ASIFA-Colorado News

Oct 8, 2003†††††††††††††††††††††††††††††††††††††††††

Volume 1,† Number 5

New & Noteworthy

Alejandro Bermann


New ASIFA Organization


International Animation Day - Oct 28th!


Board Excerpts

Upcoming Events




Festivals & Conferences




Member Profile: Eric Deuel


Brouhaha, Babble and Balderdash







Web Site:





ASIFA/Colorado Volunteers and Board

Dan A. Seely



Carmella Rodriguez

Treasurer and Business Manager


Anne Elizabeth    

Liaison to Post-Secondary Students and Scribe


David Mesple        

Emissary to Secondary Education               


Kevin Ryan           

Vice President of Marketing


Evert Brown

Membership Chair


Judy Gardner

Publicity Coordinator


Todd Debreceni

Vice President of Allied Fields


Tom Ward

Director of Communications


Ed Desroches

News Letter Editor






Mission Statement

ďASIFA Ė Colorado was established in 2001 as a non-profit corporation devoted to cultivating and promoting the art, craft and profession of Animation.

Together, our membership and Board of Directors are developing a far-reaching range of programs and special events to meet the following goals:


ō      Stimulate discussion among professional and non-professional animation enthusiasts about concepts and technologies evolving in the industry.

ō      Increase the visibility of Colorado Region animation companies available to serve the growing demand for commercial animation productions across the nation and around the world.

ō      Establish a tradition of local, public events including seminars, panel discussions, special screenings, festivals and workshops devoted to more broadly acquainting the population with the power, diversity, and application of animation in all media.

ō      Increase the connections between animation education programs and professionals in the industry.

ō       Enrich the experience of animation students by bringing the diversity of the international animation scene to their doorstep.Ē




To join ASIFA-Colorado:

go to http:/

or send a check; $30 for Students, $55 for Professionals (payable to ASIFA-Colorado) to:


6585 W. 62nd Place

Arvada, CO 80003

include your Name, Address, and phone number. Student include a photocopied id.







To contribute or volunteer contact:

Evert Brown at





Comments, questions, articles and suggestions are always welcome. Reply-To:

RUN, don't walk, BUT

Don't Miss


His reach into the international world of animation is incredible, his understanding of the art and craft of animation is vastly enlightened, and his knowledge of the trends is unmatchable.


Wednesday, Oct. 8:   6:30pm - 10pm    

Mr. Hooks' will discuss:  Acting, Animation, the Theatre Arts & Our World.  

Location:  Denver School of the Arts

$15 General Admission; $10 for ASIFA-Colorado Members; $7 for middle and high school students.

Thursday, Oct. 9:   7pm - 10:30pm            Day 1 of 3 day

Acting for Animators 3-day intensive workshop

Location:  Rocky Mountain College of Art & Design
$200 General Admission (for all three days); $175 for ASIFA-Colorado Members
Friday, Oct. 10:        7pm - 10:30pm           Day 2 of 3 day

  Acting for Animators intensive workshop
Saturday, Oct. 11: 9am - 5pm                   Day 3 of 3 day

  Acting for Animators intensive workshop

Overflow seats available all 3 days for observers at a special registration fee range from $25-$45. 


Call for details 1-877-233-2274 or email immediately to or visit, but don't delay!

New & Noteworthy

        Alejandro Bermann - Alex came to speak on September 24th at the new event center at Rocky Mountain College of Art & Design.  Alex is from Argentina where he runs his company Framex which services many clients such as Coca-Cola, Pepsi/BAESA, Motorola, Shell, Clorox, and Citibank.  Much of his talk focused on what work they had done and how they did it.  But once the questions and answers portion was entered the discussion centered around the difference between the animation scene in Argentina versus the United States.  This talk lasted for quite some time and the group as well as Alex seemed to be interested in continuing the discussion.

        ASIFA International is moving ahead with its new organization.

