DreamWorks, Nickelodeon Team Up For Television

LA TIMES: INDUSTRY - An animated partnership
By Martin Miller, Los Angeles Times Staff Writer December 10, 2007

ATOP the Nickelodeon studios in Burbank is a larger-than-life cavalcade of the cable network's signature animated characters. SpongeBob SquarePants is up there. So is Dora the Explorer, as well as a handful of others. Joining them soon, hope the network's executives, will be Skipper, Kowalski, Rico and Private -- the raucously comic penguins from the DreamWorks Animation film "Madagascar."

Thanks to their Viacom Inc. owners, the two entertainment powerhouses are teaming up to produce a new computer-generated animated comedy series for television that spins off the half-billion-dollar worldwide grossing success of the DreamWorks film. In the kind of synergy other corporations may wish upon a star for, the new series, whose working title is "Penguins," is slated to premiere in early 2009 -- just a few months after the sequel, "Madagascar: The Crate Escape," hits thousands of theaters nationally.

For Nickelodeon, the new series is part of a major ramp-up in production at the already humming animation studio. Next year, the 28-year-old company is poised to crank out some 225 half-hour cartoons, an increase in its animation of nearly 50% -- a total that bulks up the output of the nation's largest producer of TV animation. The expansion also represents a broader network strategy to maintain its enviable winning streak as the No. 1-rated cable company for nearly 14 years -- a feat performed in the face of increasing competition from other entertainment outlets, notably crosstown rival Disney.

Of the more than 40 original animated series the studio has launched since 1991, few have come with bigger expectations than are now being carried by the quartet of wisecracking penguins. Nickelodeon is no doubt looking for the kind of phenomenal success it has enjoyed with "SpongeBob," "Dora" and "Rugrats," which together have raked in billions of dollars in product sales.

Even though SpongeBob and Dora debuted before the millennium, both are still going strong, but like the Rugrats before them, they are not invulnerable to the shifting viewing habits of their core 2- to 11-year-old audience. In short, the studio could certainly use another franchise hit, one that a schedule can be built around -- and the wobbly little penguins just may make that kind of splash.

"These movies from Pixar and DreamWorks are very, very popular with kids and families, and Nickelodeon is very smart to capitalize on it," said Brad Adgate, an analyst at the ad firm Horizon Media in New York. "I think they're saying, 'Hey, let's just give the kids what they want.' "

But what about all those other penguins swimming around the cultural soup in recent years? Remember "March of the Penguins," "Surf's Up" and "Happy Feet"? And don't forget the trendy kids' website Club Penguin.

"We had them first," joked Jeffrey Katzenberg, head of DreamWorks Animation. "These penguins are the ones that lead the pack."

Cyma Zarghami, president of Nickelodeon, expressed confidence too: "I know, at first blush, it's like, 'Oh my God, more penguins!' But to quote Jeffrey, if everyone in the room thinks something is funny, you're on to something."

Though there will be minor adjustments here and there, the penguins will largely look, talk and act the same way they did in DreamWorks' hit movie. The challenge, of course, will be converting side characters into compelling main ones. In the movie, the penguins, who fancy themselves as a CIA-style strike force, were simply trying to bust out of Central Park Zoo and return to Antarctica -- only to be sidetracked to Madagascar.

But in the TV show, the four will effectively rule the zoo -- Julien, King of the Lemurs, and his extensive entourage will be there to muss their feathers -- and mostly stay within New York City when embarking on their top-secret missions.

"They're almost like four brothers; they're like the Marx Brothers," said Katzenberg. "They can take the littlest thing and blow it completely out of proportion, and it's just hilarious."

The seeds for the collaboration were sown in December 2005 when Viacom snatched up DreamWorks for $1.5 billion. Shortly thereafter, the two giants of children's entertainment were searching for the appropriate project on which to collaborate, Katzenberg said.

After running through a number of creative options, the spunky penguins who managed to steal some of the limelight in the star-studded movie won out.

