Inside Animation

I meet the podcast's youngest guest ever, Josh Young. At just 13 years old, he is already set up to become an incredible cinematographer and stop-motion animator. While his current productions are short and with a very low fps (frames per second), his attention to detail and camera angles already betrays a bright future ahead. We talk about how his younger brother's obsession with The Nightmare Before Christmas got him interested in Stop Motion and later in the interview, he shows how he is one of the wisest 13 year olds I've ever met. Plus we talk about how his grandfather combined with great older war films got him interested in World War II as a subject as well as Star Wars. Plus, the great advice for creators out there. Especially those just getting started. You can follow his content and career as it unfolds on Instagram at @lastbrick_production_

I chat with Doug Engalla, a Researcher at the Walt Disney Animation Research Library (ARL) about his work preserving the art of Disney Animation. We talk about how Disney has accumulated approximately 65 million artworks in the 100 years of the Walt Disney Company and how Walt himself started the archive to create a repository to learn from past works and be able to reference older works at any time. We also talk about the impact Disney has had on the world of animation, including the influence it has had within and outside of its doors. In my "Back in Time" segment, I go back 34 years to when Doug first started with the ARL and how he took an unorthodox path to get there, but ultimately found his dream job. Plus, Doug recalls his first time at Disneyland and how a particular ride scared him so much, he didn't ride it again for many years. And as in every episode, we get advice, this time for those who want to work at a research library, especially one involving art. The Animation Research Library will be involved with D23 this year as part of the Ultimate Disney Fan Event, so go to d23.com to get tickets and more info.

This is Inside Animation's first interview with an Oscar Nominee. Adam interviews Pablo Berger, director and writer of Robot Dreams, Nominated this year for the Best Animated Feature Oscar. They talk about the process of taking an animated feature to an Oscar nomination, or at least the steps he took. Also, as this is Pablo's first foray into animation, the differences between live-action directing and animation and how it takes much more patience for animation. Then, in the "Back in Time" segment, Pablo's Japanese Animation influences are discussed and how Miyazaki films made him realize that animation isn't just for kids. Finally, in the "Advice" segment, the difference between live action and animation resurfaces as Pablo give great advice to live action directors finding themselves directing an animated feature.

We start off the 4th season on a positive note with the self described biggest pessimist in the world of animation, Mike Smolev. We talk about how he got into creating an animated show because he wanted good sound design and his harrowing journey so far, including 3 different attempts at a pilot and why he is doing stand up as a way to be able to pitch the show. Plus we find out the one animated show he thinks is any good and I squeeze a bit of advice out of him. To find out more about The Hunk and Grody Show and watch what is out there so far, go to www.mikesmolev.com

I talk with fan of the show and Stop Motion producer Harrison Killian, who is currently working on a 5 minute preview of a stop motion feature film called Rider on the Storm, in which the stop motion is augmented by CGI. We get into the nitty gritty of everything that goes into making a stop motion animated film and how he's doing it pretty much all himself. I my "back in time" segment, we talk about how Harrison started learning photography and design and how that led to stop motion. We also dish about our favorite stop motion films and how The Incredible Mr Fox is way out of left field for a Wes Anderson film, yet somehow they pulled it off to fit perfectly into the Wes Anderson collection. Plus great advice for those looking to get into stop motion films.

Check out Harrison's Kickstarter (only a few days left) at https://www.kickstarter.com/projects/rideronthestormfilm

or follow him on Instagram @rideronthestorm_film

Adam talks with Composer Mark Evitts about his process for composing an animated series, how he went from "On the Road" to "Frog and Toad", and just how much of a Simpsons fan he really is. Plus, great advice for musicians that want to get into composing. You can watch Frog and Toad on Apple TV+ or follow Mark at @markevitts on social media.

I talk with Lance Falk, an Animation Artist who specializes in prop design and has worked on such shows as Johnny Quest, Animaniacs, Rick and Morty, Solar Opposites, and more. We talk about how props are different from character design and background design. In my "going back in time" segment we talk about Lance's influences growing up from Looney Tunes to the original Johnny Quest and why everything is someone's favorite thing. Plus great advice for animators on how to break into the biz (there's good news, I promise).

