Festival to open with Michaël Dudok de Wit’s The Red Turtle [pictured]; Guillermo del Toro and Aardman to give masterclasses.
Annecy International Animation Film Festival, running June 13-18 this year, has unveiled its line-up.
New Zealand director Leanne Pooley’s documentary 25 April, about the Battle of Gallipoli; Canadian film-makers Jean-François Pouliot and François Brisson’s 3D hit Snowtime! (La Guerre des Tuques 3D); Claude Barras’s Cannes-screener My Life As A Courgette, and Sundance discovery Nuts! are among the titles in the feature-length competition.
The festival will open with Michaël Dudok de Wit’s The Red Turtle, which will premiere first in Official Selection at Cannes.
Other highlights include a preview screening of Chris Renaud and Yarrow Cheney’s The Secret Life Of Pets, in the presence of the directors. Andrew Stanton will also attend the festival, accompanying Finding Dory.
First images of Ron Clements and John Musker’s upcoming film Moana and Michael Thurmeier’s [link...
Annecy International Animation Film Festival, running June 13-18 this year, has unveiled its line-up.
New Zealand director Leanne Pooley’s documentary 25 April, about the Battle of Gallipoli; Canadian film-makers Jean-François Pouliot and François Brisson’s 3D hit Snowtime! (La Guerre des Tuques 3D); Claude Barras’s Cannes-screener My Life As A Courgette, and Sundance discovery Nuts! are among the titles in the feature-length competition.
The festival will open with Michaël Dudok de Wit’s The Red Turtle, which will premiere first in Official Selection at Cannes.
Other highlights include a preview screening of Chris Renaud and Yarrow Cheney’s The Secret Life Of Pets, in the presence of the directors. Andrew Stanton will also attend the festival, accompanying Finding Dory.
First images of Ron Clements and John Musker’s upcoming film Moana and Michael Thurmeier’s [link...
- 4/28/2016
- ScreenDaily
Wishing to entice audiences of all ages and backgrounds, the majority of animated features produced by American studios deal with larger than life adventures where stakes are high and reality give in to fantasy. Characters are almost always charged with a dangerous mission that often involves saving the planet from destruction or rescuing a loved one from the forces of evil. But what is often ignored is the entertainment value in stories that are relatable and closer to reality, while still being exciting and prime material for animation.
Jean-François Pouliot and François Brisson's Canadian animated feature "Snowtime!,” which premiered in January at the Sundance Film Festival effectively delivers a story about children engaging in fun activities that are captivating in their own right, such as a fun snow fight with a group of friends, and simultaneously touches on emotionally complex subject that can evolve into conversation topics between parents and children. Based on a classic live-action Canadian film, scored with songs by some of the country’s biggest musical stars, and dealing with a young boy overcoming grief through playtime, “Snowtime1” is an endearing and humanistic alternative to the ceaselessly voracious tent-poles.
Producer Marie-Claude Beauchamp and co-director Francois Brisson talk about making an Canadian animated feature based on a local classic and how this new iteration is turning the characters into a global sensation.
Carlos Aguilar: Something that's fascinating about the film is that is a story that allows children to be children and doesn't place them in situations beyond their age. It's still an exciting adventure but it doesn't involved high stakes missions or otherworldly powers. Was that something that you were interested in showcasing in the film?
Marie-Claude Beauchamp: The film is a remake of a film that was produced 30 years ago. It was originally a live action film. The genuine value, and probably the overall feeling of those kids being real kids, resonates because they were once real kids. But when we adapted it for animation we kept some of that charming reality of children. It was important to us that the children were living things from their point of view, that it was real to them. So when kids look at this film, and this why the film had a huge impact then and I believe still today, they can see themselves in these characters. There are not just cartoons representing things that are out of their reach but are cartoons representing things that are so close to them in terms of subjects, feelings, and emotions.
CA: François, what inspired you to get involved in the film? Did you also have a personal connection to the original version or did you see it as a challenge on a professional level?
