\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

Page 2 of 3 1 2 3
\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

Page 2 of 3 1 2 3
\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

Page 2 of 3 1 2 3
\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

Page 2 of 3 1 2 3
\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

Page 2 of 3 1 2 3
\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

Page 2 of 3 1 2 3
\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

Page 2 of 3 1 2 3
\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

Page 2 of 3 1 2 3
\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

Page 2 of 3 1 2 3
\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

Page 2 of 3 1 2 3
\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

Page 2 of 3 1 2 3
\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

Page 2 of 3 1 2 3
\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n


From Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

But the transcendental world is only half of Soul<\/em>; the other half takes place in New York City, home to Joe, his family, friends, and neighbors. As a black New Yorker, Soul<\/em>\u2019s depiction of a black community is fantastic, from the varied physical appearances to the snappy banter amongst associates. Soul<\/em>\u2019s take on getting a haircut was particularly pleasant, as it perfectly evoked the communal atmosphere of a local barbershop. But it doesn\u2019t stop there. The city is a cultural melting pot. Doctors, the school principal, the average person on the street\u2014all different races and groups. This is both an accurate representation of New York City and does well to normalize diverse casts in animated films.<\/p>\n\n\n\n

\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

As is Pixar tradition, Soul<\/em> asks a question (in this case, \u201cWhat is the meaning of life?\u201d) and answers with a fantastical adventure and strikingly ingenious imagery. Often in media, the afterlife is depicted as either a golden-gated utopia or a horrific hellscape. Soul<\/em>\u2019s afterlife is a minimalistic environment inhabited by simple shapes and soft colors. The caretakers of this metaphysical realm are composed of flat lines and behave more like an elementary school staff than deities. With this angle, Pixar created a transcendental world that, while ominous in implication, is whimsical and inviting. This duality works well with Soul<\/em>\u2019s tone, allowing for an abundance of comedy without undermining the somber nature of the film\u2019s thesis.<\/p>\n\n\n\n

But the transcendental world is only half of Soul<\/em>; the other half takes place in New York City, home to Joe, his family, friends, and neighbors. As a black New Yorker, Soul<\/em>\u2019s depiction of a black community is fantastic, from the varied physical appearances to the snappy banter amongst associates. Soul<\/em>\u2019s take on getting a haircut was particularly pleasant, as it perfectly evoked the communal atmosphere of a local barbershop. But it doesn\u2019t stop there. The city is a cultural melting pot. Doctors, the school principal, the average person on the street\u2014all different races and groups. This is both an accurate representation of New York City and does well to normalize diverse casts in animated films.<\/p>\n\n\n\n

\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n
\"The
The Great Before<\/figcaption><\/figure>\n\n\n\n

As is Pixar tradition, Soul<\/em> asks a question (in this case, \u201cWhat is the meaning of life?\u201d) and answers with a fantastical adventure and strikingly ingenious imagery. Often in media, the afterlife is depicted as either a golden-gated utopia or a horrific hellscape. Soul<\/em>\u2019s afterlife is a minimalistic environment inhabited by simple shapes and soft colors. The caretakers of this metaphysical realm are composed of flat lines and behave more like an elementary school staff than deities. With this angle, Pixar created a transcendental world that, while ominous in implication, is whimsical and inviting. This duality works well with Soul<\/em>\u2019s tone, allowing for an abundance of comedy without undermining the somber nature of the film\u2019s thesis.<\/p>\n\n\n\n

But the transcendental world is only half of Soul<\/em>; the other half takes place in New York City, home to Joe, his family, friends, and neighbors. As a black New Yorker, Soul<\/em>\u2019s depiction of a black community is fantastic, from the varied physical appearances to the snappy banter amongst associates. Soul<\/em>\u2019s take on getting a haircut was particularly pleasant, as it perfectly evoked the communal atmosphere of a local barbershop. But it doesn\u2019t stop there. The city is a cultural melting pot. Doctors, the school principal, the average person on the street\u2014all different races and groups. This is both an accurate representation of New York City and does well to normalize diverse casts in animated films.<\/p>\n\n\n\n

\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Soul<\/em> tells the story of Joe Gardner (Jamie Foxx), a middle school band teacher who is dissatisfied with his life. The only way to fix it? Become a professional musician. On the eve of his big break, Joe dies a sudden death and reawakens as a soul bound for the \u201cGreat Beyond,\" or in laymen\u2019s terms, the afterlife. Determined to resurrect himself and live his dream, Joe finds himself in the \u201cGreat Before\u201d and embarks on an abstract adventure to reunite with his body, with the aid of a life-hating soul called 22 (Tina Fey).<\/p>\n\n\n\n

\"The
The Great Before<\/figcaption><\/figure>\n\n\n\n

As is Pixar tradition, Soul<\/em> asks a question (in this case, \u201cWhat is the meaning of life?\u201d) and answers with a fantastical adventure and strikingly ingenious imagery. Often in media, the afterlife is depicted as either a golden-gated utopia or a horrific hellscape. Soul<\/em>\u2019s afterlife is a minimalistic environment inhabited by simple shapes and soft colors. The caretakers of this metaphysical realm are composed of flat lines and behave more like an elementary school staff than deities. With this angle, Pixar created a transcendental world that, while ominous in implication, is whimsical and inviting. This duality works well with Soul<\/em>\u2019s tone, allowing for an abundance of comedy without undermining the somber nature of the film\u2019s thesis.<\/p>\n\n\n\n

But the transcendental world is only half of Soul<\/em>; the other half takes place in New York City, home to Joe, his family, friends, and neighbors. As a black New Yorker, Soul<\/em>\u2019s depiction of a black community is fantastic, from the varied physical appearances to the snappy banter amongst associates. Soul<\/em>\u2019s take on getting a haircut was particularly pleasant, as it perfectly evoked the communal atmosphere of a local barbershop. But it doesn\u2019t stop there. The city is a cultural melting pot. Doctors, the school principal, the average person on the street\u2014all different races and groups. This is both an accurate representation of New York City and does well to normalize diverse casts in animated films.<\/p>\n\n\n\n

\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Animation is not strictly for kids. This is a truth that acclaimed Pixar director Pete Doctor has proven time and time again. From his dive into the human physique with Inside Out<\/a><\/em> to the opening montage of Up<\/em>. One could argue that he\u2019s made Pixar the gold standard for \u201cgeneral entertainment.\" His latest feature, Soul<\/strong><\/em>, is perhaps his most existential and thought-provoking film to date. Tackling themes of life and death, the film deserves praise for its boldness. But, is a mature subject matter enough to deem Soul<\/em> a \u2018great film\u2019?<\/p>\n\n\n\n

Soul<\/em> tells the story of Joe Gardner (Jamie Foxx), a middle school band teacher who is dissatisfied with his life. The only way to fix it? Become a professional musician. On the eve of his big break, Joe dies a sudden death and reawakens as a soul bound for the \u201cGreat Beyond,\" or in laymen\u2019s terms, the afterlife. Determined to resurrect himself and live his dream, Joe finds himself in the \u201cGreat Before\u201d and embarks on an abstract adventure to reunite with his body, with the aid of a life-hating soul called 22 (Tina Fey).<\/p>\n\n\n\n

\"The
The Great Before<\/figcaption><\/figure>\n\n\n\n

As is Pixar tradition, Soul<\/em> asks a question (in this case, \u201cWhat is the meaning of life?\u201d) and answers with a fantastical adventure and strikingly ingenious imagery. Often in media, the afterlife is depicted as either a golden-gated utopia or a horrific hellscape. Soul<\/em>\u2019s afterlife is a minimalistic environment inhabited by simple shapes and soft colors. The caretakers of this metaphysical realm are composed of flat lines and behave more like an elementary school staff than deities. With this angle, Pixar created a transcendental world that, while ominous in implication, is whimsical and inviting. This duality works well with Soul<\/em>\u2019s tone, allowing for an abundance of comedy without undermining the somber nature of the film\u2019s thesis.<\/p>\n\n\n\n

But the transcendental world is only half of Soul<\/em>; the other half takes place in New York City, home to Joe, his family, friends, and neighbors. As a black New Yorker, Soul<\/em>\u2019s depiction of a black community is fantastic, from the varied physical appearances to the snappy banter amongst associates. Soul<\/em>\u2019s take on getting a haircut was particularly pleasant, as it perfectly evoked the communal atmosphere of a local barbershop. But it doesn\u2019t stop there. The city is a cultural melting pot. Doctors, the school principal, the average person on the street\u2014all different races and groups. This is both an accurate representation of New York City and does well to normalize diverse casts in animated films.<\/p>\n\n\n\n

\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Shutting Down Blue Sky Studios","post_excerpt":"Blue Sky Studios was known for putting out films like Ice Age, Rio, and Dr. Seuss' Horton Hears a Who!","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-shutting-down-blue-sky-studios","to_ping":"","pinged":"","post_modified":"2021-02-09 17:21:20","post_modified_gmt":"2021-02-10 00:21:20","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=59179","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58663,"post_author":"57","post_date":"2020-12-29 07:42:03","post_date_gmt":"2020-12-29 14:42:03","post_content":"\n

Animation is not strictly for kids. This is a truth that acclaimed Pixar director Pete Doctor has proven time and time again. From his dive into the human physique with Inside Out<\/a><\/em> to the opening montage of Up<\/em>. One could argue that he\u2019s made Pixar the gold standard for \u201cgeneral entertainment.\" His latest feature, Soul<\/strong><\/em>, is perhaps his most existential and thought-provoking film to date. Tackling themes of life and death, the film deserves praise for its boldness. But, is a mature subject matter enough to deem Soul<\/em> a \u2018great film\u2019?<\/p>\n\n\n\n

Soul<\/em> tells the story of Joe Gardner (Jamie Foxx), a middle school band teacher who is dissatisfied with his life. The only way to fix it? Become a professional musician. On the eve of his big break, Joe dies a sudden death and reawakens as a soul bound for the \u201cGreat Beyond,\" or in laymen\u2019s terms, the afterlife. Determined to resurrect himself and live his dream, Joe finds himself in the \u201cGreat Before\u201d and embarks on an abstract adventure to reunite with his body, with the aid of a life-hating soul called 22 (Tina Fey).<\/p>\n\n\n\n

