Tag Archives: Brad Bird

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Betsy Baytos

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What is your name and your current occupation?
Betsy Baytos…..Illustrator/Animation Choreographer/Filmmaker & Eccentric Dance Historian.

 

What are some of the crazier jobs you had before getting into animation?
Performed & created the ‘Betsy Bird’ & puppeteered on the Muppet Show…..trained over 250 clowns in a ‘character movement’ workshop for Ringling Bros. ‘Clown College Alumni’…..toured the country in a vaudeville/burlesque show ‘Baggy Pants & Co’ as the featured eccentric dance act.

 

What are some of your favorite projects you’re proud to have been a part of?
Working as a Disney animator since 1976, then coming full circle as ‘animation choreographer’ for Disney’s ‘Princess and the Frog’…..Consulting for Cirque Du Soleil…..performing eccentric dance as the ‘Betsy Bird’ on the Muppet Show and performing physical comedy in the Broadway run of ‘Stardust’ in a featured eccentric dance act as ‘Maurice’, but most importantly, bringing this film, which I have researched & worked on for the past 20 years, ‘FUNNY FEET: The Art of Eccentric Dance’, to fruition for the next generation.
How did you become interested in animation?
I have always drawn and danced since I can remember. I discovered eccentric dance while working as an animator at Disney, then discovered Continue reading

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“The Giant’s Dream- The Making of Iron Giant” teaser trailer

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Iron Giant was arguably one of the greatest animated films of all time, yet it fell on it’s feet at the box office due to executive fear and suppression of advertising which is odd since Warner Bros was literally frothing at the mouth to get an animated feature off the ground. Enter Brad Bird who WB execs reportedly allowed to make the film essentially unsupervised and once they saw the film and how good it was they feared for their jobs and suppressed it as best they could.

REALLY looking forward to this film!

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Peter Nagy

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What is your name and your current occupation?
My name is Peter, Peter Nagy. I’m a lucky animator, who is a two-time winner of The 11 Second Club and I edit an animation collection-site, the Living Lines Library. I’m currently working as lead animator at Gyár Post Production, in the field of commercials.

What are some of the crazier jobs you had before getting into animation?
After I got out of secondary school I had only one job before I found animation. I worked as an excavation graphic for a longer period. As a strong, young man, my work included several things, from precisely drawing the findings to more serious physical work, such as ditching. At such times we threw the soil together with the other manual workers, which I didn’t mind at all, because at least my muscles were kept in good condition.

What are some of your favorite projects you’re proud to have been a part of?
As I glance over the films I have worked in, I like the arch of my career entirely. I like that I started learning it from the very basics. I have always been proud that I started as an inbetweener in Corto Maltese: La cour secrète des Arcanes. I’m glad that I had an opportunity to work with the team of Digic Pictures at the time of Assasin’s Creed Revelations. Although that job was far from the character animation that is dear to me, they were the most professional team I have ever worked with, led by my favourite Hungarian director, István ‘Putyi’ Zorkóczy.

How did you become interested in animation?
I have been drawing ever since my childhood, but those were only still pictures, except for the stick figures moving at the corner of my exercise book. I’ve always been fascinated by Continue reading

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Kevin O’Neil

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What is your name and your current occupation?
Kevin O’Neil and currently a freelance special effects animator.

What are some of the crazier jobs you had before getting into animation?
Being a bank courier, picking up bank checks from all the big banks in downtown Chicago, for Jet Courier services in Chicago, back in the 80’s. I worked at Midway and O’Hare airports in the middle of the night, 1 am to 5 am. Also before that, I taught guitar for 6 years, and played in a few bands in Chicago. I was a full time musician before going back to art school at age 28. So I don’t know if they were exactly crazy, just jobs.