In order to have a strong start of the New ASIFA Board all ASIFA Groups are required to send a representative - the ASIFA-Colorado Board voted to send Ed Desroches. 
One important function of the ASIFA International Board Members is to be a LINK between the local members and the international administration - working in BOTH DIRECTIONS.

At Cinanima 2003 in Esphino, Portugal, the New ASIFA International Board will meet and will also elect the Executive ASIFA Board.

    International Animation Day! - Following the idea of the former ASIFA President, Abi Feijo from Portugal, ASIFA started the project of INTERNATIONAL ANIMATION DAY.
The 28th of October was chosen (in memory of Emile Reynaud's invention of the "Theatre Optique"), and in 2002 this day was first celebrated.
Mikhal Bak from AFCA wrote:
"We are organizing this year's Animation Celebration, which will take place in France from the 21st to the 28th of October. It was quite a success last year (120 places participated) and we decided that each year we will have a week-long celebration including the international Animation Day. 
This year, we're having between 150 and 200 places participating all over France (screenings, exhibitions, workshops, etc.). We are in charge of the general coordination of the events, and we organize ourselves a few events in Paris. For instance, we're organizing an exhibition about the variety of techniques in animation, and the day after it's opening, there will be a whole afternoon of authors presenting their technique to the audience. We really hope that this year more people around the world will organize something, even symbolic, on the 28th of October!" 
     During the most recent local board meeting copies of the by-laws were handed out pending approval by the board members.  The board also elected Carmella Rodriguez to the position of treasurer effective immediately.  Sam Fleming was also elected to the position of Director of Emerging Talent. Event admission was also discussed with the amounts being set at - free for ASIFA members, $5 for non-members, and $3 for student non-members.

Upcoming Events       


Mighty Fudge October 29 th at 7 pm

They are currently producing a follow up video for Dressy Bessy's new album. They will focus on making an animated music video and producing their own "Saturday Morning Cartoons for Adults".

At the Rocky Mountain College of Art & Design Theater,

NEW LOCATION - 1600 Pierce St. Lakewood, CO 80214

Festivals & Conferences

33rd International Film Festival Rotterdam, Rotterdam, Holland, January 21 - February 1, 2004 
Deadline: November 1, 2003 

        GAMING STUDENT CAN WIN $25,000! 
Hidden Agenda Gaming Contest, World Wide Web 
June 1, 2004 
Deadline: December 15, 2003 . 
        Montreal International Festival New Cinema New Media (FCMM), Montreal, Quebec Canada
October 09 - 19, 2003
        The 10th Annual Austin Film Festival, Austin, Texas USA
October 09 - 16, 2003
        MIPCOM 2003, Cannes, France
October 10 - 14, 2003
        3rd Annual Metreon Festival Of Anime, San Francisco, California USA, October 11, 2003
        Cork Film Festival, Cork, Ireland
October 12 - 19, 2003
        Leipzig Festival 2003, Leipzig, Germany
October 14 - 19, 2003
        Future Animators of the Future 4th annual Animation and Video Festival, Boston, NYC, San Francisco, L., MA, NY, CA USA, October 15 - November 15, 2003
        7th Hollywood Film Festival, Hollywood, California USA
October 15 - 20, 2003
        The 4th International Student Animation Festival of Ottawa (SAFO), Ottawa, Ontario Canada
October 16 - 19, 2003
        CINESPACE Film Festival, Hollywood, California USA
October 16 - 18, 2003
        Stop-Motion Animation Workshop, Allendale, Michigan USA, October 17 - 19, 2003
Animation at War Screening, Beverly Hills, California, USA 
October 22, 2003. 
        The Deep Ellum Film Festival 2003 (DE/F2), Dallas, Texas USA, October 22 - 30, 2003
A Short History of Polish Animation Exhibition, 
New York, New York, USA, October 23 - November 2, 2003. 
3D Festival 2004, Copenhagen, Denmark 
May 3 - 6, 2004. 


        Member Profile: Eric Deuel

Eric Deuel is a graduate of the Art Institutes of Colorado. He recently acquired full-time work with PDI/Dreamworks and I was able to catch up with him about this opportunity.