\"The
The Great Before<\/figcaption><\/figure>\n\n\n\n

As is Pixar tradition, Soul<\/em> asks a question (in this case, \u201cWhat is the meaning of life?\u201d) and answers with a fantastical adventure and strikingly ingenious imagery. Often in media, the afterlife is depicted as either a golden-gated utopia or a horrific hellscape. Soul<\/em>\u2019s afterlife is a minimalistic environment inhabited by simple shapes and soft colors. The caretakers of this metaphysical realm are composed of flat lines and behave more like an elementary school staff than deities. With this angle, Pixar created a transcendental world that, while ominous in implication, is whimsical and inviting. This duality works well with Soul<\/em>\u2019s tone, allowing for an abundance of comedy without undermining the somber nature of the film\u2019s thesis.<\/p>\n\n\n\n

But the transcendental world is only half of Soul<\/em>; the other half takes place in New York City, home to Joe, his family, friends, and neighbors. As a black New Yorker, Soul<\/em>\u2019s depiction of a black community is fantastic, from the varied physical appearances to the snappy banter amongst associates. Soul<\/em>\u2019s take on getting a haircut was particularly pleasant, as it perfectly evoked the communal atmosphere of a local barbershop. But it doesn\u2019t stop there. The city is a cultural melting pot. Doctors, the school principal, the average person on the street\u2014all different races and groups. This is both an accurate representation of New York City and does well to normalize diverse casts in animated films.<\/p>\n\n\n\n

\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

What is your opinion of Blue Sky Studios closing? What's your favorite film by the studio? Let us know!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Shutting Down Blue Sky Studios","post_excerpt":"Blue Sky Studios was known for putting out films like Ice Age, Rio, and Dr. Seuss' Horton Hears a Who!","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-shutting-down-blue-sky-studios","to_ping":"","pinged":"","post_modified":"2021-02-09 17:21:20","post_modified_gmt":"2021-02-10 00:21:20","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=59179","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58663,"post_author":"57","post_date":"2020-12-29 07:42:03","post_date_gmt":"2020-12-29 14:42:03","post_content":"\n

Animation is not strictly for kids. This is a truth that acclaimed Pixar director Pete Doctor has proven time and time again. From his dive into the human physique with Inside Out<\/a><\/em> to the opening montage of Up<\/em>. One could argue that he\u2019s made Pixar the gold standard for \u201cgeneral entertainment.\" His latest feature, Soul<\/strong><\/em>, is perhaps his most existential and thought-provoking film to date. Tackling themes of life and death, the film deserves praise for its boldness. But, is a mature subject matter enough to deem Soul<\/em> a \u2018great film\u2019?<\/p>\n\n\n\n

Soul<\/em> tells the story of Joe Gardner (Jamie Foxx), a middle school band teacher who is dissatisfied with his life. The only way to fix it? Become a professional musician. On the eve of his big break, Joe dies a sudden death and reawakens as a soul bound for the \u201cGreat Beyond,\" or in laymen\u2019s terms, the afterlife. Determined to resurrect himself and live his dream, Joe finds himself in the \u201cGreat Before\u201d and embarks on an abstract adventure to reunite with his body, with the aid of a life-hating soul called 22 (Tina Fey).<\/p>\n\n\n\n

\"The
The Great Before<\/figcaption><\/figure>\n\n\n\n

As is Pixar tradition, Soul<\/em> asks a question (in this case, \u201cWhat is the meaning of life?\u201d) and answers with a fantastical adventure and strikingly ingenious imagery. Often in media, the afterlife is depicted as either a golden-gated utopia or a horrific hellscape. Soul<\/em>\u2019s afterlife is a minimalistic environment inhabited by simple shapes and soft colors. The caretakers of this metaphysical realm are composed of flat lines and behave more like an elementary school staff than deities. With this angle, Pixar created a transcendental world that, while ominous in implication, is whimsical and inviting. This duality works well with Soul<\/em>\u2019s tone, allowing for an abundance of comedy without undermining the somber nature of the film\u2019s thesis.<\/p>\n\n\n\n

But the transcendental world is only half of Soul<\/em>; the other half takes place in New York City, home to Joe, his family, friends, and neighbors. As a black New Yorker, Soul<\/em>\u2019s depiction of a black community is fantastic, from the varied physical appearances to the snappy banter amongst associates. Soul<\/em>\u2019s take on getting a haircut was particularly pleasant, as it perfectly evoked the communal atmosphere of a local barbershop. But it doesn\u2019t stop there. The city is a cultural melting pot. Doctors, the school principal, the average person on the street\u2014all different races and groups. This is both an accurate representation of New York City and does well to normalize diverse casts in animated films.<\/p>\n\n\n\n

\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

450 employees will be impacted by the closure. According to the Deadline<\/em> report, Disney will be working with Blue Sky employees moving forward \u201cto explore open positions at the other internal studios.\u201c<\/p>\n\n\n\n

What is your opinion of Blue Sky Studios closing? What's your favorite film by the studio? Let us know!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Shutting Down Blue Sky Studios","post_excerpt":"Blue Sky Studios was known for putting out films like Ice Age, Rio, and Dr. Seuss' Horton Hears a Who!","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-shutting-down-blue-sky-studios","to_ping":"","pinged":"","post_modified":"2021-02-09 17:21:20","post_modified_gmt":"2021-02-10 00:21:20","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=59179","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58663,"post_author":"57","post_date":"2020-12-29 07:42:03","post_date_gmt":"2020-12-29 14:42:03","post_content":"\n

Animation is not strictly for kids. This is a truth that acclaimed Pixar director Pete Doctor has proven time and time again. From his dive into the human physique with Inside Out<\/a><\/em> to the opening montage of Up<\/em>. One could argue that he\u2019s made Pixar the gold standard for \u201cgeneral entertainment.\" His latest feature, Soul<\/strong><\/em>, is perhaps his most existential and thought-provoking film to date. Tackling themes of life and death, the film deserves praise for its boldness. But, is a mature subject matter enough to deem Soul<\/em> a \u2018great film\u2019?<\/p>\n\n\n\n

Soul<\/em> tells the story of Joe Gardner (Jamie Foxx), a middle school band teacher who is dissatisfied with his life. The only way to fix it? Become a professional musician. On the eve of his big break, Joe dies a sudden death and reawakens as a soul bound for the \u201cGreat Beyond,\" or in laymen\u2019s terms, the afterlife. Determined to resurrect himself and live his dream, Joe finds himself in the \u201cGreat Before\u201d and embarks on an abstract adventure to reunite with his body, with the aid of a life-hating soul called 22 (Tina Fey).<\/p>\n\n\n\n

\"The
The Great Before<\/figcaption><\/figure>\n\n\n\n

As is Pixar tradition, Soul<\/em> asks a question (in this case, \u201cWhat is the meaning of life?\u201d) and answers with a fantastical adventure and strikingly ingenious imagery. Often in media, the afterlife is depicted as either a golden-gated utopia or a horrific hellscape. Soul<\/em>\u2019s afterlife is a minimalistic environment inhabited by simple shapes and soft colors. The caretakers of this metaphysical realm are composed of flat lines and behave more like an elementary school staff than deities. With this angle, Pixar created a transcendental world that, while ominous in implication, is whimsical and inviting. This duality works well with Soul<\/em>\u2019s tone, allowing for an abundance of comedy without undermining the somber nature of the film\u2019s thesis.<\/p>\n\n\n\n

But the transcendental world is only half of Soul<\/em>; the other half takes place in New York City, home to Joe, his family, friends, and neighbors. As a black New Yorker, Soul<\/em>\u2019s depiction of a black community is fantastic, from the varied physical appearances to the snappy banter amongst associates. Soul<\/em>\u2019s take on getting a haircut was particularly pleasant, as it perfectly evoked the communal atmosphere of a local barbershop. But it doesn\u2019t stop there. The city is a cultural melting pot. Doctors, the school principal, the average person on the street\u2014all different races and groups. This is both an accurate representation of New York City and does well to normalize diverse casts in animated films.<\/p>\n\n\n\n

\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

In 2019, Blue Sky Studios (along with a majority of 21st Century Fox and its assets) were acquired by The Walt Disney Company<\/a>. The films of Blue Sky have since been integrated into Disney\u2019s hit streaming service, Disney+, as legacy IP. A spin-off of the Ice Age<\/em> movies, Ice Age: Adventures of Buck Wild<\/a><\/em>, will premiere exclusively on the service in early 2022.<\/p>\n\n\n\n

450 employees will be impacted by the closure. According to the Deadline<\/em> report, Disney will be working with Blue Sky employees moving forward \u201cto explore open positions at the other internal studios.\u201c<\/p>\n\n\n\n

What is your opinion of Blue Sky Studios closing? What's your favorite film by the studio? Let us know!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Shutting Down Blue Sky Studios","post_excerpt":"Blue Sky Studios was known for putting out films like Ice Age, Rio, and Dr. Seuss' Horton Hears a Who!","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-shutting-down-blue-sky-studios","to_ping":"","pinged":"","post_modified":"2021-02-09 17:21:20","post_modified_gmt":"2021-02-10 00:21:20","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=59179","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58663,"post_author":"57","post_date":"2020-12-29 07:42:03","post_date_gmt":"2020-12-29 14:42:03","post_content":"\n

Animation is not strictly for kids. This is a truth that acclaimed Pixar director Pete Doctor has proven time and time again. From his dive into the human physique with Inside Out<\/a><\/em> to the opening montage of Up<\/em>. One could argue that he\u2019s made Pixar the gold standard for \u201cgeneral entertainment.\" His latest feature, Soul<\/strong><\/em>, is perhaps his most existential and thought-provoking film to date. Tackling themes of life and death, the film deserves praise for its boldness. But, is a mature subject matter enough to deem Soul<\/em> a \u2018great film\u2019?<\/p>\n\n\n\n

Soul<\/em> tells the story of Joe Gardner (Jamie Foxx), a middle school band teacher who is dissatisfied with his life. The only way to fix it? Become a professional musician. On the eve of his big break, Joe dies a sudden death and reawakens as a soul bound for the \u201cGreat Beyond,\" or in laymen\u2019s terms, the afterlife. Determined to resurrect himself and live his dream, Joe finds himself in the \u201cGreat Before\u201d and embarks on an abstract adventure to reunite with his body, with the aid of a life-hating soul called 22 (Tina Fey).<\/p>\n\n\n\n