Francois Brisson: This is a very classic film made here in Canada in 1985. It’s a huge classic for us here in Quebec, so to be approached to be a co-director in the film was for me a great opportunity and a great challenge at the same time. We needed to tell the story, keep it universal, and also keep all of its charm, the great storylines, and the tragedy that happens in the film. This was a great chance for me to work on doing that. We worked so hard to respect this classic tale and bring it to the 21st century.
McB: Yes, that was an interesting challenge, to find ways to tell the story that children of today would understand. Obviously we’ve changed as a society, here and everywhere around the planet, in the last 30 years, so we had to adapt the film to today’s point of view. It was not a direct transmission of the original, it was instead a real adaptation
Fb: What was also great about is that, for example, when we went to Sundance the reception that we got at the screening was the same as the one we got here in Quebec. We were able to reach the same emotions in different audiences.
McB: Even people who knew nothing about the original film. That was quite a surprise to realize that what we knew could resonate here, also resonated with American audiences.
CA: Stylistically, the character design is unique in comparison to most CG animated features in the the U.S. Where this is specific aesthetic come from and what was the reasoning behind it?
Fb: It came from the art director Philippe Arsenault Bussieres, he’s been illustrating children’s books for a long time and he has a very strong style, which kind of resembles stop-motion puppets in some ways. We tried to keep that in mind and we also focused on the texture of the characters. They feel very organic, you can see the texture sketchiness of the etchings in the characters like in the wool that you see on the characters hats and clothing. Also, what I often see in other animated films from major studios is that they animated the same way, so we tried to stay way from that. We tried to go back to the roots of the old classics like Bugs Bunny in some ways and also stop-motion. The kids in the film are all wearing these big heavy suits, so they can’t move the same way as if they were running with shorts and t-shirts , so all that needed to be understood by all the animators.
McB: Graphically the challenge that we had was to make the cold feel warm because the story takes place mostly outside and we didn’t want people not to relate to that situation, so the way that the art director approached the drawings gave it a warm feeling. We didn’t want it to look real, because I find it that sometimes real 3D looks a bit creepy [Laughs], so we wanted to stay closer to cartoons or closer to 2D. Yet again, it is in 3D and the volumes of the characters are real, but we had the softness and tenderness that can come out of 2D thanks to the design.
CA: War and death as themes are treated in a delicate manner while not shying away from their significance. Were you concerned at all about including these elements in a film aimed at a young audience or did you feel children would be receptive to them?
McB: I would not treat this lightly that’s for sure. We were very concerned about how we would approach that. In the original live action film the dog dies and the reference to Luke’s life is regarding his grandfather who died in the war. Because nowadays grandfather’s in a war, timing-wise, might not be a reference that children can relate to much, we thought that reference could be more relatable if it was his father. We brought it closer to the drama part. We also brought it closer because we wanted for Luke’s character to find himself and to make peace with his own sorrow. We also wanted him to overcome the death of his father once and for all now that he has lived it in his own way. The subject is there and we strongly believe that children need and want to experiment fear as success of all the fantastic films has shown. They need to deal with fear and sorrow. I was raised on “Dumbo” and “Bambi,” and when my own pet died I knew more about how to deal with it because I experienced in my own way and I had shared it with my parents. We are believers that films can serve for children to experiment emotions just the way that we go into films and experiment emotions. Emotion is good.
CA: The music in the film was created by famous Canadian musicians like Celine Dion and popular band Simple Plan. How did these collaboration come about?
McB: We have a lot of good talent in Canada that are known around the world. This film is a prestigious film for the Canadian industry because we don’t produced very large independent budgets, so when singers and great artist saw the opportunity for them to support the film they joined into the proposal. They felt a relationship to the story, particularly this one being one that they also cherished when they were kids. Celine Dion saw the film when she was young and Simple Plan saw the film when their were young as well. Celine relates also to this film through her children because she’s shown it to all of her family. There is a sense of belonging and a sense of support, we are so proud and very happy of these collaborations.
CA: What would you say is the state of independent animation in Canada today?
