Richard Williams was a pioneer of hand-drawn animation, working on films such as The Pink Panther and Who Framed Roger Rabbit. But perhaps his most enduring work is his masterclass, The Animator's Survival Kit
When the animator Richard Williams celebrated his 80th birthday last month he was the subject of widespread and heartfelt acclaim as one of the most important and influential figures in his industry. His career has ranged from tiny TV commercials to the biggest budget Hollywood features, including the 1988 homage to the golden age of animation, Who Framed Roger Rabbit, a film widely credited with single-handedly reinvigorating an art form that had fallen badly out of fashion.
Looking back over his many triumphs – as well as some notable disasters – Williams himself ascribes much of his success to a decision he made in the late 1960s, when he effectively demoted himself within his own, highly profitable and multi-award-winning,...
When the animator Richard Williams celebrated his 80th birthday last month he was the subject of widespread and heartfelt acclaim as one of the most important and influential figures in his industry. His career has ranged from tiny TV commercials to the biggest budget Hollywood features, including the 1988 homage to the golden age of animation, Who Framed Roger Rabbit, a film widely credited with single-handedly reinvigorating an art form that had fallen badly out of fashion.
Looking back over his many triumphs – as well as some notable disasters – Williams himself ascribes much of his success to a decision he made in the late 1960s, when he effectively demoted himself within his own, highly profitable and multi-award-winning,...
- 4/19/2013
- by Nicholas Wroe
- The Guardian - Film News
Richard Williams was a pioneer of hand-drawn animation, working on films such as The Pink Panther and Who Framed Roger Rabbit. But perhaps his most enduring work is his masterclass, The Animator's Survival Kit
In the late 1960s the animator Richard Williams was established as one of the leading figures in the industry. He had won a Bafta for his debut film, The Little Island; his London based company had developed a lucrative portfolio of commercial television work and he was providing the animated sequences for classic 60s feature films such as the Woody Allen-scripted What's New Pussycat and Tony Richardson's antiwar epic The Charge of the Light Brigade. So, he acknowledges, it was a strange time for him to engineer a demotion for himself.
"In fact I was still the primary director of the work," he explains today "but I also became an assistant to other animators, and...
In the late 1960s the animator Richard Williams was established as one of the leading figures in the industry. He had won a Bafta for his debut film, The Little Island; his London based company had developed a lucrative portfolio of commercial television work and he was providing the animated sequences for classic 60s feature films such as the Woody Allen-scripted What's New Pussycat and Tony Richardson's antiwar epic The Charge of the Light Brigade. So, he acknowledges, it was a strange time for him to engineer a demotion for himself.
"In fact I was still the primary director of the work," he explains today "but I also became an assistant to other animators, and...
- 4/17/2013
- by Nicholas Wroe
- The Guardian - Film News
White Collar returned tonight with an episode that really should have been two hours long. Why? Because after an hour that delivered on action, intrigue, and shirtlessness, it’s just cruel to make people wait an entire week.
The fourth season premiere of White Collar found Neal (Matt Bomer) and Mozzi (Willie Garson) living it up island-style on Cape Verde, just off the coast of Africa. The little Island community was complete with everything they needed from a haven — no extradition laws, a powerful man who they could buy protection from, custom hat makers, and a good-looking coffee shop girl...
The fourth season premiere of White Collar found Neal (Matt Bomer) and Mozzi (Willie Garson) living it up island-style on Cape Verde, just off the coast of Africa. The little Island community was complete with everything they needed from a haven — no extradition laws, a powerful man who they could buy protection from, custom hat makers, and a good-looking coffee shop girl...
- 7/11/2012
- by Sandra Gonzalez
- EW.com - PopWatch
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