\"The
The Great Before<\/figcaption><\/figure>\n\n\n\n

As is Pixar tradition, Soul<\/em> asks a question (in this case, \u201cWhat is the meaning of life?\u201d) and answers with a fantastical adventure and strikingly ingenious imagery. Often in media, the afterlife is depicted as either a golden-gated utopia or a horrific hellscape. Soul<\/em>\u2019s afterlife is a minimalistic environment inhabited by simple shapes and soft colors. The caretakers of this metaphysical realm are composed of flat lines and behave more like an elementary school staff than deities. With this angle, Pixar created a transcendental world that, while ominous in implication, is whimsical and inviting. This duality works well with Soul<\/em>\u2019s tone, allowing for an abundance of comedy without undermining the somber nature of the film\u2019s thesis.<\/p>\n\n\n\n

But the transcendental world is only half of Soul<\/em>; the other half takes place in New York City, home to Joe, his family, friends, and neighbors. As a black New Yorker, Soul<\/em>\u2019s depiction of a black community is fantastic, from the varied physical appearances to the snappy banter amongst associates. Soul<\/em>\u2019s take on getting a haircut was particularly pleasant, as it perfectly evoked the communal atmosphere of a local barbershop. But it doesn\u2019t stop there. The city is a cultural melting pot. Doctors, the school principal, the average person on the street\u2014all different races and groups. This is both an accurate representation of New York City and does well to normalize diverse casts in animated films.<\/p>\n\n\n\n

\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

Blue Sky Studios was founded in 1987 by Chris Wedge, Eugene Troubetzkoy, Carl Ludwig, David Brown, Alison Brown, and Michael Ferraro. At the height of its relevance, the company served as 20th Century Fox\u2019s animation division and a direct competitor of Pixar and Walt Disney Animation Studios. Its catalog includes such films as the aforementioned Ice Age<\/em> (2002-2016) and Rio<\/em> (2011-2014) series, Robots<\/em> (2005), Dr. Seuss\u2019 Horton Hears a Who!<\/em> (2008), and most recently, Spies in Disguise<\/a><\/em> (2019). Altogether, the studio accumulated a global box office gross of $5.9 billion, with $3.2 billion belonging to the Ice Age<\/em> films alone. The studio\u2019s next feature\u2014an adaptation of the Noelle Stevenson book, Nimona<\/em>\u2014has ceased production and will no longer be released. In addition to full-length features, the studio has also produced short films and television specials. Its work has been recognized with numerous nominations from the Academy Awards, Annie Awards, and various other bodies.<\/p><\/amp-fit-text>\n\n\n\n

In 2019, Blue Sky Studios (along with a majority of 21st Century Fox and its assets) were acquired by The Walt Disney Company<\/a>. The films of Blue Sky have since been integrated into Disney\u2019s hit streaming service, Disney+, as legacy IP. A spin-off of the Ice Age<\/em> movies, Ice Age: Adventures of Buck Wild<\/a><\/em>, will premiere exclusively on the service in early 2022.<\/p>\n\n\n\n

450 employees will be impacted by the closure. According to the Deadline<\/em> report, Disney will be working with Blue Sky employees moving forward \u201cto explore open positions at the other internal studios.\u201c<\/p>\n\n\n\n

What is your opinion of Blue Sky Studios closing? What's your favorite film by the studio? Let us know!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Shutting Down Blue Sky Studios","post_excerpt":"Blue Sky Studios was known for putting out films like Ice Age, Rio, and Dr. Seuss' Horton Hears a Who!","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-shutting-down-blue-sky-studios","to_ping":"","pinged":"","post_modified":"2021-02-09 17:21:20","post_modified_gmt":"2021-02-10 00:21:20","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=59179","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58663,"post_author":"57","post_date":"2020-12-29 07:42:03","post_date_gmt":"2020-12-29 14:42:03","post_content":"\n

Animation is not strictly for kids. This is a truth that acclaimed Pixar director Pete Doctor has proven time and time again. From his dive into the human physique with Inside Out<\/a><\/em> to the opening montage of Up<\/em>. One could argue that he\u2019s made Pixar the gold standard for \u201cgeneral entertainment.\" His latest feature, Soul<\/strong><\/em>, is perhaps his most existential and thought-provoking film to date. Tackling themes of life and death, the film deserves praise for its boldness. But, is a mature subject matter enough to deem Soul<\/em> a \u2018great film\u2019?<\/p>\n\n\n\n

Soul<\/em> tells the story of Joe Gardner (Jamie Foxx), a middle school band teacher who is dissatisfied with his life. The only way to fix it? Become a professional musician. On the eve of his big break, Joe dies a sudden death and reawakens as a soul bound for the \u201cGreat Beyond,\" or in laymen\u2019s terms, the afterlife. Determined to resurrect himself and live his dream, Joe finds himself in the \u201cGreat Before\u201d and embarks on an abstract adventure to reunite with his body, with the aid of a life-hating soul called 22 (Tina Fey).<\/p>\n\n\n\n

\"The
The Great Before<\/figcaption><\/figure>\n\n\n\n

As is Pixar tradition, Soul<\/em> asks a question (in this case, \u201cWhat is the meaning of life?\u201d) and answers with a fantastical adventure and strikingly ingenious imagery. Often in media, the afterlife is depicted as either a golden-gated utopia or a horrific hellscape. Soul<\/em>\u2019s afterlife is a minimalistic environment inhabited by simple shapes and soft colors. The caretakers of this metaphysical realm are composed of flat lines and behave more like an elementary school staff than deities. With this angle, Pixar created a transcendental world that, while ominous in implication, is whimsical and inviting. This duality works well with Soul<\/em>\u2019s tone, allowing for an abundance of comedy without undermining the somber nature of the film\u2019s thesis.<\/p>\n\n\n\n

But the transcendental world is only half of Soul<\/em>; the other half takes place in New York City, home to Joe, his family, friends, and neighbors. As a black New Yorker, Soul<\/em>\u2019s depiction of a black community is fantastic, from the varied physical appearances to the snappy banter amongst associates. Soul<\/em>\u2019s take on getting a haircut was particularly pleasant, as it perfectly evoked the communal atmosphere of a local barbershop. But it doesn\u2019t stop there. The city is a cultural melting pot. Doctors, the school principal, the average person on the street\u2014all different races and groups. This is both an accurate representation of New York City and does well to normalize diverse casts in animated films.<\/p>\n\n\n\n

\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

\u201cGiven the current economic realities, after much consideration and evaluation, we have made the difficult decision to close filmmaking operations at Blue Sky Studios.\u201d<\/p>Blue Sky<\/cite><\/blockquote>\n\n\n\n

Blue Sky Studios was founded in 1987 by Chris Wedge, Eugene Troubetzkoy, Carl Ludwig, David Brown, Alison Brown, and Michael Ferraro. At the height of its relevance, the company served as 20th Century Fox\u2019s animation division and a direct competitor of Pixar and Walt Disney Animation Studios. Its catalog includes such films as the aforementioned Ice Age<\/em> (2002-2016) and Rio<\/em> (2011-2014) series, Robots<\/em> (2005), Dr. Seuss\u2019 Horton Hears a Who!<\/em> (2008), and most recently, Spies in Disguise<\/a><\/em> (2019). Altogether, the studio accumulated a global box office gross of $5.9 billion, with $3.2 billion belonging to the Ice Age<\/em> films alone. The studio\u2019s next feature\u2014an adaptation of the Noelle Stevenson book, Nimona<\/em>\u2014has ceased production and will no longer be released. In addition to full-length features, the studio has also produced short films and television specials. Its work has been recognized with numerous nominations from the Academy Awards, Annie Awards, and various other bodies.<\/p><\/amp-fit-text>\n\n\n\n

In 2019, Blue Sky Studios (along with a majority of 21st Century Fox and its assets) were acquired by The Walt Disney Company<\/a>. The films of Blue Sky have since been integrated into Disney\u2019s hit streaming service, Disney+, as legacy IP. A spin-off of the Ice Age<\/em> movies, Ice Age: Adventures of Buck Wild<\/a><\/em>, will premiere exclusively on the service in early 2022.<\/p>\n\n\n\n

450 employees will be impacted by the closure. According to the Deadline<\/em> report, Disney will be working with Blue Sky employees moving forward \u201cto explore open positions at the other internal studios.\u201c<\/p>\n\n\n\n

What is your opinion of Blue Sky Studios closing? What's your favorite film by the studio? Let us know!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Shutting Down Blue Sky Studios","post_excerpt":"Blue Sky Studios was known for putting out films like Ice Age, Rio, and Dr. Seuss' Horton Hears a Who!","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-shutting-down-blue-sky-studios","to_ping":"","pinged":"","post_modified":"2021-02-09 17:21:20","post_modified_gmt":"2021-02-10 00:21:20","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=59179","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58663,"post_author":"57","post_date":"2020-12-29 07:42:03","post_date_gmt":"2020-12-29 14:42:03","post_content":"\n

Animation is not strictly for kids. This is a truth that acclaimed Pixar director Pete Doctor has proven time and time again. From his dive into the human physique with Inside Out<\/a><\/em> to the opening montage of Up<\/em>. One could argue that he\u2019s made Pixar the gold standard for \u201cgeneral entertainment.\" His latest feature, Soul<\/strong><\/em>, is perhaps his most existential and thought-provoking film to date. Tackling themes of life and death, the film deserves praise for its boldness. But, is a mature subject matter enough to deem Soul<\/em> a \u2018great film\u2019?<\/p>\n\n\n\n

Soul<\/em> tells the story of Joe Gardner (Jamie Foxx), a middle school band teacher who is dissatisfied with his life. The only way to fix it? Become a professional musician. On the eve of his big break, Joe dies a sudden death and reawakens as a soul bound for the \u201cGreat Beyond,\" or in laymen\u2019s terms, the afterlife. Determined to resurrect himself and live his dream, Joe finds himself in the \u201cGreat Before\u201d and embarks on an abstract adventure to reunite with his body, with the aid of a life-hating soul called 22 (Tina Fey).<\/p>\n\n\n\n