McB: It’s an industry that is growing. There is a lot of talent. Independent films are more and more coming together but there are still only a handful of films that have been made in recent years. It’s definitely growing.
CA: François, tell me about working with a co-director like Jean-François and what that mean in terms of division or labor or the decision-making process?
Fb: Jean-Francois was the director and he was more in charge of working with the voice actors, but because it’s a big production we needed many eyes to see everything. He was more in charge of that, and I was in charge of doing the storyboards, checking the design, the layouts, the animation, and so forth. When he was away I was busy doing certain things and vice versa.
McB: It was an amazing amalgam. They really worked hand in hand instead of it being a fiasco, because having two people trying to make the same film can be complicated. But we are very proud of how they managed to work together in such symbiosis
CA: François, you've worked on both 2D and 3D, which one do you prefer or what is the difference between the two as you create your storyboards and then transfer them into animation?
Fb: I’ve been working in 3D animation for a few years now, but my training as a 2D animator is very useful because I can draw anything. Sometimes I feel I'm more capable of storyboard better that way. I’m using a pencil and not a software. Sometimes when you have the software you go too much into detail. You got too much into the technical side of it so you get away from first impressions. When you do a storyboard you need to go very quickly about it to get the feel of the scene or the shot. For me, it’s perfect to do it on pencil or drawing on a tablet. When we transfer that into layouts and the camera aspects,Jean-François makes it a breeze because he knows so much about camera movement. It worked perfectly well. We had not issues.
McB: You will probably notice that the lighting is also very particular. Jean-Francois convinced the team about using a backlight, which is rarely used in animation. It also adds to the feel of closeness to the characters because of the way they are lit.
CA: Given that this is a Canadian production, was the film created in French first and then an English dub was created or what approach did you take?
McB: We always say that we did two original versions of the film, but basically the lip-synch is based on the English version. It’s being release in the United States as an original English version. There was no dubbing for the English-version. The actors you are hearing are the same actors that helped inspire the animators throughout the whole process.
CA: Were the voice actors involved in the film connected personally to the original film prior to partaking in this animated version or did they first have to get acquainted with the material at hand?
McB: We had two stars, Ross Lynch and Sandra Oh. Ross has had a relationship with the original film all of his life, so he had a personal link to it. Sandra Oh, who is Canadian and was raised in Toronto, also had an endearing reference to “Snowtime!” The other actors were all based in Montreal, so they new of the original film and they obviously embraced it. They were all adult actors, we didn't use any children actors.
CA: As "Snowtime!" melts hearts around the world, what is CarpeDiem, planning as a follow up? What are are some of upcoming projects?
McB: Right now we are financing a sequel to “Snowtime!” and we are hoping to start production in the summer. We are also in production of a TV series that follows the first-graders in “Snowtime!,” we call them our Minions [Laughs]. We developed an app, there are records, merchandise in some territories, and three books in publishing, so we definitely developed it as a franchise and will continue doing so. We have also just opened a “Snowtime!” museum exhibition here in Montreal, and it’s a traveling exhibition. We are working with our distributor Shout! to bring it to the United States...
Jean-François Pouliot and François Brisson's Canadian animated feature "Snowtime!,” which premiered in January at the Sundance Film Festival effectively delivers a story about children engaging in fun activities that are captivating in their own right, such as a fun snow fight with a group of friends, and simultaneously touches on emotionally complex subject that can evolve into conversation topics between parents and children. Based on a classic live-action Canadian film, scored with songs by some of the country’s biggest musical stars, and dealing with a young boy overcoming grief through playtime, “Snowtime1” is an endearing and humanistic alternative to the ceaselessly voracious tent-poles.
Producer Marie-Claude Beauchamp and co-director Francois Brisson talk about making an Canadian animated feature based on a local classic and how this new iteration is turning the characters into a global sensation.
Carlos Aguilar: Something that's fascinating about the film is that is a story that allows children to be children and doesn't place them in situations beyond their age. It's still an exciting adventure but it doesn't involved high stakes missions or otherworldly powers. Was that something that you were interested in showcasing in the film?