Ed: I heard you recently got a job at PDI/Dreamworks?

Eric: Yes!


Ed: What will you do at PDI/Dreamworks?

Eric: At first I train in Redwood City [CA] for about 8 weeks. There I will learn their in-house software, get mentored, and become familiar with their production pipeline. Then I move down to Glendale [CA] where I will be an Assistant Animator, similar to a Junior Level Animator, and I will be working on their feature films.


Ed: Did you use your Art Institutes school demo reel to get into PDI/Dreamworks?

Eric: No, although I value my education at the Art Institute very much. For the last year and I half I had learned so much, and my work had become so much stronger that I didn't need to use it. Coming out of the Art Institute I decided I wanted to work for a smaller studio. So my reel had a little bit of everything on it; lighting, texturing, modeling, compositing, rigging, and animation. But I finally made the decision to be a character animator and focused on that for the past year.


Ed: When did you graduate from Art Institutes and what have you done since school?

Eric: March 2002. Besides working part-time at a cemetery, I got an internship at Whirligig Animation Studios in Colorado Springs in May 2002. There the likes of Brian Weaver, Jon Dobson, Yury Nedelin, showed me what an awesome tool Maya is, and what working on a fairly big production is like. Robyn Powell, an amazing animator who formerly worked at Disney, also taught me a great deal about character animation. After interning there for about 7 months I was hired to animate full time as a freelancer, and then unfortunately [smirk] I had to quit my job at the cemetery. The contract at Whirligig ended in April 2003 so I looked elsewhere for work. Luckily, I ended up working on a car commercial with !mpossible Pictures in Denver for a month, which was lots of fun. The hours were long on this particular project, but the experience was priceless.


Ed: How did you apply for work at PDI/Dreamworks?

Eric: When the commercial at !mpossible Pictures finished in May, I knew SIGGRAPH was coming up in July. And I knew a lot of companies like to interview and hire at SIGGRAPH. So for the next couple months I animated everyday and all day long to make my reel as strong as possible. I got critiques from friends and family, and showed it on the web at forums like and and I entered an animation at I got to SIGGRAPH with about 20 demo tapes. In San Diego I went booth to booth dropping off reels and resumes. I had just sat down to eat lunch when my cell phone rang. It was PDI/Dreamworks wanting to interview me. By the end of the day I had also scheduled interviews with ILM and Rhythm and Hues. I was pretty excited.


Ed: Tell us about the interview process?

Eric: The interview process went just about as smooth as possible. All the studios made me feel real comfortable. We talked about my work and then what I've been doing for the past year and a half since graduation. I must say that the interview is definitely the easy part. You don't have to be the most elegant, confident speaker, you just need to be yourself and have fun. You're being interviewed by the best artists in the industry so it can be a little intimidating. But just try and relax and definitely have some questions ready to ask them, about their studio, what work weeks are like, software, training, their production pipeline, anything so when they ask you if you have any questions, you don't feel dumb when you don't.


Ed: What were your childhood aspirations?

Eric: To own a pet store, be a professional baseball player, and a Disney Animator.


Ed: When did first know you wanted to animate?

Eric: I have drawn my whole life, and I used to watch the classic Disney cartoons, Loony Toons, and tons of other cartoons. When I was 12 or so I did some pencil tests, and flip books, but I didn't think they turned out very good so I kind of gave up on becoming an animator. But I kept drawing and watching cartoons.


Ed: What do you think about the Colorado animation landscape?

Eric: I love Colorado . It's such a beautiful place, and I wish a little more was going on here in the animation field, such as contests, festivals, and such. But it's definitely getting better. I'm a member of ASIFA Colorado and have attended many of those meetings and I have gone to G.W. Hanaway in Boulder many times, which are both wonderful places to network and learn more about what's going on in the industry.


Ed: Thanks for your time, Eric.

Eric: Ed, thanks.




