KIDS FIRST! News

“The Zula Patrol: Animal Adventures in Space!” follows the intrepid team Zula in humor-filled stories that begin with a challenge, and end with a resolution, as they explore how insects, reptiles, mammals, plants and rocks form and interact with each other. Creator Deb Manchester, an audiologist turned filmmaker tells us about creating this title.

CP: You took topics (metamorphosis and ecosystems) that have been covered several times and made them fresh, fun and interesting. How did you do this?

DM: We try to put ourselves in kid’s mind. It’s fun to play with this topic. How would kids react? We take in the nature of kids reactions to make sure that it feels genuine. To make it fun and interesting — that’s where the villains come in. Our villains are not bright. They always foil things. They’re not aware of information and knowledge. Kids learn what the villains don’t know and the villains never understand. The kids get it when the villains don’t.

CP: How do you decide the songs and song styles that go into each
episode?

DM:  I wanted a retro sound like the Jetsons or Flintstones. I love the big band sound, especially for the theme song, so we hired a real band. The lyrics are written by head writers, a husband and wife team, and they make the lyrics so funny that the composer is motivated to write music to match it. We cover a gamut of music. I originally asked Jeff Daniels to work with us because I loved his music in another kid’s show. He has four kids who also loved the show.

CP: Please give an example of an obstacle you had to overcome while
producing this title and tell us how you overcame that obstacle.

DM: You take a topic and it seems simple at first, but it’s a fine balance getting enough real science without cheating the topic. For example, we might do an episode on planets that are talking. How far can you go with the imagination, but keep it true? Kids have a great sense of understanding what’s real and what’s not, but a main theme of ours is that we don’t teach the topic. We want it to be organic/real make sure that comes through. It’s difficult to keep true in a fantasy show.

CP: How have you grown as a producer while creating this title?

DM: When I first started producing this I was in the entry-level. I have learned so much in many areas. How much goes into the writing — we have incredible writers. A show needs to have good writings before it goes any further. Without the writing, it won’t make it. Music is also very important. I learned that we need to set goals for education without overdoing it. At first we started with three or four major goals, but we’ve learned that it’s better off doing one or two major learning objectives and maybe one or two minor objectives. This helps you develop a topic into a nice story. I also learned about working with animation studios overseas and working with cultural differences. Episodes 1-26 were filmed in South Korea and the episodes after 26 were filmed in China, and there were many cultural differences we had to overcome. I also saw how important was to have the right actors. Making a movie involves a huge team that pulls together.

CP: Please give an example of something funny or inspiring that happened
during development.

DM: After the show was released, a parent sent in a video of a five-year-old son who was dressed as a stage of a frog. He was singing the title song with a homemade microphone. Right at the end of the song, the microphone broke and the look on his face was precious. It was so cute to see him so excited about singing, and that he was so absorbed in the show that he wanted to be a tadpole.

CP: What do you hope viewers will come away with after watching this
title?

DM: We think we found the formula for making learning fun. Now we have an educational web site that makes learning fun. Targeted at ages five through 10, children learn while going on fun missions and playing games. Parents and educators also love the technological components that complement the school kits. This is a very exciting time for the company as we launch Zula World. We do have some episodes up on the site in our theater section.

Check out the fun interactive Zula Patrol website and look for “Zula Patrol: Animal Adventures in Space” in stores near you. In “Larvae or Leave Me “(the first episode), Skip the grasshopper can’t find his friend Wriggly the caterpillar – until he discovers, with help from The Zula Patrol, that Wriggly has transformed into a beautiful butterfly! Four additional stories on the DVD are:  “Egg Hunt,” “There Goes the Neighborhood,” “Choosing Sides” and “Camp Worm.”

CP: In all the films and TV show you have acted in so far, what has been your favorite experience and why?

BC: “Legally Blondes” would have to be my favorite.  The entire filming experience was a perfect combination of a great crew, great cast, and getting to play an awesome character.  Every morning Savage Steve Holland, our director, would hand me rewrites in the script for the scenes my character would be filming that day; then I would go in my trailer and laugh hysterically reading the new lines. Knowing that later that day I’d be acting those fun scenes out on film was the coolest feeling. Not to mention, he appreciated my take on the character, Tiffany, so much he kept adding lines and scenes for me.