Marie-Claude Beauchamp: The film is a remake of a film that was produced 30 years ago. It was originally a live action film. The genuine value, and probably the overall feeling of those kids being real kids, resonates because they were once real kids. But when we adapted it for animation we kept some of that charming reality of children. It was important to us that the children were living things from their point of view, that it was real to them. So when kids look at this film, and this why the film had a huge impact then and I believe still today, they can see themselves in these characters. There are not just cartoons representing things that are out of their reach but are cartoons representing things that are so close to them in terms of subjects, feelings, and emotions.
CA: François, what inspired you to get involved in the film? Did you also have a personal connection to the original version or did you see it as a challenge on a professional level?
Francois Brisson: This is a very classic film made here in Canada in 1985. It’s a huge classic for us here in Quebec, so to be approached to be a co-director in the film was for me a great opportunity and a great challenge at the same time. We needed to tell the story, keep it universal, and also keep all of its charm, the great storylines, and the tragedy that happens in the film. This was a great chance for me to work on doing that. We worked so hard to respect this classic tale and bring it to the 21st century.
McB: Yes, that was an interesting challenge, to find ways to tell the story that children of today would understand. Obviously we’ve changed as a society, here and everywhere around the planet, in the last 30 years, so we had to adapt the film to today’s point of view. It was not a direct transmission of the original, it was instead a real adaptation
Fb: What was also great about is that, for example, when we went to Sundance the reception that we got at the screening was the same as the one we got here in Quebec. We were able to reach the same emotions in different audiences.
McB: Even people who knew nothing about the original film. That was quite a surprise to realize that what we knew could resonate here, also resonated with American audiences.
CA: Stylistically, the character design is unique in comparison to most CG animated features in the the U.S. Where this is specific aesthetic come from and what was the reasoning behind it?
Fb: It came from the art director Philippe Arsenault Bussieres, he’s been illustrating children’s books for a long time and he has a very strong style, which kind of resembles stop-motion puppets in some ways. We tried to keep that in mind and we also focused on the texture of the characters. They feel very organic, you can see the texture sketchiness of the etchings in the characters like in the wool that you see on the characters hats and clothing. Also, what I often see in other animated films from major studios is that they animated the same way, so we tried to stay way from that. We tried to go back to the roots of the old classics like Bugs Bunny in some ways and also stop-motion. The kids in the film are all wearing these big heavy suits, so they can’t move the same way as if they were running with shorts and t-shirts , so all that needed to be understood by all the animators.
McB: Graphically the challenge that we had was to make the cold feel warm because the story takes place mostly outside and we didn’t want people not to relate to that situation, so the way that the art director approached the drawings gave it a warm feeling. We didn’t want it to look real, because I find it that sometimes real 3D looks a bit creepy [Laughs], so we wanted to stay closer to cartoons or closer to 2D. Yet again, it is in 3D and the volumes of the characters are real, but we had the softness and tenderness that can come out of 2D thanks to the design.
CA: War and death as themes are treated in a delicate manner while not shying away from their significance. Were you concerned at all about including these elements in a film aimed at a young audience or did you feel children would be receptive to them?
McB: I would not treat this lightly that’s for sure. We were very concerned about how we would approach that. In the original live action film the dog dies and the reference to Luke’s life is regarding his grandfather who died in the war. Because nowadays grandfather’s in a war, timing-wise, might not be a reference that children can relate to much, we thought that reference could be more relatable if it was his father. We brought it closer to the drama part. We also brought it closer because we wanted for Luke’s character to find himself and to make peace with his own sorrow. We also wanted him to overcome the death of his father once and for all now that he has lived it in his own way. The subject is there and we strongly believe that children need and want to experiment fear as success of all the fantastic films has shown. They need to deal with fear and sorrow. I was raised on “Dumbo” and “Bambi,” and when my own pet died I knew more about how to deal with it because I experienced in my own way and I had shared it with my parents. We are believers that films can serve for children to experiment emotions just the way that we go into films and experiment emotions. Emotion is good.
