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‘Rango’ Receives Best Animated Feature Award at 39th Annual Annie Awards

Posted Saturday, February 4th, 2012 - Comments Off on ‘Rango’ Receives Best Animated Feature Award at 39th Annual Annie Awards
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FOR IMMEDIATE RELEASE

LOS ANGELES, Feb. 5, 2012 — Paramount Pictures’ ‘Rango’ took top honors as the Best Animated Feature at the 39th Annual Annie Awards, Saturday, February 4, at UCLA’s Royce Hall. With the expanded list of categories from 25 to 28, and the addition of two new categories – Editing and Best Animated Special Production – this year’s show honored more nominees than in the past. Also new to the ceremony was the live streaming of the event at www.annieawards.org/watch-it-live . The complete list of winners can be viewed at www.annieawards.org . The newly created ‘Member’s Favorite’ award voted on by the entire ASIFA-Hollywood community also went to ‘Rango.’

Newcomer Minkyu Lee’s ‘Adam and Dog’ won for Best Short Subject while Psyop’s Twinings ‘Sea’ was selected Best Television Commercial. ‘The Simpsons’ took Best Animated TV Production and Shadow Planet Production’s ‘Insanely Twisted’ was selected as Best Video Game.

‘This was a great evening, with a lot of fun and surprises,” said ASIFA-Hollywood President Frank Gladstone. “Annies went to a huge variety of individuals and studios. This goes directly to ASIFA-Hollywood’s vision of celebrating the best in animation across project, studio and geographic boundaries.”

Actor and comedian Patton Oswalt’s hosting duties kept the show moving at a lively pace. He was joined on stage by animation luminaries, celebrity presenters and comedic talent including animation legend June Foray, J.K. Simmons, Judy Greer, Zachary Levi, Peter Baynham, Mace Heufeld, Weird Al Yankovic, Bruce Boxleitner, Ahmed Best, Kathleen Kennedy, Frank Marshall, Jim Cummings, Phil Lamarr, Diedrich Bader, Daran Norris, Tara Strong, Kelly Stables, Dee Bradley Baker, Nika Futterman, Ariel Winter, Logan Grove, James Hong, Brian Posehn, Greg & Evan Spiridellis and Jim Meskimen (Jib Jab), Bridgit Mendler, Brittany Snow, Jason Marsden and Joe Letteri.

Honored with the Winsor McCay award were Walt Peregoy, Borge Ring and the late Ronald Searle. The Winsor McCay Award stands as one of the highest honors given to an individual in the animation industry in recognition for career contributions to the art of animation.

Art Leonardi was honored with the June Foray award which is presented to an individual who has given significant and benevolent contributions to the art and industry of animation.

Often a predictor of the annual Academy Award for Best Animated Feature, the Annie Awards honor overall excellence as well as individual achievement in a total of 28 categories ranging from best feature, production design, character animation, and effects animation to storyboarding, writing, music, editing and voice acting. Entries submitted for consideration were from productions that originally aired, were exhibited in an animation festival or commercially released between January 1, 2011 and December 31, 2011.

ASIFA-Hollywood is the world’s first and foremost professional organization dedicated to promoting the Art of Animation and celebrating the people who create it. Today, ASIFA-Hollywood, the largest chapter of the international organization ASIFA, supports a range of animation activities and preservation efforts through its membership. Current initiatives include the Animation Archive, animation film preservation, special events, classes and screenings.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon