How to use this Page

The winners of the 2012 Ottawa International Animation Festival were announced earlier tonight at the National Arts Center in Ottawa. The top prize for short film went to Dutch filmmaker Hisko Hulsing for his short Junkyard. The animated feature prize went to the Spanish feature Arrugas (Wrinkles) directed by Ignacio Ferreras. It’s Such a Beautiful Day by Don Hertzfeldt picked up the audience prize.

I Am Tom Moody by Ainslie Henderson picked up two awards, including the grand prize for best student animation. Two films in this year’s Cartoon Brew Student Animation Festival were also recognized: Kyle Mowat’s Ballpit won best graduate animation and Noam Sussman’s Gum won the Canadian student animation award.

The complete list of winners is below:

Nelvana GRAND PRIZE for Best Independent Short Animation
Junkyard directed by Hisko Hulsing, Netherlands

GRAND PRIZE for Best Animated Feature
Arrugas (Wrinkles) directed by Ignacio Ferreras, Spain

Walt Disney GRAND PRIZE for Best Student Animation
I Am Tom Moody directed by Ainslie Henderson, Edinburgh College of Art, UK

GRAND PRIZE for Best Commissioned Animation
Primus “Lee Van Cleef” by Chris Smith, USA

Best Animation School Showreel
Supinfocom (France)

BEST Narrative Short
A Morning Stroll by Grant Orchard, STUDIO AKA, USA

BEST Experimental/Abstract Animation
Rivière au Tonnerre directed by Pierre Hébert, Canada

Adobe Prize for BEST High School Animation
The Bean by Hae Jin Jung, Gyeonggi Art High School, South Korea

Honourable Mention:
La Soif Du Monde (Thirsty Frog) by a Collective: 12 Children, Camera-etc, Belgium

BEST Undergraduate Animation
Reizwäsche by Jelena Walf & Viktor Stickel, Germany

BEST Graduate Animation
Ballpit directed by Kyle Mowat, Sheridan College, Canada

BEST Promotional Animation
Red Bull ‘Music Academy World Tour’ by Pete Candeland, Passion Pictures, UK

BEST Music Video
The First Time I Ran Away by Joel Trussell, USA

BEST Television Animation for Adults
Portlandia: “Zero Rats” by Rob Shaw, USA

BEST Short Animation Made for Children
Beethoven’s Wig directed by Alex Hawley & Denny Silverthorne, Canada

Honourable Mentions:
Au Coeur de L’Hiver directed by Isabelle Favez, Switzerland
Why do we Put up with Them? directed by David Chai, USA

BEST Television Animation Made for Children
Regular Show: “Eggscellent” by JC Quintel, Cartoon Network

Honourable Mention:
Adventure Time: “Jake vs. Me-Mow” by Pendleton Ward, Cartoon Network, USA

The National Film Board of Canada PUBLIC PRIZE
It’s Such a Beautiful Day directed by Don Hertzfeldt, USA

Canadian Film Institute Award for BEST Canadian Animation
Nightingales in December directed by Theodore Ushev, Canada

Honourable Mentions
Ballpit directed by Kyle Mowat, Sheridan College, Canada
MacPherson directed by Martine Chartrand, National Film Board of Canada, Canada

BEST Canadian Student Animation Award
Gum by Noam Sussman, Sheridan College, Canadaa

Honourable Mentions
Ballpit by Kyle Mowat, Sheridan College, Canada
Tengri by Alisi Telengut, Concordia University, Canada

The Ottawa Media Jury Award
For the best short competition film, as deemed by the local Ottawa Media, consisting of:

-Peter Simpson (Ottawa Citizen)
-Sandra Abma (CBC)
-Fateema Sayani (Ottawa Magazine)
-Denis Armstrong (Ottawa Sun)

I Am Tom Moody by Ainslie Henderson, Edinburgh College of Art, UK

We’re going to be open all night long to discuss the Oscars. We’re still waiting to hear the winners, but here are the results of Cartoon Brew’s Oscar Survey. Will ILM’s Rango and Pixar’s La Luna win the Feature and Short categories as our readers predicted, or will there be upsets in those categories.

While we’re waiting to hear the results, take some time to read our interviews with the five nominees of the Best Animated Short category:

Wendy Tilby and Amanda Forbis (Wild Life)

Enrico Casarosa (La Luna)

Grant Orchard (A Morning Stroll)

Patrick Doyon (Sunday)

Bill Joyce and Brandon Oldenburg (The Fantastic Flying Books of Mr. Morris Lessmore)

Cartoon Brew: Leading the Animation Conversation | Permalink | No comment | Post tags: A Cat In Paris, A Morning Stroll, Academy Awards, Chico and Rita, Fantastic Flying Books of Mr. Morris Lessmore, Kung Fu Panda 2, La Luna, Oscars, Puss in Boots, Rango, Sunday, Wild Life

BREWMASTERS NOTE: This week Cartoon Brew takes a closer look at the five Academy Award nominated animated shorts. Each day at 10am EST/7am PST we will post an exclusive interview with the director(s) of one of the films. Today, we discuss Studio AKA’s A Morning Stroll with its writer/director Grant Orchard:

Amid Amidi: At Pixar, when artists pitch their short film ideas to John Lasseter, if Lasseter really likes the idea, he hugs you at the end of the presentation. Did you get any hugs at Studio AKA when you pitched A Morning Stroll, and if so, who hugged you?

Grant Orchard: Not really, some curious questions and then an – ‘OK, we trust you, give it a go’. I bet you think we’re all very Downtown Abbey over here. All arch and stiff, but no, it’s all free hugs and love man. In fact it sounds like Mr. Lasseter is holding back a little, he should share it around a bit more.

Amid: More seriously, how did you convince Studio AKA, which is the studio that reps you commercially, to make this film?

Grant: I did pitch it as a brief, diverting 3 minute film. Ultimately it doubled in length to a very brief, diverting 7 minute film. So maybe the partners at Studio AKA (Sue Goffe, Philip Hunt, Marc Craste & Pam Dennis) initially thought it might not be that much of a risk; but it was still a risk as we had no outside funding and had to find a way of making it without affecting the commercial work that was coming through the studio. Also they’ve had significant success with their previous shorts, so it would have been easy for them to have rejected the idea, because it’s not the type of film that you can be sure its going to work until it’s pretty much made. Due to its structure I don’t think I could have conveyed it to them any other way than to actually make it. But they’re all filmmakers and have gone through the same commercial demands as me over the years. People won’t trust us (or acknowledge our experience, skills etc.) to develop a project as it progresses – we usually have to deliver absolutes & fully resolved ideas as part of a pitch. So when it comes to self-initiated work, the partners like to show a bit of faith. Which I think is great.

So in a nutshell, we didn’t make the film with an aim to make it profound or thought provoking – rather the point of it was to be a bit playful in our process – and I think everyone was of the same mind; that we make a really fun, interesting film that people would get a kick out of at festivals.

Amid: I read the original story on which your film is based, and it’s less a story than a six-sentence memory capturing a moment in time. When you read that, did you instantly see a film in it, or did the idea evolve over time?

Grant: It definitely evolved over time. Reading that extract just got me thinking of that scenario in lots of different ways. It felt like an urban myth, and urban myths always get exaggerated and pulled in different directions with each re-telling. Originally I was going to animate three different versions of the story alongside each other. All would have the same shot compositions and length, but would vary in quite subtle ways. Then I guess I had the idea of setting each section 50 years on from each other, and that’s when the chronological three-act structure took shape.