shaken down by the financial crisis, and led him to doing more freelance work.
One of the issues that was brought up are what you learn from dealing with clients. Each panelist discussed mistakes they had made in the past with clients. When taking on a paid job, you must always request a percentage up front. And you should be careful to saying “yes” to too many jobs, which (according to Mr. Foreman) can do psychological harm. It’s no secret here that most of the time, you get clients who have no idea how the process of animation works, and the hours and money they request/offer do not necessarily fit an animation production schedule. It is also not always likely that a client hires you based on something you have done previously, but hires you just because you know how to animate. This becomes even more apparent when the panelists all agree you need to be able to adapt to other drawing styles.
One thing that kept being brought up is whether or not the panelists missed studio work. There appears to be mixed feelings about returning to work in a studio environment. On the upside, you get to control your own hours in your own virtual studio (which you must learn to discipline yourself with), and you don’t have to deal with a boss. On the downside, there is nostalgia for the camaraderie amongst artists in the studio space (a point stressed frequently by Mr. Foreman). In fact, that may be a downside for animation graduates who are struggling to find work and doing freelance, there is no longer the camaraderie they had in school and thought they would have in the workplace.
David Cowles: Days of the Week
Finding people to help out is another issue. To quote Pilar Newton, “Necessity is the mother of needing animators” (after stating this, she gives a shout out to her loyal helpers past and present, including the author of this article!). Since you are working freelance, whoever helps you is also working freelance. Mr. Foreman says he likes hiring people he knows personally (which comes back to the whole camaraderie thing).
Near the end of the evening, the panelists each gave their advice to aspiring animators looking to start their own businesses:
Pilar Newton says she was taught by John R. Dilworth to be a Renaissance artist. To know how to do more than one thing.
Alan Foreman stresses maintaining relationships and always having lunch with different people.
David Cowles says to always keep your creative juices flowing.
In the end, it becomes clear that the recent economic recession gave way to more of these virtual studios popping up everywhere. However, many of the people who run these LLC’s succeed based on past experience both in the industry and on their own. Their own business practices are shaped this way. Having your own studio doesn’t mean always doing your own work. In fact, one of the panelists (either Cowles or Foreman) states you should try to have a back-up plan, in case your animation career doesn’t work out. But they all agree that if you are passionate about art and animation, then you should go for it.
Editor’s note: For those who missed the discussion, a video of it has been posted online at http://www.ustream.tv/recorded/15573157.
May 30th, 2011 by dayna
ASIFA-East presents a panel discussion on virtual studios. Come join panelists David Cowles, JP Dillard, Alan Foreman, and Pilar Newton for an inside perspective on what it’s like to run, hire, and work for a virtual studio. Moderated by Dayna Gonzalez.
Thursday, June 23rd, 7pm
School of Visual Arts
209 East 23rd Street, Room 502
May 23rd, 2011 by dayna
Ann Yu of Silver Swans (second from the left) Peter Peel (right hand side) and two imaginary cartoons
Article by Tristian Goik.
“A lot of things will go wrong,” said Michael Sauter, as he opened “Dark Toons” an evening at the Rooftop Film Festival. One of the first things was the rainy weather, which forced the event to move to Wednesday. I didn’t think was a problem until I learned the screening was part of a Solar Powered festival. Chew on that. The event itself was more than anyone could ask for. It was a balmy evening by the East river, with comfortable seating on chairs or rocks, and free beer. Also some port-a-potties. “Silver Swans,” an electro-pop band started off the night with some great music that rolled off the audience, past the water, and the passing street cars. [First reader to discover the band’s comic book reference wins a prize!] After the crowd was warmed up, we were ready for some enjoyably evil animation.
