Tia Kratter joined Pixar Animation Studios in April 1993 as a digital painter during production of the studio’s first feature film, “Toy Story.” She has subsequently held the shading art director role on “A Bug’s Life,” “Monsters, Inc.” and “Cars,” where she was responsible for specifying the color and texture of every object modeled for a film. Kratter most recently completed work as the shading art director for Disney•Pixar’s feature film “Brave,” which opened in theaters in summer of 2012 and is set to release in North America on Blu-ray™ and DVD on November 13, 2012. Read Interview
Photographer Robert Landau chronicles the history of larger-than-life advertisements for pop musicians.
Video may have killed the radio star, but it also sounded the death knell for the era of the rock 'n' roll billboards that dominated a 1.7-mile strip of Sunset Boulevard for three decades starting in the late '60s. Slick ads for fashion and TV shows have replaced those hand-painted monuments to rock gods such as the Rolling Stones, Alice Cooper and Led Zeppelin that might have been relegated to the memories of a generation were it not for the foresight of a curious 16-year-old. Read Story
Set in recession-wilted SoCal suburbia, Jason Tippet and Elizabeth Mims’ nonfiction feature focuses on an endearing trio of teenage Christian punks.
The coming of age of the American adolescent, a perennial subject of fiction and nonfiction films, adds a fresh chapter with Only the Young, the debut feature by CalArts grads Jason Tippet and Elizabeth Mims. Their fast-moving documentary zeros in on three ultra-likable Southern California high-schoolers, following them through a succession of hairstyles and turning points. Read More
Raymond Scott, fave of Bart Simpson, in REDCAT music tribute
Few cultural aficionados today recognize Raymond Scott's name. But if you've ever watched a Looney Tunes cartoon, or an episode of "The Ren & Stimpy Show," or "The Simpsons," you've likely heard some of his antic, polyrhythmically perverse, one-of-a-kind music. Read story
CalArts animation alums gross $26 billion at the box office
Want to make a buck in the animation biz? How about 26 billion bucks? According to the California Institute of the Arts, you can start by enrolling there, for directors who graduated from the institution’s animation programs have generated $26.4 billion in worldwide box-office grosses since 1985. Read story
Photo of Pete Docter, Andrew Stanton and John Lasseter on a visit back to CalArts in the 1995. They are pointing to the number of room A113, the room where they and other animation luminaries honed their craft as students. (California Institute of the Arts)
How do colleges measure the success of their graduates?
Here's one way: tally up how well their movies do at the box office.
That's the novel approach being taken by the California Institute of the Arts, the Valencia institution founded by Walt Disney and his brother Roy.
This pilot for a pre-school pitch by Cameron Baity and Benny Zelkowicz (aka Cam and Benny) – about a little girl getting into trouble with her stuffed monster friend, Galoot – is a combination of traditional stop mo, drawn, CG, and even some rock-salt animation for the snow elements. It’s slick, professional and very, very cute.
The pair are CalArts graduates who have gone on to professional careers in stop-mo (Baity directs Morel Orel, Zelkowicz animates on Robot Chicken). Together, for a change of pace, they decided to “try to make something sunny and kid friendly.” Whether they sell the series or not, this test piece is a quite a charmer. Watch video
Every election, candidates stress that the future of the country is at stake. Could it be true this time?
Character is destiny, said the Greek philosopher Heraclites—a romantic, maybe, since the implication is that sooner or later the good guy wins. It’s probably a character flaw on my part, indicative of smugness, to assume this maxim will be tested tomorrow on Election Day in terms of both the two presidential candidates running and the country itself. Such an assumption implies that the good guy’s identity is evident. This may not be the first time in our lives when a national election is about nothing less than the meaning of America. More than 1968 or 1932, however, the views and values of both sides are so distinctly different that what’s unsettling isn’t each side believing the other represents the forces of darkness and that the future of the country is at stake; everybody believes these things during a heated campaign. What’s unsettling is that, for once, these things may be true. This is what makes tomorrow such a dreadful crossroads and what makes after tomorrow such an inevitably daunting path. Read story
Michael Asher (1943–2012): Parting Words and Unfinished Work
Early in the afternoon of Wednesday, October 17, I got a call from a friend and fellow alumnus of CalArts with the news that Michael Asher had passed away. I set down the phone and quickly scanned the obituaries in the Los Angeles Times and the New York Times. And then that sinking feeling set in. I had not been in contact with Michael for some years, but in the nature of a death both expected and untimely (I was aware he was in poor health), I was not prepared for how the news hit me. I was overcome by a wave of remorse: remorse born of a guilty conscience, of kindnesses not paid and obligations unmet; a remorse too late now for any remedy. Read Story