\"The
The Great Before<\/figcaption><\/figure>\n\n\n\n

As is Pixar tradition, Soul<\/em> asks a question (in this case, \u201cWhat is the meaning of life?\u201d) and answers with a fantastical adventure and strikingly ingenious imagery. Often in media, the afterlife is depicted as either a golden-gated utopia or a horrific hellscape. Soul<\/em>\u2019s afterlife is a minimalistic environment inhabited by simple shapes and soft colors. The caretakers of this metaphysical realm are composed of flat lines and behave more like an elementary school staff than deities. With this angle, Pixar created a transcendental world that, while ominous in implication, is whimsical and inviting. This duality works well with Soul<\/em>\u2019s tone, allowing for an abundance of comedy without undermining the somber nature of the film\u2019s thesis.<\/p>\n\n\n\n

But the transcendental world is only half of Soul<\/em>; the other half takes place in New York City, home to Joe, his family, friends, and neighbors. As a black New Yorker, Soul<\/em>\u2019s depiction of a black community is fantastic, from the varied physical appearances to the snappy banter amongst associates. Soul<\/em>\u2019s take on getting a haircut was particularly pleasant, as it perfectly evoked the communal atmosphere of a local barbershop. But it doesn\u2019t stop there. The city is a cultural melting pot. Doctors, the school principal, the average person on the street\u2014all different races and groups. This is both an accurate representation of New York City and does well to normalize diverse casts in animated films.<\/p>\n\n\n\n

\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

\n

The world of theatrical animation just got smaller. Deadline<\/a> <\/em>has reported that Blue Sky Studios, the production company behind the widely successful Ice Age<\/em> and Rio<\/em> franchises, will officially close its doors in April, 2021. A studio spokesperson had this to say:<\/p>\n\n\n\n

\u201cGiven the current economic realities, after much consideration and evaluation, we have made the difficult decision to close filmmaking operations at Blue Sky Studios.\u201d<\/p>Blue Sky<\/cite><\/blockquote>\n\n\n\n

Blue Sky Studios was founded in 1987 by Chris Wedge, Eugene Troubetzkoy, Carl Ludwig, David Brown, Alison Brown, and Michael Ferraro. At the height of its relevance, the company served as 20th Century Fox\u2019s animation division and a direct competitor of Pixar and Walt Disney Animation Studios. Its catalog includes such films as the aforementioned Ice Age<\/em> (2002-2016) and Rio<\/em> (2011-2014) series, Robots<\/em> (2005), Dr. Seuss\u2019 Horton Hears a Who!<\/em> (2008), and most recently, Spies in Disguise<\/a><\/em> (2019). Altogether, the studio accumulated a global box office gross of $5.9 billion, with $3.2 billion belonging to the Ice Age<\/em> films alone. The studio\u2019s next feature\u2014an adaptation of the Noelle Stevenson book, Nimona<\/em>\u2014has ceased production and will no longer be released. In addition to full-length features, the studio has also produced short films and television specials. Its work has been recognized with numerous nominations from the Academy Awards, Annie Awards, and various other bodies.<\/p><\/amp-fit-text>\n\n\n\n

In 2019, Blue Sky Studios (along with a majority of 21st Century Fox and its assets) were acquired by The Walt Disney Company<\/a>. The films of Blue Sky have since been integrated into Disney\u2019s hit streaming service, Disney+, as legacy IP. A spin-off of the Ice Age<\/em> movies, Ice Age: Adventures of Buck Wild<\/a><\/em>, will premiere exclusively on the service in early 2022.<\/p>\n\n\n\n

450 employees will be impacted by the closure. According to the Deadline<\/em> report, Disney will be working with Blue Sky employees moving forward \u201cto explore open positions at the other internal studios.\u201c<\/p>\n\n\n\n

What is your opinion of Blue Sky Studios closing? What's your favorite film by the studio? Let us know!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Shutting Down Blue Sky Studios","post_excerpt":"Blue Sky Studios was known for putting out films like Ice Age, Rio, and Dr. Seuss' Horton Hears a Who!","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-shutting-down-blue-sky-studios","to_ping":"","pinged":"","post_modified":"2021-02-09 17:21:20","post_modified_gmt":"2021-02-10 00:21:20","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=59179","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58663,"post_author":"57","post_date":"2020-12-29 07:42:03","post_date_gmt":"2020-12-29 14:42:03","post_content":"\n

Animation is not strictly for kids. This is a truth that acclaimed Pixar director Pete Doctor has proven time and time again. From his dive into the human physique with Inside Out<\/a><\/em> to the opening montage of Up<\/em>. One could argue that he\u2019s made Pixar the gold standard for \u201cgeneral entertainment.\" His latest feature, Soul<\/strong><\/em>, is perhaps his most existential and thought-provoking film to date. Tackling themes of life and death, the film deserves praise for its boldness. But, is a mature subject matter enough to deem Soul<\/em> a \u2018great film\u2019?<\/p>\n\n\n\n

Soul<\/em> tells the story of Joe Gardner (Jamie Foxx), a middle school band teacher who is dissatisfied with his life. The only way to fix it? Become a professional musician. On the eve of his big break, Joe dies a sudden death and reawakens as a soul bound for the \u201cGreat Beyond,\" or in laymen\u2019s terms, the afterlife. Determined to resurrect himself and live his dream, Joe finds himself in the \u201cGreat Before\u201d and embarks on an abstract adventure to reunite with his body, with the aid of a life-hating soul called 22 (Tina Fey).<\/p>\n\n\n\n

\"The
The Great Before<\/figcaption><\/figure>\n\n\n\n

As is Pixar tradition, Soul<\/em> asks a question (in this case, \u201cWhat is the meaning of life?\u201d) and answers with a fantastical adventure and strikingly ingenious imagery. Often in media, the afterlife is depicted as either a golden-gated utopia or a horrific hellscape. Soul<\/em>\u2019s afterlife is a minimalistic environment inhabited by simple shapes and soft colors. The caretakers of this metaphysical realm are composed of flat lines and behave more like an elementary school staff than deities. With this angle, Pixar created a transcendental world that, while ominous in implication, is whimsical and inviting. This duality works well with Soul<\/em>\u2019s tone, allowing for an abundance of comedy without undermining the somber nature of the film\u2019s thesis.<\/p>\n\n\n\n

But the transcendental world is only half of Soul<\/em>; the other half takes place in New York City, home to Joe, his family, friends, and neighbors. As a black New Yorker, Soul<\/em>\u2019s depiction of a black community is fantastic, from the varied physical appearances to the snappy banter amongst associates. Soul<\/em>\u2019s take on getting a haircut was particularly pleasant, as it perfectly evoked the communal atmosphere of a local barbershop. But it doesn\u2019t stop there. The city is a cultural melting pot. Doctors, the school principal, the average person on the street\u2014all different races and groups. This is both an accurate representation of New York City and does well to normalize diverse casts in animated films.<\/p>\n\n\n\n

\"Joe
Soul\u2019s barbershop scene<\/figcaption><\/figure>\n\n\n\n

But what\u2019s a setting without its inhabitants? Jamie Foxx delivers a nuanced performance as Joe Gardner, imbuing the character with a youthful innocence but also a hint of misguided zealousness. He\u2019s not as sympathetic as Finding Nemo<\/em>\u2019s Marlin or as entertaining as Ratatouille<\/em>\u2019s Remy but a decent lead nonetheless. Angela Basset is appropriately commanding as Joe\u2019s idol, Dorothea Williams, while Phylicia Rashad bleeds believability into Joe\u2019s imperfect yet well-meaning mother Libba. Some other standouts were Rachel House as the pompous \u201csoul counter\u201d Terry and Graham Norton as the sign twirler Moonwind. None of these characters are particularly memorable, but they are serviceable.<\/p>\n\n\n\n

The core of Soul<\/em> is its universal message about life\u2019s purpose and what constitutes a successful existence. You can easily guess the lesson by watching the trailers, and it becomes even more obvious within the first few minutes of the movie. But its predictability does nothing to diminish its importance. Soul<\/em> challenges what we value and highlights the significance of \u201cthe little things.\u201d It even warns of the ramifications we risk should we become too obsessed with our ambitions. Following your dreams is important; Soul<\/em> agrees with that. But you can also find happiness and fulfillment in something as simple as a good meal and a friendly conversation. This is something we should all strive to remember.<\/p>\n\n\n\n

Unfortunately, none of this can make up for Soul<\/em>\u2019s greatest issue: the plot. While an examination of the human soul makes for a fascinating premise, it\u2019s bogged down by an unfocused narrative that can\u2019t decide what it wants to be. To put it plainly, Soul<\/em>\u2019s second and third acts are all over the place. One minute it\u2019s a talking animal movie; the next it\u2019s a body-swapping movie, and it all left me scratching my head wondering, \u201cHow did we get here?\u201d And the rest of the movie suffered for this. Joe and 22\u2019s personal journeys were so sloppily constructed that I didn\u2019t care about what happened to either of them. If nothing else, I was just curious to see how the movie would resolve itself after making so many questionable decisions. That made the bulk of this movie rather boring to watch. Yes, the message of Soul<\/em> is profound. I\u2019d go so far as to call it inspiring on a surface level. But a strong message means little if not executed well. <\/p>\n\n\n\n

\"22,
22, Joe, and Moonwind<\/figcaption><\/figure>\n\n\n\n

But the problems continue. 22 had their cute moments, but the character was a touch too generic and grating for my liking. The snarky, constantly smirking co-lead trope has been criminally overused in Disney\u2019s recent animations. It\u2019s gotten old, and it\u2019s gotten predictable. It doesn\u2019t help that the relationship between 22 and Joe is practically nonexistent. They learn from one another more by observing each other than they do from actually interacting. By the end of the movie, I couldn\u2019t fathom why Joe would feel any sort of empathy towards 22 besides being mandated by the plot. Keeping with 22\u2019s style of comedy, this movie has an obsession with cutaway gags. One or two can be funny, but five in succession becomes exhausting and feels like it\u2019s constantly halting the movie for a weak joke.<\/p>\n\n\n\n

Lastly, there\u2019s the elephant in the room. Soul<\/em> is the latest addition to the growing list of animated films with black leads that transform into animals and creatures\u2014following such films as The Princess and the Frog<\/em> and Spies in Disguise<\/em>. For Soul<\/em>, the issue is somewhat mediated as we spend a large chunk of the movie in Joe\u2019s world, interacting with his human family and neighbors. But it doesn\u2019t change that Joe is hardly ever himself. And this controversial trope is made even more glaring with Joe being Pixar\u2019s first black protagonist<\/a>. There are so few black leads in animated films as it is; the least you can do is keep them human.<\/p>\n\n\n\n