I talk with Artist in Animation Shana Dixon, who is currently working on Minnie's Bow Toons (available on Disney+ and Disney Junior's YouTube Channel). We talk about the importance of color in animation and especially for kids shows how color, like many other aspects of animation, can tell a story. Also, we talk about how long it takes to work on a 3 minute animated episode and how Disney doesn't do all of their animating in the house of Mouse. Plus, great advice as always and a trip back to when HBO had a free kids channel that I never knew about! Thanks to our sponsors, Bob's Tire Town and McCurdy's Kitchen.

Adam chats with Lance Daniel, creator of the animated series "Carbuncle" about a wise cracking (but caring) attorney who guides oddball clients through crazy cases inspired by current headlines. You'll find out exactly what a Logline is, how "Carbuncle" was begun and continues through spite, and how to keep going when people tell you no as well as how much needs to be done before the show is even pitched. Inside Animation is brought to you by Bob's Tire Town and McCurdy's Kitchen.

I talk with Digital Cinematographer Gary H Lee, who has worked on Over the Hedge, The Life of Pi, Star Wars Episode 3, and many other films, all about Pre-Vis. You'll find out what pre-vis is and what it does for both live action and animated films. Plus, we talk about the difference between cinematography and digital cinematography and how they aren't that different. You'll also hear the incredible story of how Gary started his love for animation through Manga comics and was one of the first to play around with 3D animation thanks to a job his mother had. And if you're an animation student, Gary has great advice for you!

Follow Gary on Instagram @gary.h.lee or visit his website at garyhlee.com and don't forget to check out The Magician's Elephant, now on Netflix!

Plus if you don't follow us yet, go to @insideanimationpod on Instagram!

I chat with Anik Rosenblum, the director and founder of Dancing Line Productions, an animation studio that focuses on short form animation with an emphasis on commercials. We talk about the process of creating an animated commercial, how there's actually more room for creativity in commercials than you think, and how there's a surprising amount of VO in short form animation, at least, surprising to me. Plus, we get into Anik's journey to becoming an animator from growing up in Lithuania to being one of the first to study 3D Animation, to coming to Canada for formal education and his influences from independent shorts to Ren and Stimpy. And you know there's going to be awesome advice if you want to set out on your own. 

Check out more about Anik's company at www.dancinglineproductions.com

We talk with VO Agent Portia Scott with Coast to Coast Talent about the role an agent plays in the career of a voice actor. We cover the entire scope of an agent's job, from taking on new clients, to what auditions look like, and what happens when you book. Plus her interesting path to becoming an agent and advice for those who want to get started on their path to becoming an agent. For more information and to see what her clients are booking and who won a Golden Globe, follow her on Instagram at @ctcvo

In our 2nd episode of Season 3, we go to the Gotham of Latin America, Bogota Colombia (virtually of course), to chat with animation director and owner/founder of Lucy Animation Studios, Silvia Prietov. We chat about the state of animation in Latin American countries such as Colombia and how they're still far behind animation powerhouses like the US and even Europe, but they're certainly growing. We also talk about the backwards route she took to get to where she is, starting as a learn-as-you-teach college professor to the head of an animation studio preparing an animated feature film called Halloween. 

You can get more info and see some of her work at https://www.lucyanimationstudio.co/

Plus, ANNOUNCEMENT: We have MERCH! Go to https://www.etsy.com/shop/AdamsFunShirts and check out various Inside Animation stuff as well as some fun T-shirts. 

For our season opener, I talk with Animator, Supervising Director, and Executive Producer Mike Hollingsworth, who's worked on Bojack Horseman, Tuca and Bertie, Inside Job, and other animated series. We talk about how Aaron Paul earned his EP credit on Bojack, what exactly Executive Producers do (or don't do), as well as the job of a Supervising Director. Plus great advice for those who want to get into animation and how you can "Be the coal". 

For more information and to see his work, follow him on Instagram @stufffedanimals and check out Cat Burglar on Netflix! 