Evil is a broad concept. The films revealed aspects of cruelty, insanity, pain, and aspects of impulsivity, abandon, and beauty. “Sensology” (Michael Gagne) fit the bill because it had a lot of the color black in it, but beyond that it was a passionate depiction of improvised electro-jazz music. Mr Gagne is in a place where lines and sounds are the same idea. “The Holy Chicken of Life and Music,” (Nomint I Greece) is not particularly dark, but brilliantly 3d-animated. Part educational film, part modernist exhibit, a single slide of the film inspired me to creativity as I waited for the films to begin. “Moskito Bravo” (Autour de Minuit) is a cartoon bas-relief… meaning that someone took their cartoon animations and added about an inch of depth in a world a foot deep. For those who love sci-fi I recommend “The Gloaming” (Niko Nobrain) which investigates intelligent design. [I swear there was an alien film with cubes but it’s not showing up on the program or website…]. “The Ongoing Life of Peter Peel” (Felix Massie) was a great exercise in futility and simplicity.
A couple of familiar faces showed up as well. “Guard Dog Global Jam” (Bill Plympton) still makes me laugh whenever I see it. “Enrique Wrecks the World” (House of Chai) should be screened on Adult Swim. And “Let’s Get Fucked Up And Die” (Kelsey Stark) elicited several groans and laughs from the audience. And finally there was one other new film “Triumph of the Wild” (Martha Colburn). This is a good stop motion film that creatively uses old cheesy puzzles to argue against human violence, but it was quite tiring with shots averaging about 2 seconds long… beautiful but a mental exercise.
“Dark Toons” is a great annual event and I suggest you look up Roof Top Films for more summer movie screenings. After the films ended I was overwhelmed by the darkness and decided to go for that second beer. (Bad idea). Furthermore, I realized that many of these animations were just crafted so damn well, and they should serve as inspiration for everyone.
It’s almost summer and that means Rooftop Films is projecting films on rooftops throughout New York City. This year’s festival features many animated shorts and our pals at Rooftop sent us a run-down. They are also offering ASIFA-East members a discount to the festival shows. Please look for the discount code in our weekly email newsletter. Hope you enjoy the shows!!
Wednesday, May 25th – New Date
From Road Runner to The Simpsons, animated films have always been good at finding fun in the dark and twisted. It’s easier to embrace life’s awful absurdities when we don’t have to watch them happening to real, live people (or dogs). Of course, sometimes the attraction is the spectacle an inspired animator can create: the sheer, over-the-top train-wreck momentum of things going horribly wrong – an over-protective pooch’s gauntlet of challenges in Guard Dog Global Jam or the snowballing rush to Armageddon in Enrique Wrecks the World. Lots of things go brilliantly wrong in this program of shorts – some thrilling, some unsettling, all utterly unique.
Venue: On the pier at Solar One, 2420 FDR Drive (E 23rd Street and the East River
New York, NY 10010
Subway: R/6 to 23rd St., walk all the way east.
8:00 PM Doors Open
8:30 PM Live Music
9:00 PM Films Begin
11:00 PM After Party Onsite, sponsored by Radeberger Pilsner
Tickets and more info at: http://rooftopfilms.com/2011/schedule/dark-toons-1/
GUARD DOG GLOBAL JAM (Bill Plympton | New York, NY | 5 min.)
THE HOLY CHICKEN OF LIFE AND MUSIC (Nomint | Greece | 3 min.)
THE GLOAMING (Niko Nobrain | France | 14 min.)
COSMIC JUNGLE (Marie Ayne, Martin Brunet, Alexander Casals, Sebastien DeOliveira Bispo, Fabrice Fiteni, Mathieu Garcia | France | 5 min.)
THE REPLICANTS: USER (Edouardo Salier | France | 4 min.)
TRIUMPH OF THE WILD (Martha Colburn | New York | 11 min.)
THE ONGOING LIFE OF PETER PEEL: CAN, CAN, CAN’T (Felix Massie | UK | 2 min.)
LGFUAD (Kelsey Stark | Brooklyn, NY | 4 min.)
MOSKITO BRAVO (Emeline Chankamshu, Alexandre Cuegniet, Paul Serrell, Sarah Sutter, Henning Wagenbreth | France | 7 min.)
ENRIQUE WRECKS THE WORLD (David Chai | San Jose, California | 4 min.)