And that\u2019s Pixar\u2019s Soul<\/em>. Is it a great movie? Far from it. Will it go down as a Pixar classic? Not by my estimation. It makes for an okay one-time viewing in a year devoid of new movies. And Soul<\/em>\u2019s message about appreciating life for all its worth is one we can all learn from. It\u2019s just a shame that the plot was so mismanaged.<\/p>\n\n\n\n

Soul<\/em> is streaming now on Disney+.<\/p>\n\n\n\n

What did you think of Pixar\u2019s Soul<\/em>? Tell us your thoughts in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] Pixar\u2019s \u2018Soul\u2019 Soars in Ideas, But Falls Flat in Execution","post_excerpt":"Pixar's Soul is a case study in how a deep message does not equate to a great movie.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-pixars-soul-soars-in-ideas-but-falls-flat-in-execution","to_ping":"","pinged":"","post_modified":"2021-01-02 18:19:48","post_modified_gmt":"2021-01-03 01:19:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58663","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58644,"post_author":"57","post_date":"2020-12-24 08:14:34","post_date_gmt":"2020-12-24 15:14:34","post_content":"\n

For entertainment fans, Disney\u2019s Investor Day<\/a> event will go down as one of the highlights of 2020 (though that\u2019s not saying much). Amidst the onslaught of exciting announcements from Disney, Pixar, Marvel, and Star Wars<\/a>, some projects were bound to slip through the cracks. Among the most interesting is a long-form series by Walt Disney Animation Studios called\u00a0Iw\u00e1j\u00fa<\/strong><\/em>. Set in Legolas, Nigeria,\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is a science-fiction tale that explores, \u201cdeep themes of class, innocence and challenging the status quo.\"<\/p>\n\n\n\n

\"Iw\u00e1j\u00fa<\/figure>\n\n\n\n

Apart from being an original property in an era of sequels, reboots, and remakes, the most fascinating aspect of\u00a0Iw\u00e1j\u00fa<\/em>\u00a0is how the project came to be. As Jennifer Lee (chief creative officer of Disney Animation) tells the story, it all began in 2019 when Lee saw a video about a group of Nigerian and Ugandan storytellers with aspirations to outclass Disney. These three comic book artists\u2014Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim\u2014founded the entertainment company Kugali<\/a>, whose mission is to create and share African stories by African voices. Lee was so taken by their talents that a collaboration between Kugali and Disney Animation was soon underway. And from this partnership came\u00a0Iw\u00e1j\u00fa<\/em>.\u00a0<\/p>\n\n\n\n

There\u2019s a lot to be excited about when it comes to Iw\u00e1j\u00fa<\/em>. For one, it\u2019s an entirely new story being told by fresh, new voices. Sequels are fun, and even remakes have their merits, but neither can compare to experiencing an original story that isn\u2019t bound by preconceived notions or expectations. Secondly, Disney Animation has rarely delved into African culture. This is a region rich with imaginative, thought-provoking tales worth telling in film and television. If you\u2019re looking for inspiration, you could do a lot worse than turning to this vast continent. <\/p>\n\n\n\n

Lastly, Iw\u00e1j\u00fa<\/em> will have the distinction of being Walt Disney Animation Studios\u2019 first original series. Upcoming shows like Tiana<\/em> and Moana<\/em><\/a> are all continuations of popular movies, whereas Iw\u00e1j\u00fa<\/em> will be the first series not to be based on a preexisting film. Depending on Iw\u00e1j\u00fa<\/em>\u2018s quality and reception, this could be a game-changing move for the studio. As wonderful as movies have always been, I contend that the television format is the superior way of telling stories in a visual medium. It provides more time to flesh out your world, characters, and themes. And should these elements resonate, the audience has upwards of 10 hours to enjoy them, rather than a mere two and a half. To have the world class artists at Disney Animation working in this kind of structure does nothing but excite me. <\/p>\n\n\n\n

Iw\u00e1j\u00fa<\/em> will premiere on Disney+ in 2022. <\/p>\n\n\n\n

What are your thoughts about Iw\u00e1j\u00fa<\/em>? Let us know in the comments below!<\/h2>\n\n\n\n

Edited by Kelly Conley<\/p>\n","post_title":"\u2018Iw\u00e1j\u00fa\u2019: Disney\u2019s Upcoming Pan-African Series That No One\u2019s Talking About","post_excerpt":"With Iw\u00e1j\u00fa, Walt Disney Animation Studios' partnership with Pan-African production company, Kugali, could be a game-changer for the studio.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"iwaju-disneys-upcoming-pan-african-series-that-no-ones-talking-about","to_ping":"","pinged":"","post_modified":"2021-01-02 18:04:59","post_modified_gmt":"2021-01-03 01:04:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58644","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58584,"post_author":"57","post_date":"2020-12-16 06:53:43","post_date_gmt":"2020-12-16 13:53:43","post_content":"\n

In recent years, Netflix has established itself as a premiere platform for animated content\u2014be they short-form programs or feature-length productions. The latest in this ever-growing library is a short film by director Frank E. Abney III, Canvas<\/strong><\/em>. It tells the tale of a grandfather who, after the passing of his wife, loses his passion to paint. Throughout its 9 minute runtime, the grandfather finds himself in a constant struggle between a desire to reinvigorate his passion, and the painful memories that such passion evokes. All of which are further provoked by his visiting art-loving granddaughter.<\/p>\n\n\n\n

The beauty and brilliance of Canvas<\/em> comes from its plot. It\u2019s simple, contained, and universal. Loss is one of life\u2019s inevitabilities. We all experience it at some point or another, and its impact on our psyche cannot be overstated. Upon losing someone special, the memories we\u2019ve shared can do more to elicit heartbreak, than fondness. Rather than being grateful for the moments we\u2019ve experienced together, we may feel burdened by the inability to make more<\/em> memories. This is a natural response, and one on which the narrative of Canvas<\/em> is built upon. But there\u2019s more to loss than grief. How do we find the strength to move forward? If we lose our passions to heartache, is it possible to regain them? Abney III dives into those questions here, and while the outcome is exactly what you\u2019d expect, it nevertheless ties effectively into Canvas\u2019<\/em>s themes. <\/p>\n\n\n\n

\"The<\/figure>\n\n\n\n

There\u2019s another layer to the importance of this short. Released as part of Netflix\u2019s Representation Matters Collection, Canvas<\/em> is the latest addition to the steadily increasing library of ethically-diverse content in animation\u2014a practice that is thoroughly appreciated with each new entry. Each of Canvas<\/em>\u2019s central characters are black, and are designed in such a way that avoid harmful stereotypes that have plagued the medium in the past. What makes this particular aspect of Canvas<\/em> even more special is that its story can resonate with anyone and everyone, whether they are black or not. The relevancy of its subject matter spans every group, and further cements the notion that black-led films don\u2019t have to be beholden to themes of racism and prejudice. <\/p>\n\n\n\n

Canvas<\/em> is available to stream now on Netflix! <\/p>\n","post_title":"[REVIEW] Netflix\u2019s \u2018Canvas\u2019 Is A Beautiful Piece About Love and Loss","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-netflixs-canvas-is-a-beautiful-piece-about-love-and-loss","to_ping":"","pinged":"","post_modified":"2020-12-16 11:14:24","post_modified_gmt":"2020-12-16 18:14:24","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58584","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58501,"post_author":"57","post_date":"2020-12-11 07:20:58","post_date_gmt":"2020-12-11 14:20:58","post_content":"\n

The Walt Disney Company has just held a huge event for its investors, highlighting all-new, upcoming projects slated for theaters and Disney+. Disney\u2019s \u2018Investor Day 2020<\/a>\u2019 has seen an overwhelming avalanche of announcements, some of the biggest of which coming from Pixar and Walt Disney Animation Studios. Among these are two long-form animated series based on Disney\u2019s modern classics, The Princess and the Frog<\/em> <\/strong>and Moana<\/strong><\/em>.<\/p>\n\n\n\n

Tiana<\/em><\/h1>\n\n\n\n
\"Tiana
Tiana logo<\/figcaption><\/figure>\n\n\n\n

Taking place after the magical events of the original 2009 movie, Tiana<\/em> sees the Frog Princess and her friends embarking on new adventures as she settles into the role as princess \u201cof a land we have yet to visit\u201d (I\u2019m guessing we\u2019ll be getting our first look at Maldonado). Tiana<\/em> will be a musical-comedy series and promises to show us more of the mysterious and vibrant city of New Orleans.<\/p>\n\n\n\n

Moana<\/em><\/h1>\n\n\n\n
\"Moana
Moana<\/em> logo<\/figcaption><\/figure>\n\n\n\n

\u2018Moana: The Series<\/em>\u2019 (as Chief Creative Officer of WDAS, Jennifer Lee, refers to the project) features Moana embarking far beyond the reef, backed by her boundless sense of adventure and skills at wayfinding. Much like the original 2016 hit, Moana: The Series<\/em> takes inspiration from the oral storytelling traditions of the Pacific islands. To help tell these stories, Walt Disney Animation Studios will be collaborating with talent from the region. Like Tiana<\/em>, Moana: The Series<\/em> will be a musical, so expect some brand-new showstoppers. <\/p>\n\n\n\n

Tiana<\/em> and Moana<\/em> are debuting in 2023\u2014both as Disney+ Originals.<\/p>\n\n\n\n

What do you think of these upcoming shows? Excited? Let us know in the comments!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"\u2018Moana\u2019 and \u2018Princess and the Frog\u2019 Spin-offs Announced for Disney+","post_excerpt":"Tiana and Moana are scheduled to debut in 2023 on Disney+.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"moana-and-princess-and-the-frog-spin-offs-announced-for-disney","to_ping":"","pinged":"","post_modified":"2020-12-14 10:17:39","post_modified_gmt":"2020-12-14 17:17:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58501","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58380,"post_author":"57","post_date":"2020-11-23 10:25:46","post_date_gmt":"2020-11-23 17:25:46","post_content":"\n