CP: You have been acting for many years, and covered a variety of shows from “Power Rangers” to “Legally Blondes.” How do you feel you have grown through all these experiences?

BC: As an actress I have the unique opportunity of learning and growing through many different pairs of eyes; my own foremost, and also those of every character I portray in a film or show.  It’s quite enlightening to view life from another person’s point of view, and I experience that every time I go to work. It’s the greatest job! For instance, on “The Suite Life” my character Chelsea isn’t very bright, to say the least, and she’s also very rich.  I’ve always viewed her as being a very sweet person.  But, the other day a fan asked me if it was fun playing London’s mean best friend.  I was so surprised! I’d never think of Chelsea as mean because when I’m portraying her I completely immerse myself in her and feel totally justified in all her actions.  When she does say something slightly offensive she’s not trying to be insulting. She’s just stating what she believes is a fact; and because she’s so dull, she doesn’t realize that what she’s saying is kind of demeaning.  Just from that experience alone, it really alerts my consciousness to so much about human nature: innocence, ignorance, how quickly we make judgements about other people, our intrinsic justification of our actions, and how tainted our view of the world can sometimes be based on the way we’re raised.  The fact that every person on this planet thinks differently is what makes our world so interesting and once people accept that fact there will be so much more tolerance and understanding.

CP: Where do you see yourself five years from now?

BC: Five years from now I’ll be turning twenty four.  Wow! That’s so hard to believe! Any-hoo. . .  Career wise, I hope to be working on films that have great stories and  enlightening messages, and I hope to have the means - or power - to play the characters that I love.  Have won my first Oscar.  Have worked on a film that my dad and I wrote together called, “High Heels.”  Have published a book of poetry.  Still be as incredibly close with my family as I am now. Spend a lot of time with positive and interesting friends.  Be surrounded by love in all capacities.  Be taking excellent care of my body.  Have traveled to at least three countries in Europe.  Be happy and healthy.  Have completed my film degree at UCLA and begin work on a Master Degree.  And star in a film with my hero Meryl Streep. . . Am I asking too much?

CP: What advice would you have for aspiring actors?

BC:  To all aspiring actors, first be sure that you absolutely love acting and be aware that many people will try to hinder that love and attempt to discourage you; but do not let them.  Don’t let anyone else’s insecurities and jealousies discourage you.  It’s a long and difficult road to becoming a highly successful actor and it is worth every second.  Also, be prepared for the possibility of a little disease called fame to get into your head and try to change you.  Don’t let it!  Never forget who you are; come up with a mechanism to always check yourself and a system to deflate your head if it ever becomes overly inflated.  Let fame humble you, not turn you into the opinions and judgements everyone else thinks of you.  Honestly, fame can be awesome; but only in the hands of the right people.  Be the right person.  I remember interviewing Henry Winkler(Fonzie), and he told me it’s important for actors not to get “that worm” in their brain.  He was talking about people taking their fame to seriously.

CP: In your opinion, what is one of the most difficult obstacles to have had to overcome in your career, and how did you overcome it?

BC: The most difficult obstacle I’ve had to overcome in my career is not taking everything so personally.  Acting is the most personal and at the same time the most impersonal job in the world.  I go to work every day, a camera goes on, and I pour my heart out in front of it.  I have to be very open and sensitive to have the ability to do that.  But, when the camera turns off, I have to look at my job as a business and can’t let every thing said about me to be taken to personally, good or bad! Especially in the internet age; most people are positive, but sometimes people post mean things about actors that don’t make any sense.  For example, I recently went to a charity event to help raise awareness for the treatment of children’s cancer.  Pictures were posted on a popular Internet site. One poster, instead of seeing the meaning in the event just criticized my hair style and the way I looked.  That’s sad, but I realize being in the public eye it will happen, and I can’t take it seriously.   I’ve also learned that when I get so close to booking a film or a show and then don’t get it, it’s really nothing personal.  There are so many factors that go into a casting decision and talent isn’t always the prime factor.  That’s one important obstacle that I’m proud to say I’ve mostly overcome.

CP:  What is one of the favorite aspects of your job?