In fact, the penguins project is the first joint animation effort between the two companies, but more are coming. They are already at work on another television spinoff from DreamWorks' upcoming "Kung Fu Panda," which is scheduled for release in June 2008. The animated movie stars Jack Black as a chunky panda who dreams of becoming a kung fu master.

Though the two companies are under the same corporate umbrella, that didn't mean one wouldn't be left out in the rain when it came to creative decisions. Initially, it seemed as if DreamWorks, which after all invented the characters, was going to call the shots, but the relationship hasn't turned out as expected.

"It's been a 180-degree reversal for us," Katzenberg said. "We originally thought that we were going to take a very hands-on approach, but we were just blown away by their creative team. We're really acting as advisors and consultants."

Likewise, Nickelodeon executives had no less praise for DreamWorks.

"It's almost a perfect marriage since we've led the surge on the TV side and they've led it on the feature-film side," said Mark Taylor, Nickelodeon's senior vice president. "I think they've been appreciative that we've taken what they've done and embraced it as opposed to trying to find a way to do it different, faster, cheaper or whatever."

A good working relationship helps Nickelodeon sharpen another potentially formidable weapon in its seemingly eternal struggle against Disney. The company with mouse ears, which has its own block of highly successful kids' animated programming, has been making particular gains against Nickelodeon in the so-called "tween" demographic (kids from the ages of 9 to 14).

In fact, until a recent NFL matchup, it was Disney's smash "High School Musical 2" that held the record for most viewers for a single program on basic cable. In August, the Friday night premiere drew 17.2 million viewers but was eclipsed by last week's New England Patriots-Baltimore Ravens game on ESPN -- also owned by Disney -- that logged 17.5 million viewers.

Nickelodeon executives believe the new penguin series will pack on competitive muscle for the network not only with its likable story lines, but also with its rich and vividly detailed CG (computer-generated) presentation.

The network plans to generate more CG content than ever next year, when the technique will account for about a quarter of its total animation production, including the shows "Tak and the Power of Juju" and "Back at the Barnyard."

In all, the company expects to deliver 29 hours of CG shows -- a figure that is the equivalent of about 19 feature films.

Just because computers help deliver a visually stunning result doesn't mean the process is easy.

"Computers don't really animate anything," said Josh Book, Nickelodeon's creative director of CG animation. "The choices the computer makes are never the ones you'd want either artistically or creatively. It still comes down to going in frame by frame and putting things where you want them.

"At the end of the day, the computer is a tool," Book added. "It's just like a pencil, but it's a very smart pencil."

Although inheriting the DreamWorks characters eases the load for Nickelodeon's CG animation team, it still takes a week to build a single character, and a single episode takes 44 weeks to complete.

"At any one time here, you can have 40 different episodes in production at varying stages," Taylor said. "It's a real logistical juggling act."

martin.miller@latimes.com

Tintin And The Uncanny Valley

VARIETY: Spielberg, Jackson team for Tintin
Duo pact for adventure trilogy
By ANNE THOMPSON, PAMELA MCCLINTOCK
Posted: Mon., May 14, 2007, 8:21pm PT

Steven Spielberg and Peter Jackson are teaming to direct and produce three back-to-back features based on Georges Remi's beloved Belgian comic-strip hero Tintin for DreamWorks. Pics will be produced in full digital 3-D using performance capture technology.

The two filmmakers will each direct at least one of the movies; studio wouldn't say which director would helm the third. Kathleen Kennedy joins Spielberg and Jackson as a producer on the three films, which might be released through DreamWorks Animation.

Tintin has long been a passion project for Spielberg, who has been trying to get film rights to the comedic and adventurous book series for more than 25 years, a goal realized over the past year. With the rights in place, Spielberg, Jackson and DreamWorks began quietly developing the project.

Jackson's New Zealand-based WETA Digital, the f/x house behind "The Lord of the Rings" franchise, produced a 20-minute test reel bringing to life the characters created by Remi, who wrote under the pen name of Herge.

