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According to a NYTimes article on the recent poor performance of several expensive, hand-drawn animation films, and the success of such CG films as Pixar’s Finding Nemo, Dreamworks (with voice provided by animaster Jeffrey Katzenberg) is calling hand-drawn animation “a thing of the past.”
Another nugget of apparently accepted wisdom: as the poor box office of Sinbad, Treasure Planet, and Titan A.E. demonstrates, animated action films targeted at boys will fail. Hmm. Or else, these three films blew chunks. As Final Fantasy showed, you can make a bad action movie with CG, too.
The major studio solution, comedies and sequels (Shrek 2, anyone?), betrays the blockbuster mentality that’s ruining live action films, while ignoring the world where action and animation are thriving: anime. The gorgeously hand-animated, Oscar-winning Spirited Away cost only $12mm to produce and scored $10mm in US box office, $12mm in Europe, and like a hundred trillion dollars in Japan.
Animation can learn a lesson from both anime and indie producers. Danny Boyles’ horror/thriller 28 Days Later has earned $33 million in the US, performance which means failure for a $140m juggernaut like Treasure Planet. For a DV production with an $8 million budget, though, it signals wild success.
[update from Saturday’s NYT: animators Mike Judge and Don Hertzfeldt aren’t taking this studio lameness lying down. They’re touring The Animation Show around the country, setting out to drum up audience–and to make themselves the go-to guys–for indiemation.
And on Studio 360, Kurt Andersen basically gives you the audio version of this post.

Wired interviews director/etc. Robert Rodriguez, a young master of the atypical production process, for the launch of his new film, Spy Kids 3-D. It’s less than a year since Spy Kids 2, when the NY Times‘ Rick Lyman looked at Rodriguez’s one-man-band approach to movies. (Director is only one of seventeen different credit categories in his imdb profile. More than almost any other director, a Rodriguez film is literally, a Rodriguez film.)
But yet he’s not really considered an auteur. Unlike more auteur-y directors (Steven Soderbergh comes to mind) who enjoy passionate followings among critics and film schoolers, Rodriguez’ vision is far less rarified. I mean, he sets out to make westerns, teen and kiddie movies. But he makes them well, he makes them profitably, and he makes major production innovations that should have a farther-reaching influence.
Here’s an early interview by John Connor, from just before El Mariachi‘s appearance at Sundance; not much has changed, it seems. Rebel Without a Crew, Rodriguez’s production diary from El Mariachi, is a modern, entertaining bible of the behind-the-indie-scenes genre.
[update: Maybe more like the bible than I intended. Making a feature for $7,000 is as tough to duplicate as feeding 5,000 with a fish. Indie filmmaker Felix suggests that anyone who reads Rebel Without A Crew should also read The Unkindest Cut, movie critic Joe Queenan’s hilarious failed attempt to replicate Rodriguez’s $7k feat.
Also, the Ed Park’s Voice review pegs Rodriguez for his “DIY monomania.” If his DVD commentaries are anything to go by, he may be to annoying to become a guru. ]

Rebecca Traitser writes in the Observer that the tide has turned (again), and studios are coming back to New York to develop new films. As John Lyons puts it, “I think there is a little sense of exhaustion creeping in with all the high-concept action-sequel movies.” Mr. Lyons, it turns out, was just named president of production for Focus Features (Congratulations, Mr. Lyons. Muffin basket’s on the way.) , and is staying put in New York, where ex-Good Machiners David Linde and James Schamus are, rather than decamping for LA.
Dreamworks and others are opening development offices here, mostly to scout books. But frankly, that doesn’t seem like a huge story. If a studio didn’t have a book person in NYC, the books just went west. Lyons’ choice to stay just consolidates mini-major power in New York. New Line and Miramax have always been NYCentric; Bingham Ray keeps UA’s center of gravity here (his reported brushoff line is, “Call me in LA.”); Christine Vachon stays here; Soderbergh moved here. Why, it’s the thinking person’s Hollywood.