BC: My absolute favorite thing about my job is when I get the script of a project I’m working on for the first time.  The feeling when I first read my lines and then my character just clicks and totally resonates in me is the coolest feeling!  Then to create the character and come up with unique ways to play her is incredibly fun.  Finally, to be on the set with the director and other actors and, at last, have all my work and creativity come to fruition is very rewarding and very fun.  I have to be honest!  My other favorite thing is the early morning omelette when I’m shooting a film.  I will actually get to a set two hours early just to order my favorite cheddar cheese, sausage & tomato omelette. The cooks are great!

CP: Please give me an anecdote from filming “Legally Blondes” of something that inspired/changed you in your way of thinking.

BC: I really think that the project as a whole improved my acting.  Filming “Legally Blondes” really gave me the freedom to play with and have fun with my character.  A lot of that freedom came from the director Savage Steve Holland who totally trusted me with my character, Tiffany, and let me run with my  ideas.  Savage and I would always be thinking of ways to make Tiffany funnier.  The scene when I’m wearing the neck brace in the hallway was especially fun.  When I first read that scene I had no idea how to play it, especially because my character does finger quotes in the air, which I think can come across as annoying.  So, I juggled ideas around in my head a came up with the idea of doing overly exaggerated air quotes whenever I said the word “study.”  According to the script I’m only supposed to do the air quotes once, but I decided it would be more comical to repeat them.  When time came to do the scene, it made the producers and executives laugh hysterically!  I even screwed up a good six or seven takes by cracking myself up.  Then my sidekick “Ashley” did air quotes at the same time which made it even funnier!  I was just so relaxed filming the movie, took chances, and trusted myself.  That enabled me to come up with some pretty creative ideas!

Calling all “Legally Blonde” fans, fans of “The Suite Life of Zack and Cody,” or even fans of fun, family films that keep you laughing! Now is the time to enjoy the third film in the “Legally Blonde” franchise, entitled “Legally Blondes.” The beauty of this title is that it’s enjoyable enough to entertain teens and adults, but also appeals to younger children. The lack of no offensive content makes it a perfect full-family film.In “Legally Blondes,” when Elle Woods’ young, blonde cousins Annie and Izzy (Milly and Becky Rosso) moved from England to California, they thought their pink clothes, small dogs and street smarts would make them instantly fit in and feel at home. However, they find they are miles away from the uniform fashions and money-focused power structure of their new prep school. When the school’s reigning forces turn on the girls and try to frame them for a crime, Izzy and Annie must use their cleverness and charm to clear their names and show the school that in the classroom or the courtroom, they should never underestimate the power of blondes!Becky and Milly, the fabulous main characters in the film, not only have beautiful faces, but also beautiful personalities. They are great role models for young viewers. Here is their take on their acting careers:1. You have been thrown into the world of acting pretty suddenly. What is the most challenging part of acting that you have discovered?Becky - It takes me a while to practice and get into character.Milly - It’s hard for me to act confident on set when I’m feeling a bit insecure.2. How do you prepare for a film in comparison to filming for a television episode?Becky - You have to be ready to portray any part of a script at any sequence since filming is out of order. I loved the live audience on Fridays with Zac and Cody where there was great energy and you could feed off the audience energy.Milly - In television there is a short script, generally one day, so you don’t get as much character development.3. What was your reaction when you were first cast for Legally Blondes?Becky - The “Legally Blonde” movies are some of our favorite films and we are “so thrilled.”Millly - “We are honored to carry on the franchise.”4. What was the most enjoyable part of making the film for you?Becky - It was great playing a character I liked. The script was very funny and clever. Milly - It was fun going to all the different locations - Queen Mary and the mansion and Rodeo Drive.5. How did you grow personally and professionally during the filmmaking process?Becky - It helped make me more confident as I met challenges, and I became more educated on the filming process.Milly - It helped me become less shy around people of all ages. The difficult process helped me learn more about filming.6. What’s the best piece of advice can you offer to aspiring actors?Becky - Be prepared and be professional. Listen to the director and enjoy the experience. Milly - Don’t get discouraged. Set long term goals for yourself and don’t compare yourself to others.7. What new projects are you working on?Becky and Milly - A pilot of Disney channel which hopefully will become a series.8. Where would you like to see yourself ten years from now?Becky - Happy in whatever I do. Hopefully acting. Milly - I hope I’m an actor surrounded by friends and family.9. Is there anything you would like to add?Becky - “Legally Blondes” is a great film for a younger audience. It’s funny and sweet. Milly - We’re from England and so much appreciate the kindness of Americans.Look for this DVD in stores on April 28th!

Exposing infants and toddlers to television does not improve their language and visual motor skills at age 3, but does not appear to harm them either. In the study, “Television Viewing in Infancy and Child Cognition at 3 Years of Age in a US Cohort,” researchers looked at the amount of time 872 children spent watching television or videos from birth to 2 years of age, then assessed their language and visual motor skills at age 3. When researchers adjusted for other factors that could influence these skills, such as maternal education and breastfeeding, the effect of television appeared neutral.Dr. Marie Evans Schmidt, one of the authors of this study, offers more insight on the study and its results:CP: What was your reasoning behind doing this study?MS: In our prospective longitudinal cohort, we tested whether TV viewing in the first two years of life had any measurable impact on children’s  vocabulary and visual motor skills test scores at age 3.CP: What surprised you the most as you did the study?MS: We were most surprised that we didn’t find any effects of TV viewing in infancy on cognition (once relevant socioeconomic/demographic variables were controlled). We had hypothesized that hours of TV viewed would have negative effects on childhood cognition scores. The cohort was large and statistically we had enough power to detect a relationship if one was present, so, again, I think we were mostly surprised that hours of TV viewed did not have a negative effect on cognitive test scores.CP: Surprisingly (to me), it seemed as if children viewing Sesame Streetwere at a bit of a disadvantage over those who watched programs likeArthur, which is actually for older children, and yet studies haveshown that children who watch Sesame Street have improved overallscores in longitudinal studies. What is your take on this?MS: We didn’t look at content in this study. I think you might be referring to another study, most likely Linebarger and Walker (2005) . They found the results you describe. Linebarger and Walker (2005) have speculated that the reason they found positive effects on language from Arthur but not from Sesame Street is because Arthur follows a linear narrative whereas at that time Sesame Street did not (they now incorporate more narrative content in Sesame Street). The longitudinal study you are referring to, I think, is one by Dan Anderson et al (2001), which showed that Sesame Street viewing in preschool (age 3 +) was related to higher high school grades; the Linebarger study was looking at Sesame Street viewing between ages 6 and 30 months, I believe, so different age groups are represented in the two studies. I suspect that is why you find the difference.CP: When parents go to show media to their babies, are there certaintypes and styles you can recommend (please feel free to pull inexperience other than this report).MS: I don’t recommend that parents show media to their babies, especially the little ones. No studies have found positive effects of baby videos, and some studies have found negative effects, so I see no benefit, to the child, of watching those videos. Once children reach the second half of infancy, say 15 months to 2 or so, I think parents can try some educational TV, such as Elmo’s World, or Barney (curriculum based shows designed for toddlers). However, I would keep TV to a minimum at this age, since research overall has yet to find clear benefits. Once children reach preschool age (3+), I recommend age appropriate educational, curriculum based programming, with no commercials, if possible. These days, there are a lot of great educational programs for children. And, of course, I always recommend books!In general, I recommend parents choose content very carefully, as most research suggests what children watch is more important than how much. For babies, I would limit TV as much as possible, as there are no clear benefits to TV viewing in infancy. For older children, I recommend limiting the amount to no more than 10-11 hours a week, as high levels of TV viewing have been associated with obesity and sleep disturbances. I also recommend keeping the TV off in the home when no one is watching and limiting children’s exposure to adult TV as much as possible. Other research I have done, with Dan Anderson, suggests that TV in the background may disrupt children’s focused attention during toy play.