Are you Cornholio? Do you need TP for your bunghole? If you recognized those last two questions, you'll love our next guest, who was a producer on Beavis and Butthead, as well as Daria and other shows. We talk about how he went from "Schoolhouse Rock" to "High School Dropouts" and the various jobs of a producer on an early cartoon show on MTV. We also discuss who had the brilliant idea to incorporate music videos into the show and how the test audience reacted. Plus, as always great advice and I get to bring back the old "How We Know Each Other" segment! 

This episode is unofficially sponsored by the Los Angeles Animation Festival. 

This episode I chat with high school orchestra member Noah Bruening about his recent experience with a longstanding Disney tradition where high school bands and orchestras are invited to Disneyland to perform. In his case, his orchestra was able to see how professional orchestras record music for animated films and series. We also talk about what drew him to music and the double bass in particular as well as great advice for budding musicians and the existential crisis of what to do after high school.  

This episode, I talk with Animation Professor Walter Santucci about the process of teaching Animation in a modern world and how things changed during the COVID pandemic. We also talk about some of his successful students and how he feels their success is mostly their own (though he's fine with them making him look good). As always there's great advice and we talk about how easy it is to begin teaching a class, but how it's a little harder to become a full fledged University Professor. 

We now are entering a new phase of the Inside Animation Podcast. For one, we will no longer be putting out new episodes every single week, though to make up for previous weeks, this will be an extra long episode. Also, in this particular episode and potential future episodes, I don't interview someone directly involved in the Animation Industry. 

In this episode I talk with former child actor Henry Laster, whom you may have seen on the Nickelodeon show Salute Your Shorts. While he only did voices for one particular animated project, we focus on the "Golden Era" of Nickelodeon and the shows and experiences Henry had while part of the "Nickelodeon Family", including the origin of the "Nickelodeon Splat", the consistency of Nickelodeon Slime vs today's slime, our favorite childhood cartoons on Nickelodeon, and much more fun shenanigans. I highly recommend this episode for anyone who watched and enjoyed Nickelodeon during the 1990s. 

As you'll hear at the end of the episode, Henry is on most social media as @90sNickStar  

This week, we talk with Delton Davis, Writer and Musician who is the creator of Dunner the Drummer, a children's book and animated series that takes you into the "world" of drumming. We talk about how writing for animation is like composing for an orchestra, you get to hear an awful drum joke, and talk about the merits of taking your animation directly to the consumer as opposed to pitching to networks. In this longer-than-usual episode we also touch on the inspiration of Saturday morning cartoons of the 80s and 90s as well as, as always, great advice. You can find out more about Dunner the Drummer at www.kidsdrumming.org

This week (after our holiday break) we continue our discussion on the short film Mila, which may not have been nominated for an Oscar, but has still won several festival awards and has a message compelling enough to bring together 350 different artists from 35 different countries. I talk with the Director and Creator, Cinzia Angelini, whose mother told her stories about her experiences as a little girl during World War 2. We talk about the film, how painting guitars got Cinzia started in Animation, and advice for those with a story that needs to be told, even if the big studios won't tell it. 

For the opener to our Second Season, we begin by talking about a wonderful program that gives a voice to those on the Autism Spectrum to tell the stories they want to tell, including in an Animated fashion! Tawd talks about the program and how it came to be by building layer upon layer. If you are thinking about starting a program helping those who are differently abled, Tawd has some excellent advice for you! Check them out at http://tinktankanimate.com

Thanks to Inside Animation's new Producer, Venus Banuelos, for getting me in touch with Tawd!

In the Season 1 Finale, I visit Canada (well, virtually anyway) and chat with Medhat Hanbali, a composer who works on the popular Canadian stop-motion animation series Movement Deluxe. We talk about the differences between composing for a film versus a series and how there's much more pressure in the latter. Also, how writing songs in a series is a bit backwards and as usual, incredible advice including why you should study film making if you want to be a composer. 