What are some of your favorite projects you’re proud to have been a part of?
One of my favs was Iron Giant at Warner Feature, and Hercules and Mulan at Disney Feature. Working at Disney TV on The Tigger Movie was also a lot of fun, and working with Jun Falkenstein was a great experience. I was glad I got to work at Disney if even for a short time. Brad Bird at WB, John Musker and Ron Clements at Disney. Great people if you ask me. Proud to be a part of those films. The caliber of artists at these places is just great. Actually the caliber of artists at most of the studios is great, it’s just too bad a lot of the stuff we saw in the studios is art that never makes it to the screen.  I also worked at Warner’s Classics back in the 90’s as a character animator. We did a lot of commercials. I worked with Keith Baxter, Jeff Siergey, Spike Brandt & Tony Cervone. The place was fun and I got to draw Bugs Bunny and Daffy Duck. How could that not be great?  More recently I had a lot of fun on the Priest animated prologue for Genndy Tartakovsy. I did most of the effects on that except a couple of shots. It was fun because it wasn’t your normal efx, there was a lot of blood and guts and I got to blow things up. I finally saw an unedited clip of the whole thing online. I guess for the movie, it was tamed down.

How did you become interested in animation?
I guess just watching and growing up with the usual cartoons like everyone else. I leaned towards Warners. But I got into rather late, in my late 20’s. I was undecided in art school whether to pursue Continue reading

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Carlos Ramos

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What is your name and your current occupation? 
Carlos Ramos. I’m currently freelancing as a storyboard artist, character designer, writer. I just got done storyboarding on all the Madagascar trailers and ads and a bit on Dreamwork’s Rise of the Guardians.  And as always pitching, pitching.

What are some of the crazier jobs you had before getting into animation?
Thankfully I only had one job before getting into animation. In high school through my freshman year at college I was a Show Controller at Universal Studios Hollywood. Basically crowd control and making all the park announcements. That place is a real dump and I can’t imagine why people would pay money to go there but it was a really fun job.


What are some of your favorite projects you’re proud to have been a part of?
Well, I haveto say the show I created at Nickelodeon: The X’s where I served as art director as well. The design theory was “No lines” so everything was colored shapes. AND it wasn’t in Flash. All hand drawn and animated by the amazing crew at Rough Draft, Korea. An extremely tough series we all bled on. I just recently rewatched a few episodes and it still holds-up.

How did you become interested in animation?
My earliest memory was attending a screening of a pencil test of The Black Couldron at the Disney Burbank lot when I was a kid. I was forever changed by the experience and actually seeing the bungalows where the animation happened intrigued me for sure. I was obsessed with Mad Magazine growing-up and always assumed that’s where I’d work when I “grew up”. But after the original editor William Gaines died the magazine’s quality did too so I had to think of another plan. I was going to Fairfax High School in the magnet arts program and one Saturday took an animation class and the instructor said that Cal Arts was the only school for people seriously contemplating a life in cartoons. I took those words to heart and was determined to get in even after being rejected and having to re-apply the following year. Looking back it was funny because I never visited the campus before the day of registration. And it was just a short drive from my house. I just knew it’s what I wanted.

 

Where are you from and how did you get into the animation business?
I’m from L.A. born in Burbank. Attended Cal Arts and got a job at DIC as a development artist the summer of my freshman year. My plan was to graduate college with a BFA with 3 years of experience under my belt. It was a balsy plan that worked out. I did the full four years and worked the summers and freelanced for Disney Television and DIC. Looking back I got really lucky. DIC was the funnest job I’ve ever had and at Disney I was a character designer on Nightmare Ned – a show I doubt anyone remembers but had the most hardcore bad ass crew ever assembled. Seriously everyone on that show went on to Continue reading
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Olu Alemoru

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What is your name and your current occupation? 
Olu Alemoru — Snr Staff Writer Wave Publications and Director of Nutmeg Animations Ltd.

What are some of the crazier jobs you had before getting into animation?
Well, I’m not working in animation per se, but I do have a couple of animation projects that I am developing.  One is called “Nutmeg,” an adventure story with contemporary and imaginary elements that follows the life and times of gender-breaking Afro-Latina soccer star Louise Sage.  The other is entitled “The Adventures of Ant Dog,”  a satirical concept about a lovable loser (a black Homer Simpson, if you will) who wins a million dollar ride on the first commercial space flight and gets zapped into another world where he will battle a great evil.  In terms of crazy jobs, the Ant Dog character is based on a crazy cat I met while working as a roller skating stock clerk in a warehouse.

What are some of your favorite projects you’re proud to have been a part of? 
The above two.

How did you become interested in animation? 
I’ve been a long-time fan of cartoon characters like Bugs Bunny and the wonderful fourth-wall imagery of Tex Avery. Back in the day my favorite cartoons were Continue reading