Our last newsletter highlighted a fantastic version of “The Velveteen Rabbit.” Here to tell us more about it is Tim Nelson, Creative Development Director from  Feature Films for Families / New Movie Corp.CP: There are several film versions of “The Velveteen Rabbit” out there. What made you decide to cover it again, and what were some of the challenges you faced once you made this decision?TN:  We wanted to make “The Velveteen Rabbit” an epic film for adults and children. Something for the silver screen that really felt bigger than life. Combining animation and live action was a challenge - how to write a story where we keep the classic 1900’s feel and are able to go in and out of those two worlds seamlessly without any gimmicky effects yet not be jarred back and forth. It worked.CP: The real-life mixed with animation was a real visual treat. Please tell me a bit behind the thought process behind the visuals (how did you come up with the ideas for the visuals and the animations)?A: The scenic design in the early stages was brilliant. Very talented artists painted backdrops that were a bit fantasy mixed with the new reality for Toby in a world he created as an escape. The other challenge was how to design the characters. We talked about going with a classic Winnie The Pooh style where at first the animation world was soft and pastel versus brilliant saturated colors but became more colorful as Toby’s imagination grew. While all were not all in full agreement, we resolved to brilliant saturated colors right from the get go. The general thinking was that we should go more contemporary with a 3D backgrounds and keep the characters in the attic traditional 2 dimensional. This business is all about give and take. Collaboration. All of us had to check our egos at the door.CP: Please tell me a bit about the animation process itself, such as what programs you used and what some of the the challenges were.TN:  With all the waterfalls, rivers, underwater scenes, fires, flying and so on, we used so many softwares. Here’s a few:  Maia, Adobe AfterEffects, Illustrator, Shake, Motion, The challenge was how to marry them all together. Some scenes had up to 30 or more layers so the time to render all those layers took a very long time.  In the beginning we were planning on the animation taking 18 months. In the end it took over five years to finish.CP: Please give me an anecdote or description of something unexpected that happened during the filming process that made you grow as a producer.TN:  That is a great question and a funny one, too. The little boy character Toby was only about 10 years old when we shot all the live action. By the time we finished the animation and the editing we needed to do some more voice work with him he was married and had children of his own. I’m kidding. But his voice had completely changed and he was about to finish high school. The moral of the story is mathematical. When you are told it will take “x” amount of time to do a project and “y” is the cost, here is the equation to figure out what it REALLY is going to take: (x= time) times 3 +(y= cost) times 4 + s (sweat) + p (patience) + a (agony) = end product. I still love this business.CP:  What was your personal favorite part of the film and why?TN:  As a boy, I always dreamed about flying so I loved that part. As an adult I really loved it when Grandmother’s cold and hard attitude started to warm up and soften a little with Toby. Sometimes, as a child, I felt adults didn’t understand me and I didn’t want to understand them. But like making the movie, life is about give and take and collaboration and patience. It is not easy being a child sometimes. As I have had cancer my three children have had to change and grow up a little faster. Because of this, they have much more compassion for others.CP: What are you hoping the audiences will get out of this film?TN:  I hope they will get that “love really does make us all real.” Loving one another and treating others how we want to be treated is a key to happiness.CP:  Why do you think this film is good for KIDS FIRST!?TN:  I have always been such a big fan of KIDS FIRST! and “The Velveteen Rabbit” fits right in so perfectly with what KIDS FIRST! is doing. I love talking to KIDS FIRST! audiences as well. They are children who are very smart about watching movies, and I trust their opinions very much.CP: Is there anything you would like to add?TN:  I love the line said by rabbit to Toby in the tree:  “Just put your heart into it and the rest of you will follow” Isn’t that how we overcome fear?

As we enter a new year, we at KIDS FIRST! are excited to announce a new board member who is joining our team. Actress Kay Panabaker (”Fame,” “Nancy Drew,” “Moondance Alexander,” “The Suite Life of Zack and Cody” among others) has an intense interest in children and media.

CP: Please gives me a non-wikipedia view of how you see yourself and your goals.

KP: I see myself as a person who goes to the beat of my own drum. While most 18-year-olds are trying to appear more mature, I’m trying to hold onto my youth and innocence. Education, family, and hard work are often underrated in the media, but I hope that throughout my lifetime, I am able to impress upon people the significance of both of these in the lives of children. I hope to continue to work in jobs that I love and share that love with others.

CP: What made you want to be part of the KIDS FIRST! organization?