CA: The music in the film was created by famous Canadian musicians like Celine Dion and popular band Simple Plan. How did these collaboration come about?
McB: We have a lot of good talent in Canada that are known around the world. This film is a prestigious film for the Canadian industry because we don’t produced very large independent budgets, so when singers and great artist saw the opportunity for them to support the film they joined into the proposal. They felt a relationship to the story, particularly this one being one that they also cherished when they were kids. Celine Dion saw the film when she was young and Simple Plan saw the film when their were young as well. Celine relates also to this film through her children because she’s shown it to all of her family. There is a sense of belonging and a sense of support, we are so proud and very happy of these collaborations.
CA: What would you say is the state of independent animation in Canada today?
McB: It’s an industry that is growing. There is a lot of talent. Independent films are more and more coming together but there are still only a handful of films that have been made in recent years. It’s definitely growing.
CA: François, tell me about working with a co-director like Jean-François and what that mean in terms of division or labor or the decision-making process?
Fb: Jean-Francois was the director and he was more in charge of working with the voice actors, but because it’s a big production we needed many eyes to see everything. He was more in charge of that, and I was in charge of doing the storyboards, checking the design, the layouts, the animation, and so forth. When he was away I was busy doing certain things and vice versa.
McB: It was an amazing amalgam. They really worked hand in hand instead of it being a fiasco, because having two people trying to make the same film can be complicated. But we are very proud of how they managed to work together in such symbiosis
CA: François, you've worked on both 2D and 3D, which one do you prefer or what is the difference between the two as you create your storyboards and then transfer them into animation?
Fb: I’ve been working in 3D animation for a few years now, but my training as a 2D animator is very useful because I can draw anything. Sometimes I feel I'm more capable of storyboard better that way. I’m using a pencil and not a software. Sometimes when you have the software you go too much into detail. You got too much into the technical side of it so you get away from first impressions. When you do a storyboard you need to go very quickly about it to get the feel of the scene or the shot. For me, it’s perfect to do it on pencil or drawing on a tablet. When we transfer that into layouts and the camera aspects,Jean-François makes it a breeze because he knows so much about camera movement. It worked perfectly well. We had not issues.
McB: You will probably notice that the lighting is also very particular. Jean-Francois convinced the team about using a backlight, which is rarely used in animation. It also adds to the feel of closeness to the characters because of the way they are lit.
CA: Given that this is a Canadian production, was the film created in French first and then an English dub was created or what approach did you take?
McB: We always say that we did two original versions of the film, but basically the lip-synch is based on the English version. It’s being release in the United States as an original English version. There was no dubbing for the English-version. The actors you are hearing are the same actors that helped inspire the animators throughout the whole process.
CA: Were the voice actors involved in the film connected personally to the original film prior to partaking in this animated version or did they first have to get acquainted with the material at hand?
McB: We had two stars, Ross Lynch and Sandra Oh. Ross has had a relationship with the original film all of his life, so he had a personal link to it. Sandra Oh, who is Canadian and was raised in Toronto, also had an endearing reference to “Snowtime!” The other actors were all based in Montreal, so they new of the original film and they obviously embraced it. They were all adult actors, we didn't use any children actors.
CA: As "Snowtime!" melts hearts around the world, what is CarpeDiem, planning as a follow up? What are are some of upcoming projects?
McB: Right now we are financing a sequel to “Snowtime!” and we are hoping to start production in the summer. We are also in production of a TV series that follows the first-graders in “Snowtime!,” we call them our Minions [Laughs]. We developed an app, there are records, merchandise in some territories, and three books in publishing, so we definitely developed it as a franchise and will continue doing so. We have also just opened a “Snowtime!” museum exhibition here in Montreal, and it’s a traveling exhibition. We are working with our distributor Shout! to bring it to the United States...
- 2/25/2016
- by Carlos Aguilar
- Sydney's Buzz
Sundance 2016 is fast approaching. Last week we posted the movie lineup of Midnight and Competition film selections. We now have the complete lineup for the premieres in both the feature film and documentary categories. We also have their selections for the Spotlight and Kid films. I've also included a list of special events.