Thursday May 26, 2011
NO WAY OUT – Short Film Thrillers
These fun and frantic short films—comedy, animation, music videos—tell the twisted tales of terrified souls trapped inside the machine. One of these little old ladies is not like the other, but she’s settling among the group. This ordinary office is not what it seems, but you may end up working here. A disturbing chaos is sweeping these average American high school scenes, but there’s no time to transfer out. And once we have gone into the future, we may never come back whole. But patch up that shabby space suit, dust off that bloody prom dress, and batten down the hatches: it’s gonna be a spectacular show when this ship goes down.
On the Roof of Brooklyn Technical High School
29 Fort Greene Place (between Dekalb and Fulton), Fort Greene, Brooklyn, NY 11217
G to Fulton, C to Lafayette, 2,3,4,5 to Nevins or B,M,Q, R to Dekalb
8:00 PM Doors Open
8:30 PM Live Music by Ela Orleans
9:00 PM Films Begin
Tickets and more information at: http://rooftopfilms.com/2011/schedule/no-way-out/
TWINSET (Amy Rose | Scotland)
JPBF (Stephen Collins | USA)
ONCE IT STARTED IT COULD NOT END OTHERWISE (Kelly Sears | Houston, Texas)
PROM NIGHT (Celia Rowlson Hall and Jae Song | Brooklyn, NY)
WE USED TO CALL PEOPLE LATE AT NIGHT (Eran Hilleli, Anna Shevchenk and Yoav Brill | Israel)
EVASION (Speedy Graphito | France | 5 min)
PROTOPARTICULAS (Chema Garcia Ibarra | Spain)
OUT OF NOWHERE (Will Lamborn | Los Angeles, CA)
WOUNDED MAN (Zachary Volker | New York, NY)
LIARS: SCISSOR (Andy Bruntel | TK | 4 min.).
BURNING WIGS OF SEDITION (Anna Fitch and Simon Cheffins | San Francisco, California)
“…The idyllic beach-house guitar conjured up an atmosphere all twilight and palm trees – a far cry from the stark onstage cluster of sampler boxes in a drafty warehouse…” – Jezebel Music
Wednesday, July 6, 2011
ROOFTOP FILMS: CLERMONT-FERRAND SHORT FILMS – Free Show
A collection of extraordinary new short films, all selected from the 2011 Clermont-Ferrand Short Film Festival , the premier short film festival in the world. When we, as audience members, watch feature length films, we have a certain set of expectations. But when a filmmaker creates a short film, he or she is freed from some of those expectations, and therefore the short form allows filmmakers to take more chances and explore alternative cinematic techniques.
Because we are always searching for filmmakers who are creating genuinely new and unique work, each year Rooftop scours the globe, searching for the most inventive, daring, and breathtakingly entertaining short work being made worldwide. So we think that it means a lot when we say that nowhere have we encountered short work as consistently amazing as that which we see each year at Clermont-Ferrand. For decades, the films shown at Clermont-Ferrand have explored all the possible ways that stories can be told, all the different cinematic conventions that can be rejiggered. The films that play each February in the French city of Clermont-Ferrand defy expectations, break boundaries, and this program of shorts that we have selected from their 2011 slate includes some of the most wildly adventurous films being made in the world today—regardless of running time
7:00 PM Live Music
8:30 PM Films Begin
On the grass along the water at Socrates Sculpture Park, 3134 Vernon Boulevard (at Broadway), Long Island City Queens, NY 11106
Subway: Take the N or W train to the Broadway stop in Queens and walk eight blocks west on Broadway (toward the East River) to the intersection of Vernon Boulevard.
No charge for admission. More information at: http://rooftopfilms.com/2011/schedule/clermontferrand-short-films/
BIG BANG BIG BOOM (Blu | Italy | 10 min.)
TURNING (Saul Freed and Karni Arieli | UK | 10 min.)
MAN IN A ROOM (RAfael Palacio Illingworth | USA, Switzerland, Mexico | 6 min.)
YURI LENNON’S LANDING ON ALPHA 46 (Anthony Vouardoux | Germany | 14 min.)
RUBIKA (Claire Bauden, Ludovic Habas, Mickael Krebs, Julien Legay, Chao Ma, Florent Rousseau, Caroline Roux, Margaux Vaxelaire | France | 4 min.)