        Brouhaha, Babble and Balderdash

Brouhaha, Babble and Balderdash


Whatís with all the talk about terms? 

Thereís Animation.

Thereís Anime and Manga.

And thereís Cartoons.  Not much though, is there?

A lot of talk and a lot of words yet only conjuncture.  So where does it go?  Where should it go? What are the words leading to? And why do we care?


To start things off let me provide a few definitions. Some of you may know these, some may not, but Iíll provide this overview to level the playing field.  Manga is a comic book.  So what is the difference between manga and a comic book?  Well, manga mostly provides a deeper story and that story may last for years. And is that the only difference?  Well, the characters may have more romance and more feelings and more action.  So, manga is like a graphic novel, right?  Well, yes and no.  Manga seems to suggest that it is a graphic novel albeit one from Japan .  So thereís no real difference?  Depends who you talk to,but most of the characters in manga appear to be visually based on the characters originally designed by Osamu Tazuki, i.e., big eyes, round faces.  So thatís the difference?  That and also that manga is read by almost everyone in Japan , while comic books and graphic novels donít wander far from children and enthusiasts in the US (that may to be changing ever so slightly, though, now with graphic novels in the picture.)


And then there is anime. Anime is like Japanese slang for the word Ďanimationí. And the difference between anime and animation is? Nothing.  Nothing? WellÖ here again anime, like manga, tries to develop real characters with more emotions.  In fact anime is typically based on manga. Manga characters that have stood the test of time may find themselves as anime characters sooner or later. And, there is actually quite a debate about whether anime or manga is the better.  But thatís another argument.  Can say that anime is more geared toward the adult viewer?  Well, you could - but youíd probably be lying.  Hereís where the lines get blurred.  Something like Pokemon (clearly a childrenís animation) is called anime, yet something like Fritz the Cat (definitely not for children) is not.  Here again it seems the difference may be only geographical and not based on any specific definition.  Anime is from Japan .


And cartoons?  This term seems to cover everything that is animation, although some folks may get offended if you call anime, cartoons.  But I do like where the Japanese folks have gone with this terminology line.  One of the largest obstacles facing the animation industry in the US is image. No pun intended. The image is that cartoons and comics are for kids, period.  And since all animations are cartoons then all animations are for kids.  Or at least thatís the thought.  Movies like Waking Life and Mutant Aliens donít get out of the small art houses because if people canít take their kids to the movie they arenít going alone to see some kidís cartoon.


But again, there is anime.  The term anime, that is. "Yes, there is," you may say.  But, then again, movies like Pokemon are associated with anime.  As long as childrenís movies are associated with a genre then adults associate that genre with a kidís flick.  End of story.


My oh my, what do we do?  I know, letís add terms.  Letís have cool terms like anime and manga to describe what we really mean. Letís add so many terms no one knows what weíre talking about.  But seriously, we do need to distinguish between the different types of animation.  There are terms like sci-fi but is Metropolis called sci-fi?  No, itís animation.  So we need new terms, terms to define the intended audience and genre perhaps.  Comics have done it. Comics have provided an adult version- you know, graphic novels just sounds cool.  Adults may actually read graphic novels. Now, if we can only get past the snobs who think serious fiction should not have pictures. Itís not so much that serious fiction should or shouldnít have pictures itís that a graphic novel is a different medium, it is not like a novel.  The pictures and words work together to create an entirely different experience.


But without new words and phrases to define what is being shown we donít have the split. We can say, ďBut this animation is different from a kidís animation!Ē  But no one would listen. Here are a few new words or term suggestions to really show the difference:  Zoetic or Artoons for animation that is purely for art. Sciemation could be used to describe science fiction animation.  Or Talemation or Graphimotion to describe adventure animation.  Then there could be Maturemation for animation like Fritz the Cat or other adult animation.  But weíre supposed to be creative folk, letís come up with more powerful words, words that can grab those uninterested snobs by the attention span.  Letís come up with words that fit the emotions or motions.  Go ahead, I dare you!  Letís give anime some new company with which to contend.






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