There are a lot of great films on this list that I'm excited about seeing because of the incredible talent involved. Viggo Mortensen and Frank Langella star in Captain Fantastic; Laura Dern, Kristen Stewart, Michelle Williams star in Certain Women; Rachel Weisz, Michael Shannon, Kathy Bates and Danny Glover star in Complete Unknown; Paul Rudd and Selena Gomez star in The Fundamentals of Caring; John Krasinski directed a film called The Hollars which he stars in with Anna Kendrick, Margo Martindale, Richard Jenkins, Sharlto Copley, and Charlie Day; Thor: Ragnarok director Taika Waititi has made a new...
There are a lot of great films on this list that I'm excited about seeing because of the incredible talent involved. Viggo Mortensen and Frank Langella star in Captain Fantastic; Laura Dern, Kristen Stewart, Michelle Williams star in Certain Women; Rachel Weisz, Michael Shannon, Kathy Bates and Danny Glover star in Complete Unknown; Paul Rudd and Selena Gomez star in The Fundamentals of Caring; John Krasinski directed a film called The Hollars which he stars in with Anna Kendrick, Margo Martindale, Richard Jenkins, Sharlto Copley, and Charlie Day; Thor: Ragnarok director Taika Waititi has made a new...
- 12/13/2015
- by Joey Paur
- GeekTyrant
Kate Plays ChristineThe lineup for the 2016 Sundance Film Festival, taking place between January 21 -31, has been announced.U.S. Dramatic COMPETITIONAs You Are (Miles Joris-Peyrafitte, USA): As You Are is the telling and retelling of a relationship between three teenagers as it traces the course of their friendship through a construction of disparate memories prompted by a police investigation. Cast: Owen Campbell, Charlie Heaton, Amandla Stenberg, John Scurti, Scott Cohen, Mary Stuart Masterson. World Premiere The Birth of a Nation (Nate Parker, USA): Set against the antebellum South, this story follows Nat Turner, a literate slave and preacher whose financially strained owner, Samuel Turner, accepts an offer to use Nat’s preaching to subdue unruly slaves. After witnessing countless atrocities against fellow slaves, Nat devises a plan to lead his people to freedom. Cast: Nate Parker, Armie Hammer, Aja Naomi King, Jackie Earle Haley, Gabrielle Union, Mark Boone Jr. World PremiereChristine (Antonio Campos,...
- 12/7/2015
- by Notebook
- MUBI
Top brass at the Park City festival have rounded out the feature line-up with a dazzling selection on paper that includes new work from Asif Kapadia and other returning alumni such as Todd Solondz, Taika Waititi and Joshua Marston.Scroll Down For Full List
Road movie The Fundamentals Of Caring by Rob Burnett starring Paul Rudd will close the festival, while Maggie Greenwald’s Sophie And The Rising Sun is the Salt Lake City Gala Film. Heid Ewing and Rachel Grady’s Norman Lear: Just Another Version Of You is a Day One Film.
The Premieres line-up introduces Indignation, the feature directorial debut from former Focus Features CEO and Crouching Tiger, Hidden Dragon screenwriter James Schamus, and the latest world premieres from John Carney, Kenneth Lonergan, Ira Sachs and Diego Luna.
The Documentary Premieres section encompass latest films from Werner Herzog, Spike Lee, Liz Garbus and Fenton Bailey and Randy Barbato.
The Spotlight...
Road movie The Fundamentals Of Caring by Rob Burnett starring Paul Rudd will close the festival, while Maggie Greenwald’s Sophie And The Rising Sun is the Salt Lake City Gala Film. Heid Ewing and Rachel Grady’s Norman Lear: Just Another Version Of You is a Day One Film.
The Premieres line-up introduces Indignation, the feature directorial debut from former Focus Features CEO and Crouching Tiger, Hidden Dragon screenwriter James Schamus, and the latest world premieres from John Carney, Kenneth Lonergan, Ira Sachs and Diego Luna.