This week I chat with Rebecca Swenson, aka Becka Bunss, an animator, 2D Rigger, and Jill-of-all-trades freelancer. We talk about 2D vs 3D rigging, how different artists have different styles and influences among other things. Plus if you've been listening to the podcast from the beginning, you'll find out that I lie in the first minute of this episode. Did you spot the lie? 

This week we delve into the realm of Cosplay. How long it takes to make a costume, how much it costs, and the incredible cosplay community. Also we talk about how Cosplay is the ultimate end of the animation process by creating characters so beloved that fans want to dress up as those characters. Also we return to the "How we met" segment where we find out how Julia and I knew each other before the podcast. 

This week I talk with Animation Producer Tom T. about what a producer in animation does and how that's different from live action. We also get into how he rose from an animator to become a producer on the Iron Man, Hulk, and Biker Mice from Mars cartoons. Plus great advice both for aspiring producers and voice actors! 

This week I talk with my friend Daniel Kahn, who is a Production Coordinator at Nickelodeon, about putting together a show like MiddleMost Post, the round-about way that he got into Animation, and what Disney movie inspired him to Keep Moving Forward. 

This week I talk with Jeff LaFlamme who worked on Garfield, Bobby's World, and the Simpsons among others as a Storyboard artist, an animator, a character/prop designer, and storyboard clean-up among other things. We focus on what a storyboard artist does and where they fit in to the general scheme of Animation creation. Plus great advice thrown in as well. 

This week I talk with Sound Editor David Bartlett, who has worked on countless award winning films like Speed and Total Recall, but on the Animation side worked on Rugrats the Movie and Aladdin 2. We talk about the difference between Sound Designers and Sound Editors (and why you need to know the difference) as well as the intricacies of different sounds in films and how they are divvied out. Plus great advice about never giving up that he was given by none other than Steven Spielberg. 

This episode, I talk to Carson Kirkpatrick, a Production Assistant working with Warner Brother's Studios on Sandman, coming to Netflix early next year. We talk about our Bacon numbers, what it is that PA's actually do, and why it's best to not be a jerk in Hollywood. Well, if you want to get hired, that is...

This episode, I chat with aspiring Animation Writer (Dare I say, "future Pixar employee"?) Cova Brouwer about how the COVID Pandemic landed her an internship with Montecito Pictures, the differences (if any) between Animated Films and Series, and how I'm frustrated that Pixar movies ALWAYS make my cry. 

After a (very brief) hiatus, we're back with our first Mocap Actor! Andi Norris and I talk about different kinds of Mocap, why video games definitely count as Animated Entertainment, and how she got into Motion Capture and creature performing as a profession. Plus as always wonderful advice and a plug for our unofficial sponsor, Mind's Eye Tribe! 

This episode, we have our first Voice Actor! You might have heard Darcy Rose Byrnes's voice on Legend of Korra, or Sofia the First, but even if you haven't you'll get great stories and in depth knowledge of recording Voice Overs for animated series, plus great advice as always! 

This episode, I talk with character designer and illustrator Danielle Sherstad about what goes into designing animated characters, our shared love of Disney movies, and the importance of Fan Art in the Animation Industry. Plus, she gives great advice on becoming an illustrator/character designer. 

We talk with film and animation composer Esin Aydingoz about composing for Animation, where the composer comes in in the creative process and why. Plus we talk about how she works for Disney, but not in the way you might think! And she gives advice on how to take initiative and get yourself started in composing. Finally, in a bizarre twist, she asks ME a question and we find out my favorite animated movie of all time.  

This episode, I talk with Marc Zicree, who wrote for Smurfs, He-Man, The Littles, The Real Ghostbusters, and tons of other Animated Shows! We talk what it was like to write for cartoons in the 70s and 80s, not "dumbing it down" when writing for kids, but rather, writing for the kid in you, and advice for aspiring animation writers. 

In this episode, we talk with Janelle Kimzey about her business working in 3D Animation and the difference between 3D and 2D Animation as well as having the gumption to break out on your own and more! Plus we get our first guest suggestions! 

In our inaugural episode, we introduce our host, Adam Sartain and talk with Animator and Illustrator PJ Smithey about different ways to get work in the Animation Industry as well as our influences growing up.