KP: As a 17-year-old UCLA graduate, education is clearly very important to me. Current pop culture has de-emphasized the value of education and family. The KIDS FIRST! organization has worked hard to celebrate children’s media that is both entertaining and instills good values in the audience. I think that with more support, they can create a safer and more child-friendly environment in the media. I continue to babysit, and I’m always looking for new movies and books to share with my charges that will encourage them to do great things in their lives.

CP: What do you feel you bring to board meetings and general function for KIDS FIRST!?

KP: I feel that my youth brings a new perspective to KIDS FIRST! adults who, while having more worldly experience, have to work harder in order to understand children trends and interests. I am constantly hanging out with kids and consider myself a big kid, so I think my experiences will help KIDS FIRST! I hope my familiarity with children and the things that they are interested in will help KIDS FIRST! find great children’s media.

CP: What was your impression of the board member you first met?

KP: While I haven’t met the rest of board, I have met Ranny Levy, and she has been so nice to me. We first met when she presented me with a KIDS FIRST! Film Award and I was immediately taken with how caring and kind she is. She is so very passionate about her cause, and I hope that I am able to help her in her endeavor to better the lives of children through media.

CP: Please tell us about an experience with children’s media that had a great impact on your life.

KP: I’ve always been a big of the Disney animated films. They are always so witty and funny and enjoyable for people of all ages. As a kid, and even as a teenager, I have looked at those films to help me figure myself out and investigate the world around me. I appreciate any book or movie that transports kids from their own lives to some other world.

CP: Do you plan to continue acting, pursue a teaching career? Both? Neither?

KP: I would like to continue acting as long as possible. The business is so finicky, however, that teaching is one of my backup plans. If I stop working as an actress, either by choice or lack of jobs, I will get my teaching credentials and hopefully teach elementary school. I actually just took and passed the CBEST, which allows me to substitute teach in California. I might try that and see how it goes.

CP: What changes would you like to see in children’s media in the future?

KP: I would love to see children’s media revert back to educational and family values. With the constant bombardment of media that has no value beyond entertainment, I want to see kid-safe media options that aren’t going to jeopardize their morals and their values. Adults need to understand that even the simplest things can have the biggest impact on children’s lives.

CP: Where you see KIDS FIRST!, as an organization, headed in the the future?

KP: I see KIDS FIRST! as becoming the measurement by which media judges its positive impact on children.

1.Martino’s journey from art school in Ohio to Monty Python to “Ice Age” to “Horton Hears a Who.”Martino was bitten by the animation bug in animation class in college while studying to be a designer. He realized that he could move an audience with moving graphics and he enjoyed making people laugh. In the early 1980’s, he worked for television stations doing animations for the Super Bowl, NFL  and ESPN. He found himself moving along with technology and its leaps and bounds. Back in the 80’s he would never have dreamed of feature films with characters like today. One of Martino’s favorite parts of his job is that he is lucky to work with talented people A highlight of his career was sitting with Terry Giliam at studio and story-boarding. Martino thinks Giliam is “one of most creative guys out there.” He had a huge influence of Martino. For instance,  Martino was inspired by stories on how Martino made “Brazil” and how they used clacking in “Holy Grail” as a necessity since the film budget didn’t include horses. Working on a variety of film from “Holy Grail” to”Ice Age” and  “Robots,” where he was art director, Martino gained the experience necessary for co-directing “Horton Hears a Who” along with Jimmy Hayward.2. Goals for the filmMartino had three major goals for this film. First, they wanted to adapt the book by a beloved, respected author, and remain true to the work in storytelling while expanding what was between the pages.The second film goal was the animation. They wanted to create flexibility and movement. The character development team challenge. As a team they worked together to create the perfect tools for animators to move characters around mixing creativity with technology, making the animation fluid.Thirdly, they wanted to keep true to the style. Dr. Seuss was production designer in Steve’s opinion. They promised Audrey Geisel, the widow of Ted Geisel (a.k.a. Dr. Seuss) that they would stay true to the style. According to Martino, one of best moments in the project was when he had lunch with Geisel after the project was complete and they and saw it in a special showing in a theatre. Martino laughs about how his hands were clenched on seat throughout the film, as if her were in a dentist chair, wondering how she would react. Before the credits even rolled, she stood up and applauded and commented that they took the story and lifted it to a new place.  Martino expresses that it was the pinnacle of the filmmaking experience to sit with Audrey and have her applaud what they had done.3. Animating “Horton Hears a Who”Hayward and Martino both sat down to talk about the book and discovered that they agreed on how it should be portrayed. They discussed what they imagined as they read the book when they were kids. Martino also factored in ideas he developed as he read to his own kids, who are now 14- and 11-years-old.  Hayward and Martino wanted to depict a sense of imagination  — not like this world. They felt the story needed to be more exaggerated and imaginative than our world and came to the conclusion that to depict this, they would create a unique two-dimensional animation style.Computers like to keep things on model and perfect form, and for this project the creators wanted to push character distortion –heads squashed or arms 3 times a natural length. The art team jumped on this challenge and embraced it although it was difficult.The animation project was huge. They had a special fur team whose entire job was to groom the fur digitally. This task encompassed the Who’s and the plants. There were very complex scenes, which pushed technical boundaries such as the field of flowers near the end of the film which had ½ billion clovers. The animators managed to fill space and even have clovers blowing in wind. In order to do this they had to intelligently render clovers based on the camera angle through some technologicalingenuity. Each individual frame for this scene took two to three days. Due to the complexity of the  scene, it took months to render.4.ResultsMartino  firmly believes the film became what it is because of the talent of the people working on it. The cast, in his opinion, was phenomenal and the recording sessions took the movie to a place he never would have conceived of as the actors improvised and all the talented people contributed with their expertise.Three years on a film is a long time to be working on one project. Especially when you are a parent with two children. In fact, his two daughters are in the movie as Who voices, and they were also part of the focus group. Martino loved the great story and great theme by Dr Seuss — no prejudice. He found that this was a great investment of time and life, stating that it was “so nice to work on a project where you can bring your family to the film without hiding your head in shame.”