After a seven-year hiatus and some delays<\/a>, the world's first modern family returns in The Croods: A New Age<\/strong><\/em>\u2014a DreamWorks sequel as irreverent as it is bright and colorful.\u00a0In place of Chris Sanders and\u00a0Kirk DeMarco, director\u00a0Joel Crawford takes over with the screenwriting quartet of\u00a0Dan Hageman, Kevin Hageman, Paul Fisher and Bob Logan.\u00a0With so much time between films and new creatives taking the helm, how does the long-awaited continuation hold up?<\/p>\n\n\n\n

\"The
The Croods meet the Bettermans<\/figcaption><\/figure>\n\n\n\n

Picking up immediately where the first movie left off, The Croods: A New Age<\/em> sees the pack searching for a new home in the fabled \"tomorrow.\" Their quest brings them face to face with a new, evolved family called the Bettermans, whose ideals directly contrast those of the Croods\u2014to hilarious results.  <\/p>\n\n\n\n

The ensemble cast of the original film returns, and they don't miss a beat. Grug (Nicholas Cage) remains one of the best characters in Dreamworks' catalog. Sympathetic by virtue of his adherence to kinship but with a cantankerous spirit that leaves plenty of room for both comedy and drama. Eep (Emma Stone) and Guy (Ryan Reynolds) spend the bulk of the movie navigating a \"teenage romance\" that subverts some of the eye-rolling cliches you'd expect from the genre. On the supporting end of the Croods clan, Gran (Cloris Leachman) remains a scene-stealer, with a backstory that leads to a hilariously manic climax. The once-docile Ugga (Catherine Keener) returns as a dynamic figurehead with a proactive role in the story\u2014a vast improvement on what was essentially the stock \"supportive mom\" character in the first film. Thunk (Clarke Duke) and Sandy (Randy Thom) receive little in the way of development, but they remain integral to the humor and heart of the overall experience. <\/p>\n\n\n\n

\"Eep
Eep (Emma Stone) meets Dawn (Kelly Marie Tran)<\/figcaption><\/figure>\n\n\n\n

Newcomers Paul Betterman (Peter Dinklage) and Hope Betterman (Leslie Mann) border on abhorrent but are so wonderfully performed that I lit up whenever they were onscreen. Lastly, there\u2019s the Bettermans\u2019s daughter, Dawn (Kelly Marie Tran). As far as I\u2019m concerned, Dawn is the breakout star of the movie. Her sunny, gregarious deposition adds a warmth that is hardly present anywhere else (more on that later). Whereas the rest of the cast were great for laughs, Dawn struck a balance between hilarious and genuinely sympathetic that was reminiscent of the first film\u2019s best qualities. <\/p>\n\n\n\n

Keeping with the original, The Croods: A New Age<\/em> is a visual marvel. The soft, pleasingly disproportionate style of Chris Sanders is ever apparent here, making for an aesthetic that separates itself from other mainstream animations. Even Sanders's own How to Train Your Dragon<\/em> looks and feels remarkably different from what's on display here. The character animation benefits greatly from the broader designs. The animators need not concern themselves with capturing realism. Rather, attention can be directed to squash-and-stretch, and other techniques that breathe life into the characters. All the same, the environments are filled with a vibrancy that accentuates every minute texture and detail on display throughout.<\/p>\n\n\n\n

\"Thunk,
You don\u2019t have to look far for laughs in this movie.<\/figcaption><\/figure>\n\n\n\n

For all its splendor, The Croods: A New Age<\/em> never lives up to its predecessor. While the world-building bleeds imagination, its story does the opposite. It's the standard \"two worlds that don't understand each other\" motif that has been a fixture in animation for decades. You know where the story is going the second the Croods meet the Bettermans. There\u2019s another boringly familiar subplot involving the struggles of change and separation. This has been a recurring theme in mainstream animation throughout the last few years\u2014Ralph<\/a> Breaks the Internet<\/a><\/em>, How to Train Your Dragon: The Hidden World<\/em>, and Frozen 2<\/a><\/em> are a few examples. That The Croods: A New Age<\/em> never takes itself seriously mediates these blemishes to a degree, but they are blemishes nonetheless.<\/p>\n\n\n\n

More egregiously, the tonal shift between movies. Comedy was a key component in the first Croods<\/em>, but directors Chris Sanders and Kirk DeMarco diligently humanized their characters by incorporating moments of genuine suspense, atmosphere, and heart. The Croods: A New Age<\/em>, on the other hand, is little more than a comedy show. Virtually every second of this movie is tied to a joke. Whenver there's a glimpse of depth, it is immediately capsized by yet another gag. A heavier emphasis on comedy doesn't make A New Age <\/em>a bad film. In fact, that nearly every joke lands is an accomplishment deserving of praise. Be that as it may, the original Croods<\/em> established a franchise that balanced nuanced and poignancy alongside its outlandish humor. So to have a successor that focuses soley on laughs comes off as a disappointing missed opportunity. <\/p>\n\n\n\n

\"The
The world\u2019s first modern family are as spritely ever<\/figcaption><\/figure>\n\n\n\n

The Croods: A New Age<\/em> is less concerned with presenting a compelling narrative and more so on having fun with its world and characters. While this is a downgrade from the work done in its predecessor, it accomplishes its intended goal in spades. At its core, The Croods: A New Age<\/em> is a thoroughly entertaining romp that provides some much-needed levity in 2020. <\/p>\n\n\n\n

The Croods: A New Age<\/em> hits theaters November 25, 2020.
<\/p>\n\n\n\n

Are you excited about The Croods: A New Age<\/em>? Raise your voice down in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[REVIEW] \u2018The Croods: A New Age\u2019 Is a Roaring Good Time","post_excerpt":"The Croods: A New Age is less concerned with presenting a compelling narrative and more so on having fun with its world and characters.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-the-croods-a-new-age-is-a-roaring-good-time","to_ping":"","pinged":"","post_modified":"2021-02-03 02:55:34","post_modified_gmt":"2021-02-03 09:55:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58380","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58162,"post_author":"57","post_date":"2020-10-19 08:45:25","post_date_gmt":"2020-10-19 15:45:25","post_content":"\n

Since its premiere back in 2017, the reboot<\/a> of the landmark Disney Afternoon series, DuckTales<\/em>, has been a hit with longtime fans and newcomers alike. Centering on the adventures of Scrooge McDuck and his grand nephews, one of the highlights of the show is its incorporation of classic characters from other Disney Afternoon shows. While these have mostly been relegated to guest appearances, the hour-long special \u201cLet\u2019s Get Dangerous\u201d is a Darkwing Duck<\/em> story through and through.<\/p>\n\n\n\n

\"Darkwing
Darkwing and Gosalyn<\/figcaption><\/figure>\n\n\n\n

Based on the episode \u201cDarkly Dawns the Duck\u201d, \u201cLet\u2019s Get Dangerous\u201d sees an orphaned rabble-rouser named Gosalyn (Stephanie Beatriz) enlisting the help of Darkwing Duck (Chris Diamantopoulos) <\/strong>to uncover the whereabouts of her missing grandfather. While I haven\u2019t seen much of Darkwing Duck<\/em> since its 90s syndication, I distinctly remember the show\u2019s trademarks; the creative villains, its mix of slapstick and action, and the familial relationship between Drake and Gosalyn. All are on display here in \u201cLet\u2019s Get Dangerous\u201d, and at full force. <\/p>\n\n\n\n

My favorite part of the special was Darkwing, himself. The DuckTales<\/em> writers perfectly captured his traditional foibles, while never jeopardizing his sympathetic qualities. He\u2019s an earnest hero with good values, but prone to blundering and attention-seeking. The slapstick involving Darkwing feels right out of a vaudeville comedy. I laughed out loud at the creative ways in which the writers battered and bruised this guy. And these gags were made all the better thanks to Darkwing still coming off as a competent hero when it mattered. Chris Diamantopoulos, meanwhile, once again proves to be one of the finest voice actors of this generation. He perfectly channels the great Jim Cummings, yet never comes off as a cheap sound-alike. It\u2019d be easy to mistake them for the same actor.<\/p>\n\n\n\n

\"Taurus
Taurus Bulba presents \u201chis\u201d creation to Scrooge and the nephews<\/figcaption><\/figure>\n\n\n\n

The other characters were equally great. Gosalyn\u2018s backstory was legitimately emotional, while her snark and energy made her a fun character to follow. Launchpad McQuack (Beck Bennett) fits the \u201cdim-witted sidekick\u201d role perfectly, and his big heart is used to brilliant effect during the quieter moments of the special. Taurus Bulba (James Monroe Iglehart) was a surprisingly three-dimensional antagonist, made all the more menacing by how likable he was. It was great to hear Iglehart (whom I adore) take on a villainous role after his heroic turns as Broadway\u2019s Genie and Tangled<\/a><\/em>\u2019s Lance Strongbow.<\/p>\n\n\n\n

In regards to the actual crossover aspects of the episode, the worlds of DuckTales<\/em> and Darkwing Duck<\/em> were beautifully integrated here. With Bulba working as an employee for McDuck Enterprise, Scrooge and the boys had plenty incentive to become involved with the plot. I especially appreciated how the nephews\u2019 individual traits played a part in uncovering Bulba\u2018s villainy. For regular viewers of DuckTales<\/em>, the special ends with a cliffhanger teasing the season\u2019s overarching plot. I\u2019m not one of those viewers, but it ensures that \u201cLet\u2019s Get Dangerous\u201d isn\u2019t just an elaborate piece of filler. <\/p>\n\n\n\n

All in all, \u201cLet\u2019s Get Dangerous\u201d was a blast to watch from start to finish. If this was in actuality a backdoor pilot for a Darkwing Duck<\/em> reboot, consider me an advocate.<\/p>\n\n\n\n

Did you enjoy this Darkwing Duck revival? Tell us your thoughts in the comments below! <\/h2>\n","post_title":"[REVIEW] \u2018DuckTales\u2019 Season 3 Episode 12 \u201cLet\u2019s Get Dangerous\u201d","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"review-ducktales-season-3-episode-12-lets-get-dangerous","to_ping":"","pinged":"","post_modified":"2020-10-19 05:24:07","post_modified_gmt":"2020-10-19 12:24:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58162","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":58114,"post_author":"57","post_date":"2020-10-13 05:14:41","post_date_gmt":"2020-10-13 12:14:41","post_content":"\n

