When it comes to animated television, it’s good to be Netflix. That was the takeaway of Saturday evening’s 47th Annual Annie Awards, during which the streamer garnered major wins for both the big and small screens.
Awarded by the Los Angeles outlet of the International Animated Film Association, the honors aim to celebrate excellence in animated entertainment. The top prize on the TV side came in the form of the underwhelmingly named category known as Best General Audience TV/Media Production, which went to Netflix’s “BoJack Horseman” for the second consecutive year.
Though it took awhile for the organization to warm to the series, a scathing deconstruction of Hollywood centered around a depressive horse, the back-to-back wins suggest that even as “BoJack Horseman” heads into its final batch of episodes, it concludes as one of the finest shows on television.
Perhaps more impressive than the show’s...
Awarded by the Los Angeles outlet of the International Animated Film Association, the honors aim to celebrate excellence in animated entertainment. The top prize on the TV side came in the form of the underwhelmingly named category known as Best General Audience TV/Media Production, which went to Netflix’s “BoJack Horseman” for the second consecutive year.
Though it took awhile for the organization to warm to the series, a scathing deconstruction of Hollywood centered around a depressive horse, the back-to-back wins suggest that even as “BoJack Horseman” heads into its final batch of episodes, it concludes as one of the finest shows on television.
Perhaps more impressive than the show’s...
- 1/26/2020
- by Libby Hill
- Indiewire
Netflix dominated the 47th Annie Awards on Saturday, Jan. 25, picking up 19 trophies, including the top prizes of best feature (“Klaus”), best feature-independent (“I Lost My Body”), best TV/media production for preschool children (“Ask the Storybots”) and best general audience TV/media production (“BoJack Horseman”). Disney TV Animation’s “Disney Mickey Mouse” won best TV/media production for children.
The traditionally animated “Klaus” won seven Annies, the most overall, winning in every category in which it was nominated, with Sergio Pablos winning for both his direction and for storyboarding. “Klaus” also won for character animation (Sergio Martins), character design (Torsten Schrank), production design (Szymon Biernaki and Marcin Jakubowski) and editorial (Pablo Garcia Revert).
In addition to winning best feature-independent, “I Lost My Body” picked up trophies for composer Dan Levy and writing for director Jérémy Clapin and Guillaume Laurant, who together adapted the screenplay from Laurant’s novel “Happy Hand.
The traditionally animated “Klaus” won seven Annies, the most overall, winning in every category in which it was nominated, with Sergio Pablos winning for both his direction and for storyboarding. “Klaus” also won for character animation (Sergio Martins), character design (Torsten Schrank), production design (Szymon Biernaki and Marcin Jakubowski) and editorial (Pablo Garcia Revert).
In addition to winning best feature-independent, “I Lost My Body” picked up trophies for composer Dan Levy and writing for director Jérémy Clapin and Guillaume Laurant, who together adapted the screenplay from Laurant’s novel “Happy Hand.
- 1/26/2020
- by Terry Flores
- Variety Film + TV
On March 4, 2013, Dallas fans once again found themselves asking, “Who shot J.R.?” But this time, they knew he wouldn’t survive. How did exec producers Cynthia Cidre and Michael R. Robin orchestrate J.R. Ewing’s final scene without their beloved star, the late Larry Hagman? How did they decide to alter the show’s iconic theme song for the following episode to honor both the character and the actor? They revealed all to EW.com last winter. Revisit the conversation below.
Click here for more of EW.com’s Best of 2013 coverage.
Entertainment Weekly: What was the actual...
Click here for more of EW.com’s Best of 2013 coverage.
Entertainment Weekly: What was the actual...
- 12/1/2013
- by Mandi Bierly
- EW - Inside TV
If you didn’t hear the news already, I’m now the West Coast Editor of TV Fanatic and I’m so excited to be making a home here with my fellow television lovers.
Always feel free to leave a comment here or email me directly (jim@jimhalterman.com) if there are shows or stars you want to see more of.
This week, my Notebook is jam-packed with behind-the-scenes scoop on your favorite dramas, such as the special opening titles for Monday's Dallas episode, real-life injuries on the Southland set, Matthew Rhys on the action/emotional challenges on The Americans and then love being in the air over at So You Think You Can Dance...
Dallas We knew the “Jr’s Masterpiece” would be a good one... but how about those somber opening credits? How’d that come about? Cynthia Cidre, the executive producer who wrote the episode, said it...
Always feel free to leave a comment here or email me directly (jim@jimhalterman.com) if there are shows or stars you want to see more of.
This week, my Notebook is jam-packed with behind-the-scenes scoop on your favorite dramas, such as the special opening titles for Monday's Dallas episode, real-life injuries on the Southland set, Matthew Rhys on the action/emotional challenges on The Americans and then love being in the air over at So You Think You Can Dance...
Dallas We knew the “Jr’s Masterpiece” would be a good one... but how about those somber opening credits? How’d that come about? Cynthia Cidre, the executive producer who wrote the episode, said it...
- 3/15/2013
- by jimhalterman@gmail.com (Jim Halterman)
- TVfanatic
Dallas’ iconic theme song will sound a little different tonight as the TNT series says goodbye to J.R. Ewing (Larry Hagman) with a memorial and funeral. Watch the revised opening credits below, and make sure you have a tissue handy. Exec producers Cynthia Cidre and Michael R. Robin spoke to EW.com about honoring Hagman, the wonderful last image of him captured on film, and how they orchestrated J.R.’s final act.
Entertainment Weekly: Everyone I’ve talked to who’s seen these opening credits has teared up. Whose idea was it to change them for this episode?...
Entertainment Weekly: Everyone I’ve talked to who’s seen these opening credits has teared up. Whose idea was it to change them for this episode?...
- 3/11/2013
- by Mandi Bierly
- EW - Inside TV
Chicago – Playing the same beloved character for a full decade tends to make an actor typecast for life, regardless of one’s range or ability. That’s the challenge facing all six stars of David Crane and Marta Kauffman’s lovable and addictive sitcom, “Friends.” Each cast member has had varying degrees of success when attempting to break out of their familiar onscreen personas.
Out of all the actors, Matthew Perry seems to have had the most difficulty altering his image. Perry’s character of Chandler Bing was a wonderful comic creation—a deadpan straightman with a pained expression that could speak volumes, and a self-loathing sarcasm that seeped into every syllable. He was a perfect foil for Matt LeBlanc’s free-spirited klutz, Joey. Though both actors went on to headline failed sitcoms (“Studio 60 on the Sunset Strip” and “Joey,” respectively), LeBlanc’s career rebounded in a big way this year with his inspired,...
Out of all the actors, Matthew Perry seems to have had the most difficulty altering his image. Perry’s character of Chandler Bing was a wonderful comic creation—a deadpan straightman with a pained expression that could speak volumes, and a self-loathing sarcasm that seeped into every syllable. He was a perfect foil for Matt LeBlanc’s free-spirited klutz, Joey. Though both actors went on to headline failed sitcoms (“Studio 60 on the Sunset Strip” and “Joey,” respectively), LeBlanc’s career rebounded in a big way this year with his inspired,...
- 2/9/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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