The Documentary Premieres section encompass latest films from Werner Herzog, Spike Lee, Liz Garbus and Fenton Bailey and Randy Barbato.
The Spotlight...
- 12/7/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Top brass at the Park City festival have rounded out the feature line-up with a dazzling selection on paper that includes new work from Asif Kapadia and other returning alumni such as Todd Solondz, Taika Waititi and Joshua Marston.Scroll Down For Full List
Road movie The Fundamentals Of Caring by Rob Burnett starring Paul Rudd will close the festival, while Maggie Greenwald’s Sophie And The Rising Sun is the Salt Lake City Gala Film. Heid Ewing and Rachel Grady’s Norman Lear: Just Another Version Of You is a Day One Film.
The Premieres line-up introduces Indignation, the feature directorial debut from former Focus Features CEO and Crouching Tiger, Hidden Dragon screenwriter James Schamus, and the latest world premieres from John Carney, Kenneth Lonergan, Ira Sachs and Diego Luna.
The Documentary Premieres section encompass latest films from Werner Herzog, Spike Lee, Liz Garbus and Fenton Bailey and Randy Barbato.
The Spotlight...
Road movie The Fundamentals Of Caring by Rob Burnett starring Paul Rudd will close the festival, while Maggie Greenwald’s Sophie And The Rising Sun is the Salt Lake City Gala Film. Heid Ewing and Rachel Grady’s Norman Lear: Just Another Version Of You is a Day One Film.
The Premieres line-up introduces Indignation, the feature directorial debut from former Focus Features CEO and Crouching Tiger, Hidden Dragon screenwriter James Schamus, and the latest world premieres from John Carney, Kenneth Lonergan, Ira Sachs and Diego Luna.
The Documentary Premieres section encompass latest films from Werner Herzog, Spike Lee, Liz Garbus and Fenton Bailey and Randy Barbato.
The Spotlight...
- 12/7/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
In 2310, Gladiators Are Made - Not Born!
Animated Sci-fi Feature - Based on the Worldwide Comic Book Series Phenomenon - Comes to DVD, VOD & Digital May 10th !
For Immediate Release:
Miami, Fl -- Mti Home Video, the premier studio for independent filmmakers, will release their first animated film; the sci-fi fantasy hit Gene-fusion, on DVD, VOD and Digital Download May 10, 2011. The film is based on Jeff Amano's (Red Warrior) phenomenally successful comic book and the comic book mini-series written by Ivan Brandon (Doc Savage, Viking), illustrated by Neil Vokes (Dr Strange: From The Marvel Vault), and inked by Jay Geldhof (Grendel).
In the year 2310, a new sport, "Gene-Fusion," is all the rage! In this exciting game, specially trained athletes, called Fusers, design their own super-creature by combining three forms of animal DNA... Four teens, seemingly plucked from obscurity, are trained to be Fusers. They become instant celebrities as they perform before sold out crowds.
Animated Sci-fi Feature - Based on the Worldwide Comic Book Series Phenomenon - Comes to DVD, VOD & Digital May 10th !
For Immediate Release:
Miami, Fl -- Mti Home Video, the premier studio for independent filmmakers, will release their first animated film; the sci-fi fantasy hit Gene-fusion, on DVD, VOD and Digital Download May 10, 2011. The film is based on Jeff Amano's (Red Warrior) phenomenally successful comic book and the comic book mini-series written by Ivan Brandon (Doc Savage, Viking), illustrated by Neil Vokes (Dr Strange: From The Marvel Vault), and inked by Jay Geldhof (Grendel).
In the year 2310, a new sport, "Gene-Fusion," is all the rage! In this exciting game, specially trained athletes, called Fusers, design their own super-creature by combining three forms of animal DNA... Four teens, seemingly plucked from obscurity, are trained to be Fusers. They become instant celebrities as they perform before sold out crowds.
- 3/28/2011
- by brians
- GeekTyrant
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.