Disney Television Animation is back with an all-new animated series,\u00a0The Ghost and Molly McGee<\/strong><\/em>. Created by Bill Motz and Bob Roth, the comedy series centers on optimistic tween Molly McGee (Ashly Burch) who becomes bound to a cantankerous ghost named Scratch (Dana Snyder) after a supernatural mishap. Footage and animatics for the upcoming show were dropped during a panel with the cast and crew at this past New York Comic Con. Key information about the series was revealed throughout the discussion, the most notable being that each 11-minute episode of Molly McGee<\/em>\u00a0will feature a musical number, ala\u00a0Phineas and Ferb<\/a><\/em>\u00a0before it.<\/p>\n\n\n\n

To drive home Molly McGee<\/em>\u2019s status\u00a0<\/em>as a musical series, Disney also released a \u201cmega mix\u201d showcasing brief snippets of the new songs that fans can look forward to. While the accompanying footage was only made up of animatics, the staging and choreography on display bled charm and personality. Not to mention that the songs themselves were outrageously catchy. The one tune about a\u00a0<\/strong>bat\u00a0<\/strong>mitzvah has been on loop in my head for hours.\u00a0Written by songwriter Rob Canter, the music of Molly McGee<\/em> span a variety of genres (K-pop, country, and 80\u2019s power ballads were some of the few mentioned on the panel).<\/p>\n\n\n\n

Additionally, the crew delved into the show\u2019s production. The animation is provided by Mercury Animation, who are responsible for such shows as Rapunzel\u2019s Tangled Adventure<\/a><\/em> and Paul Rudish\u2019s Mickey Mouse<\/a><\/em> cartoons. Unlike most animated projects, actors Ashly Burch and Dana Snyder record their dialogue together; this allows for the chemistry between the characters to feel natural while also giving room for improve.\u00a0Executive producer Steve Loter describes Molly McGee<\/em> as having \u201cDisney at its heart.\" Bill Motz builds on the idea, teasing that the show deals with \u201csome tough stuff\u201d and legitimate emotions between the characters. Ashly Burch gives hints towards the show\u2019s plot, explaining that each episode is self-contained, but that there is an overarching story that unfolds throughout the season. <\/p>\n\n\n\n

Based on the footage and hints from the crew, The Ghost and Molly McGee<\/em> seems littered with humor, heart, and slick animation. It is scheduled to premiere in early 2021 on Disney Channel. You can watch the full panel from NYCC down below!<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=Djog4kccD6E&t=1816s\n<\/div><\/figure>\n\n\n\n

Are you looking forward to The Ghost and Molly McGee<\/em>? Give your thoughts in the comments below!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"Disney Channel Releases First Look at New Series \u2018The Ghost and Molly McGee\u2019","post_excerpt":"Disney Television Animation is back with an all-new animated series, The Ghost and Molly McGee.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"disney-channel-releases-first-look-at-new-series-the-ghost-and-molly-mcgee","to_ping":"","pinged":"","post_modified":"2020-10-14 16:19:57","post_modified_gmt":"2020-10-14 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=58114","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57888,"post_author":"57","post_date":"2020-09-18 06:49:37","post_date_gmt":"2020-09-18 13:49:37","post_content":"\n


From
Locus Animation Studios<\/a>, Red Shoes and the Seven Dwarfs<\/em> <\/strong>is a charming yet poignant new take on the classic Snow White<\/em> fairytale that challenges the age-old perception of beauty and the influence it holds on society. To celebrate the film\u2019s September 18th digital release through Lionsgate, I spoke to voice director Tony Bancroft about his experience on the film and the passion it has evoked. <\/p>\n\n\n\n

Tony: Have you had a chance to see Red Shoes and the Seven Dwarfs? <\/em><\/p>\n\n\n\n

Yes, I did; I loved it actually! Extremely charming, I loved the message, I loved how they conveyed the message, and the characters were wonderful. <\/strong><\/p>\n\n\n\n

Tony: Oh, thank you. Yeah, I\u2019m really\u2014I\u2019m just so proud to be able to talk about it, so I\u2019m happy to be here with you and other reporters that are talking about it right now, so I can get the word out about this wonderful little [film]. It\u2019s one of those little gems, you know, and in my career, I\u2019ve been part of big, colossal things that I knew were gonna be big, but the things that are the most special to me at this point of my career are those smaller, independent gems of animation, and Red Shoes and the Seven Dwarfs<\/em> is definitely one of them that I\u2019m really proud to be apart of. <\/p>\n\n\n\n

I 100% agree with you. So, how did you get involved with this project? I understand that you were the voice director?<\/strong><\/p>\n\n\n\n

Tony: Yeah, I was the voice director on the project, and it really came out of the blue. I took a trip to Seoul, Korea, for a financing gig for one of my projects\u2014I don\u2019t even remember what I was there for. Oh, it was a speaking event. And, I looked up a friend of mine, one of the artists on the film, Jin Kim. He was the main character designer on this film. And he was working at Locus Animation there in Seoul, and I knew that. I looked him up, we got together for lunch, and he said, \u2018Oh, you\u2019ve got to meet the director and the producer of this new movie I\u2019m on, Red Shoes and the Seven Dwarfs<\/em>\u2019. So I said, \u2018Oh, okay\u2019. I thought it was just gonna be us for lunch, but he introduced me. They were so charming and so wonderful. They took me in, and showed me all what they were doing\u2014not only Jin Kim\u2019s work, the excellent character designs, but the production throughout. And, it was A-class quality from this little, charming studio in Seoul, Korea. I was blown away. And then, when they pitched the story to me, I was sold. I said, \u2018If there\u2019s anything you guys need, let me know.\u2019 They were already gearing up and had animation supervisors and all that, so I didn\u2019t really know what role I could have. But then they called me back and said, \u2018We\u2019re getting some nice, A-quality actors, some Hollywood actors, we\u2019d love for you to help us out by being the voice director cause you\u2019ve done so many voice directing gigs in the past.\u2019 And I said, \u2018Oh, that\u2019s perfect\u2019. So that was my way in. You know, I was just trying to find a way in, and I was so happy they came to me with this solution, so yeah.<\/p>\n\n\n\n

I\u2019m glad that\u2019s the case, because like you said, it\u2019s really a hidden gem of a movie, and I\u2019m really glad it\u2019s getting out there. So, Patrick Warburton plays the Magic Mirror. And, he previously voiced one of your characters, Kronk from The Emperor\u2019s New Groove.<\/em> Did that connection have anything to do with Patrick\u2019s casting. <\/strong><\/p>\n\n\n\n

\"Magic
The Magic Mirror (Patrick Warburton) and Queen Regina (Gina Gershon)<\/figcaption><\/figure>\n\n\n\n

Tony: It did. When I came on as the voice director, they had already cast Chlo\u00eb Grace Moretz, Jim Rash, Sam Claflin\u2014well, Sam Claflin was almost cast, but they were working on getting him. And I was very supportive of all those casting choices. Gina Gershon, too. She was already cast. But they didn\u2019t have anyone for the Magic Mirror, and they were throwing out a lot of names to me to get my advice. I kind of pushed him, pushed Patrick into the movie because I have worked with Patrick Warburton on, not only as Kronk, but on other movies that I\u2019ve been apart of. And now, this is like the fifth project I\u2019ve worked with him on. I said, \u2018I really would love to see Patrick Warburton in this part, he would be perfect for it.\u2019 And, it was up to the directors and producers though, not my choice. But, I really pushed for Patrick and they did, they got him in there. So, I was so thrilled to get in the room again with Patrick and direct him, in his voice. And he\u2019s the kind of guy that doesn\u2019t really need a lot of direction anyway, because he just goes. And he gives so much. And you know what you\u2019re gonna get with Patrick, you know. He plays this kind of one part, but he plays it so well. I hope to work with him for 20 more films.<\/p>\n\n\n\n

I had a feeling there was a connection there. Throughout your career, you\u2019ve been an animator, a storyboard artist, a director\u2014among other things\u2014did you find voice directing to be any more or less challenging than your other roles? <\/strong><\/p>\n\n\n\n

Tony: I get, you know I must admit, I am one to get star-struck. That\u2019s when I talk about meeting Chlo\u00eb Grace Moretz or Sam Claflin and having lunch with them and stuff. I\u2019m like a little kid; I get giddy about meeting these folks, and yet, most actors they\u2019re professional, they\u2019re down to earth, they\u2019re just regular people. They really are. But there\u2019s always this element of, \u2018I can\u2019t believe I meet them today!\u2019 and I get so nervous the morning I\u2019m going to record somebody. Like, when I went in to record Chlo\u00eb Grace Moretz. She was calm, and cool, and collected, and professional, and wonderful and charming. And I was a little like a twelve-year-old schoolboy, I think. And here I am\u2014you know, I could be her father. And you know, I felt all giddy and stuff so I had to kind of calm myself a little bit and just get into the professional recording of her voice. And the great thing is that, all of our actors on this film, Red Shoes and the Seven Dwarfs<\/em>, were so down to earth and so easy to connect with, and so willing. They loved the script, they loved the concept, they really got into the roles. So it made my job so much easier. I could just go in and give them the details of the character and the backstory, and things that the actors really know, so they can deliver their best performance. It was a lot of fun. But I guess I can get a little geeky, too.<\/p>\n\n\n\n

Completely understandable. From your experience, what makes an exceptional voice performance? <\/strong><\/p>\n\n\n\n

Tony: You know, some people really put their all into it. Voice recording for animation is a particular piece in that it can be very difficult for an actor to, because often time\u2014and this is 100% on Red Shoes and the Seven Dwarfs<\/em>\u2014they\u2019re alone in a room recording, and actors usually depend upon a stimulus, an energy that comes from another actor that\u2019s beside them. And they pick up on that energy, and they\u2019re very reactive to it. And when they don\u2019t have that, they have to manufacture that more. And it can be very difficult. Not every actor is a great voice actor talent, that\u2019s for sure. But in this cast that we had, most of them had done voice over before, most had some experience in animation except for maybe Sam Claflin and Gina Gershon\u2014it was her first animated film. I would read against them oftentimes, and I would try and deliver that energy, or help take them into the direction where the scene is supposed to go emotionally by reading against them. So that was kind of one of the things I was nervous about, because I\u2019m not an actor. But I know what they need, and need to be delivered so they can do their job. And I was happy to see that they all responded so well. They knew the material beforehand, they were all very prepared which is what you expect from a professional actor. But more than that, they rose to the occasion of understanding, in four hours\u2014and it is a long session, you know\u2014in four hours they have to keep their energy going and appropriate for the level of the scene. And they all did a super job, a wonderful job at doing that because it can be really tough. <\/p>\n\n\n\n