MASSIVE ATTACK: SPLITTING THE ATOM (Edouard Salier | France | 4 min.)
ALL FLOWERS IN TIME (Jonathan Caouette | Montreal | 13 min.)
SUIKER (SUGAR) (Jeroen Annokkee | Netherlands | 7 min.)
DEEP END DANCE (Conor Horgan | Dublin, Ireland | 6 min.)
LOOM (Jan Bitzer, Ilija Brunck, and Csaba Letay | Germany | 5 min.)
THE PIANO TUNER (Olivier Treiner | France | 13 min.)
Friday, July 29, 2011
ANIMATION BLOCK PARTY
Some call it punk rock, some call it grass roots, but labels aside, NYC-based Animation Block Party is dedicated to exhibiting the world’s best independent, professional and student animation.
The 7th annual ABP film festival kicks off at Rooftop Films and continues all weekend long.
The summer of 2011 will mark the eighth annual Animation Block Party film festival. ABP has quickly become the premiere animation festival on the East Coast, showcasing the world’s best student, professional and independent shorts of all genres.
For the past six years, the ABP festival has opened at Rooftop Films. The ABP-Rooftop experience offers a big-screen simulcast of animation on both lawns at the Automotive High School.
This year, ABP will open on July 29th at Rooftop Films and then continue on July 30th and 31st at Bam Cinematek. Every evening will feature an awesome after party with free drinks.
The entire Animation Block Party lineup will be announced on the ABP festival website on June 25, 2010. For information, please go to www.animationblock.com
8:00 PM Doors Open
8:30 PM Live Music
9:00 PM Films Begin
11:30 PM After Party at Matchless (557 Manhattan Ave at Driggs Ave)
On the lawn of Automotive High School, 50 Bedford Ave. (at North 13th St.), Williamsburg, Brooklyn, NY 11222
Subway: L to Bedford Ave. or G to Nassau Ave.
Tickets are $10 online or at the door. Tickets and more information at:
Saturday, July 30, 2011
KILL SCREEN VIDEOGAME FILM FESTIVAL
Rooftop Films and Kill Screen present a night of short films, new videogames, and special presentations that showcase the impact that games have on our culture and daily lives. Rooftop Films and Kill Screen present a night of short films, games, and special presentations that showcase the impact that videogames have had on our culture and daily lives. Since 2008, the total worldwide gross income from videogame sales has exceeded worldwide movie theater box office grosses. Yet videogames are still generally treated as second rate entertainment. Kill Screen is a publication devoted to answering the question: “What does it mean to play games?” On July 30th we will explore that question, show some extraordinary work, and play some amazing videogames that might provide some answers.
8:00 PM Doors Open
8:30 PM Live Music
9:00 PM Films Begin
11:30 PM Reception in Courtyard with Indie Video Games
On the roof of The Old American Can Factory, 232 3rd St. (at 3rd Ave.), Gowanus/Park Slope, Brooklyn, NY 11215
Subway: F/G to Carroll St. or M/R to Union
Tickets are $10 online or at the door. Tickets and more information:
DAS RACIST: “WHO’S THAT? BROOOWN!” (Thomas DaNapoli | Brooklyn, NY | 4 min.)
GET REAL! (Evert de Beijer | Netherlands | 11 min.)
8 BITS (Valerie Amirault and Sarah Laufer | France | 7 min.)
MINECRAFT: THE STORY OF MOJANG (EXCERPT) (2 Player Productions | Sweden | 8 min.)
MINECRART INTERSTATE (Brett Sanders | Florida | 3 min.)
CLASSIC VIDEO GAME DEATHS (Rob Beschizza | USA | 3 min.)
DEAD ISLAND TRAILER (Deep Silver | Germany | 3 min.)
BEAR UNTITLED (Christen Bach | Berlin | 1 min.)
SUPER THERE WILL BE BLOOD (Tomfoolery | United Kingdom | 1 min.)
POST NEWTONIANISM (Josh Bricker | New York, NY | 6 min.)