“Ribert & Robert” is taking off! Since our interview with actor James Bondy, the duo has continued to capture children’s hearts with its simple stories with gentle morals and appealing graphics. Mike DeVitto, President and CEO of Deos Animation Studios, tells us what inspired the series and also shares the secret behind the cost-effective production process behind it.CP: Please tell me a bit about your background including what inspired you to start Deos Animation Studios.MD: I have a technology background in system design and software development. When my daughter Jennifer was growing up I was disappointed in what the media offered her. I was determined to take the technology and knowledge I had to build entertainment and educational programs that would be beneficial to children.CP: What are your goals with the productions you work with?MD: Our main goal and driving force is to teach children everywhere to love to learn and learn to love and follow their heart in everything thing they do.CP: Please tell me about your SAM methods and how you think this is revolutionizing/will revolutionize the industry.MD: I had a dream to do children’s entertainment and when I found out how much it would cost I knew we would have to come up with an alternative method. That’s when my team and I dug deep into our system development background and we found SAM. SAM allows us to do high quality at a lower cost and faster speed. I think that’s what helped us win our awards with “Ribert & Robert.”CP: Please tell me a bit about your journey with “Ribert & Robert,” including where you think this is all going.MD: I’ve always thought that the media platform for TV was not being used well for children. There was never enough value being provided to parents and children. My idea for “Ribert & Robert” actually came the night of 9/11. On that day, I saw my daughter Jennifer cry and I hadn’t seen her cry in a very long time. I couldn’t help but ask myself that day what how world events are impacting our children. That night I went to bed and I had a dream about R&R.I envisioned Robert as a human and was a nice person but constantly made mistakes. Ribert I imaged to have a heart of gold and innocent like a child. The overall message behind “Ribert & Robert” is for children to listen to their heart and to follow it. That’s what “Ribert & Robert” is trying to convey.The next day I wrote a script and took it to public television but quickly realized that I didn’t have the money to make my dream a reality and that’s when I developed SAM and put together my assembly line.Anyone who’s watched the show knows that we’ve always called the children “Power Pals.” That’s really my dream – to build a worldwide organization of “Power Pals” on the Internet. The idea is to use our technology to develop the first fully immerse virtual world for children on the World Wide Web and use our TV program to get kids to go there.CP: What is the most important message you would like to get out to/could offer independent producers?

MD: Start with something you believe in and stay focused.