\"The
The Seven Dwarfs, led by Merlin (Sam Claflin)<\/figcaption><\/figure>\n\n\n\n

Right, I can imagine. How long were you involved with the film? <\/strong><\/p>\n\n\n\n

Tony: I mean, off and on, almost the whole production. I was off and on for years. Being the voice director, I was there from when we were talking about casting early on, and then we would start to pick up actors as they were available, but mostly largely at the beginning of pre-production time. Patrick Warburton came in kind of late, so they were animating the scratch tracks largely. But then we brought in Patrick and he laid over all that, and they finished animation with his voice in there. It was kind of throughout the whole term, and I was working on other projects including Animal Crackers<\/a><\/em> at the time, so there was always a lot of back and forth. I\u2019m just so thankful that it all worked out, because it was pretty amazing, the kind of hodgepodge schedule that we had in doing this.<\/p>\n\n\n\n

Have you ever experienced anything like that before?<\/strong><\/p>\n\n\n\n

Tony: No, only because of my time, too, was somewhat limited. I gave everything I could when I was there, obviously, but working out my schedule at the same time of doing other projects was always tremendously difficult for me, because I like to really focus in. I\u2019m the kind of person that, when I\u2019m attached to something and when I\u2019m working on something, I really focus in. But I always knew that there would be large gaps in production, where I couldn\u2019t be apart of it on a day-to-day basis. So, being able to detach and go to another project and come back to Red Shoes<\/em>. It was kind of like going home for me, because Red Shoes<\/em> became one of the most important projects I was attached to, and working with the producer and director became really second nature after a while, and we really developed a great rapport and everything. It was worth the effort, that\u2019s for sure. I was so proud to be apart of it.<\/p>\n\n\n\n

Do you see yourself working with this studio again? <\/strong><\/p>\n\n\n\n

Tony: I would be happy to; I like Locus Animation. I started my own animation company years ago, and unfortunately due to financial circumstances, had to close the doors on it. So I know how tough it is to have an independent animation studio. And having done Animal Crackers<\/em>, that came out on Netflix recently which was an independent, I know what it is to make your own independent animated feature, how difficult this is. And the fact that they not only created their own independent animated film, it had such a great message, it\u2019s such a great family-values-kind of film, and it had such a high level quality. I know what that means, and I know how difficult that is. So yeah, I really believe in the studio, and I\u2019d love to do something else with them.<\/p>\n\n\n\n

What draws you to animation exactly?<\/strong><\/p>\n\n\n\n

Tony: No pun intended, it actually is the drawings. I grew up as a child loving to draw and draw characters, cartoon characters. It started out as comic strips, and then I moved and transitioned to animation, and bringing those characters to life through 24 frames a second. And that\u2019s the thing that I\u2019m still passionate about, is bringing characters to life, bringing stories to life that have an impact on an audience. Because it impacted me so much in my childhood. I used to watch TV animation like Super Friends<\/em> and stuff like that, and graduated to Disney films and was a super fan of all the early Disney films that I grew up with. And now to be in this industry, still drawing everyday, still making cartoons\u2014whether it be for TV or feature films. I love it. I\u2019m just surprised sometimes I get paid.<\/p>\n\n\n\n

What\u2019s next for you? <\/strong><\/p>\n\n\n\n

Tony: I\u2019m actually teaching now; I\u2019m at Azusa Pacific University. I started the animation program there. I\u2019ve been doing that for about three years. Love it, I love being able to give back to the next generation. I do a podcast, The Bancroft Brothers Animation Podcast with my twin brother. I\u2019m writing a book right now, on acting for animation. I also am still in the industry, working as a producer and a director, developing some projects while I\u2019m also animating currently on Space Jam<\/em>\u2014Warner Brothers is doing Space Jam 2<\/em>, and I\u2019m the lead animator on that. So it\u2019s a busy time.<\/p>\n\n\n\n

\nhttps:\/\/m.youtube.com\/watch?v=NB3mZMyxcM0\n<\/div><\/figure>\n\n\n\n

Special thanks to Tony Bancroft for this interview! Are you interested in Red Shoes and the Seven Dwarfs? Let us know in the comments!<\/strong><\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[INTERVIEW] \u2018Red Shoes and the Seven Dwarfs\u2019 Voice Director Tony Bancroft","post_excerpt":"We speak with voice director of Red Shoes about his experience with the actors on the film. ","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"interview-red-shoes-and-the-seven-dwarfs-voice-director-tony-bancroft","to_ping":"","pinged":"","post_modified":"2025-02-07 16:09:48","post_modified_gmt":"2025-02-07 23:09:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57888","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":57521,"post_author":"57","post_date":"2020-08-12 10:07:33","post_date_gmt":"2020-08-12 17:07:33","post_content":"\n

If you\u2019re a fan of TV animation, you\u2019ll likely have heard of HBO Max<\/a>\u2019s anthology series Infinity Train<\/strong><\/em>. As the name suggests, the show takes place on a mysterious train whose carts house bizarre pocket universes. Each season introduces a new protagonist, who must navigate their way across the train while facing fantastical companions and life-threatening adversaries. <\/p>\n\n\n\n

With two seasons in (referred to as Book 1 and Book 2), and a third one dropping this week, Infinity Train<\/em> is a runaway hit. This humble writer would go so far as to declare it the best animated series on TV right now. A bold statement, I know. But as we prepare for the premiere of Book 3, allow me to make my case.<\/p>\n\n\n\n

It\u2019s Brilliantly Structured<\/h2>\n\n\n\n
\"The
Corginia, one of the many worlds that inhabit the train.<\/figcaption><\/figure>\n\n\n\n

Infinity Train<\/em>\u2019s premise provide an endless amount of story possibilities. The evolving nature of the train ensures there are always new worlds to experience and new characters to meet. As an anthology series, each season has a definitive beginning, middle, and end. While hints to the next season\u2019s story are sprinkled in, Infinity Train<\/em> mercifully avoids overplayed drama and forced cliffhangers. It\u2019s unfortunate that we have to say goodbye to certain characters after only one season, but the trade-off is a complete and satisfying story. That is all I could ever ask for in my media.<\/p>\n\n\n\n

Well-Written and Engaging Characters<\/h2>\n\n\n\n
\"Alan
Sometimes a family is a metal girl, a swimming prodigy, and a shape-shifting deer.<\/figcaption><\/figure>\n\n\n\n

Perhaps my favorite part of Infinity Train<\/em> are the characters. Each have well-defined personalities, backstories, and a solid role in the story. In fact, the characters and the train itself go hand in hand, as the latter does not exist purely to terrify its passengers. Rather, the Infinity Train exists to help<\/em> passengers overcome a struggle present in their every day life\u2014whether it be a family dispute, a form of depression, and so forth.

Such a concept allows for Infinity Train<\/em> to be entirely character-driven. It also allows the writers to tackle relatable, human issues despite the show\u2019s fantastical setting. Tons of people can relate to Tulip, the teen struggling through her parents\u2019 divorce. Many can see themselves in Jesse, the kid driven by peer pressure and the desire to be accepted.<\/p>\n\n\n\n

But that\u2019s just the human characters; the train\u2019s inhabitants are just as captivating. Some of the highlights include the hilarious robot One-One, and the Corgi, Atticus. The true standout here, though, is MT\u2014a living reflection who sets out to find an identity of her own. As the protagonist of season two, MT proves that the show can excel whether it be focused on a passenger or one of the train\u2019s denizens.<\/p>\n\n\n\n

An Organic Mystery <\/h2>\n\n\n\n
\"Tulip
Tulip at the foreboding doors of the Infinity Train.<\/figcaption><\/figure>\n\n\n\n

Mysteries are a key component of many shows, and understandably so. They build intrigue and give viewers an incentive to keep watching. Infinity Train<\/em>\u2019s namesake delivers just that. Given the uncanny nature of the train, you never know what to expect. We do get a glimpse at some of the train\u2019s mechanisms, yet even with this information, you can\u2019t help but ask questions. Who built the train? Where did it come from? What\u2019s the story behind the wasteland it runs through?

This mystery works because you don\u2019t need the answers to enjoy the story. We aren\u2019t watching to learn the train\u2019s backstory; we\u2019re watching to see a personal adventure unfold. The train\u2019s obscurity is simply a natural part of the world that Owen Dennis and his team have created\u2014a backdrop to the characters\u2019 journeys. And its vagueness does nothing to take away from such journeys.
<\/p>\n\n\n\n

Do you think Infinity Train <\/em>is the best animated show right now? If not, what is? Let your voice be heard in the comments below!<\/h2>\n\n\n\n

Edited by: Kelly Conley<\/p>\n","post_title":"[OPINION] \u2018Infinity Train\u2019 Is the Best Animated Series on TV","post_excerpt":"The best animated series on TV right now. A bold statement. But as we prepare for Book 3, allow me to make my case.","post_status":"publish","comment_status":"open","ping_status":"closed","post_password":"","post_name":"opinion-infinity-train-is-the-best-animated-series-on-tv","to_ping":"","pinged":"","post_modified":"2020-08-15 11:44:00","post_modified_gmt":"2020-08-15 18:44:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.rotoscopers.com\/?p=57521","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"}],"next":false,"prev":true,"total_page":2},"paged":1,"column_class":"jeg_col_3o3","class":"jnews_block_5"};

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You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

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You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

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You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

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You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n

You can\u2019t talk about Canvas<\/em> without mentioning its visuals. Theres a pleasant softness to the character designs and animation that feels reminiscent to Pixar\u2019s recent outings. This comes as no surprise, as Frank E. Abney III has previously lent his talents to recent hits from Pixar, DreamWorks, and Walt Disney Animation Studios<\/a>. It\u2019s a frankly basic look that\u2019s enriched by such details as the liver spots on the grandfather\u2019s head, and hair textures. Even more remarkable are brief sequences that utilize a painterly, hand-drawn style.<\/p>\n\n\n\n