"Herge's characters have been reborn as living beings, expressing emotion and a soul which goes far beyond anything we've seen to date with computer animated characters," Spielberg said.

"We want Tintin's adventures to have the reality of a live-action film, and yet Peter and I felt that shooting them in a traditional live-action format would simply not honor the distinctive look of the characters and world that Herge created," Spielberg continued.

Official word of the three-pic pact comes just weeks after Jackson inked a deal with DreamWorks to direct "Lovely Bones," based on Alice Sebold's haunting tome about a 14-year-old girl who watches over her family -- and attacker -- from heaven after she is raped and killed.

Tintin project, announced by the two filmmakers and DreamWorks co-chair-CEO Stacey Snider, may explain, at least in part, why DreamWorks emerged the winner in the bidding for "Bones," beating out several other suitors.

Tintin also answers the question of which tentpole Jackson will turn his attention to next.

The Spielberg-Jackson project isn't likely to languish in development for long. Spielberg could become available this fall after wrapping "Indiana Jones 4." Jackson will wrap "Bones" by the end of the year.

Spielberg and Jackson have selected three stories from Remi's "The Adventures of Tintin" series, which encompassed 23 books published between 1929 and 1976. The series still attracts 2 million new fans a year.

Series, which has sold more than 200 million copies worldwide, chronicles adventures of a junior reporter who will follows stories to the ends of the earth, even though he often finds his own life in jeopardy. His able assistants include a white dog named Snowy, the lunatic Captain Haddock, the muddled genius Professor Calculus and the Thompson Twins.

Jackson said WETA will stay true to Remi's original designs in bringing the cast of Tintin to life, but that the characters won't look cartoonish.

"Instead," Jackson said, "we're making them look photorealistic; the fibers of their clothing, the pores of their skin and each individual hair. They look exactly like real people --but real Herge people!"

DreamWorks bought the film rights from Herge Studios in Brussels, Belgium. Company is led by prexy Fanny Rodwell, Remi's wife when he died in 1983.

"We couldn't think of a better way to honor Herge's legacy that this announcement within days of the 100th anniversary of his birth, May 22, 1907," Rodwell said.

Spielberg and Jackson are currently evaluating whether to release Tintin through DreamWorks Animation. Paramount distributes all DreamWorks Animation films.

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"Instead," Jackson said, "we're making them look photorealistic; the fibers of their clothing, the pores of their skin and each individual hair. They look exactly like real people --but real Herge people!"

Hmm. Good luck with the dot eyes.

Chris Sanders Hired At DreamWorks

VARIETY: Sanders joins DreamWorks
Disney animator to direct 'Crood'
By BEN FRITZ
Date in print: Wed., Mar. 28, 2007, Los Angeles

DreamWorks Animation has hired "Lilo & Stitch" director Chris Sanders, a longtime Disney vet, to helm its cavemen comedy "Crood Awakenings." The talent coup is reminiscent of the competition for animators in the mid-'90s.

DreamWorks had been developing "Crood" with Aardman, but took it inhouse after its partnership with the British claymation house recently ended.

After a nearly 20-year stint, Sanders left Disney early this year due to creative differences with studio leadership, including John Lasseter, over his movie "American Dog." Mouse is continuing the pic with a new director (Daily Variety, Feb. 9).

Helmer, whose 2002 toon "Lilo & Stitch" was the most critically and commercially successful film for Disney Animation since the '90s, talked to several studios before making a deal with DreamWorks.

"I've been so anxious to start working on things, and so I talked to a lot of people," he told Daily Variety. "I like the way DreamWorks looks at animation. Animation still has a lot of different places to go, and I don't want to miss out on a chance to try some new things with it."

Sanders is the second Disney vet to sign onto a DreamWorks project in the past few months. "The Lion King" helmer Rob Minkoff is directing a bigscreen version of '60s TV toon "Mr. Peabody and Sherman" for the studio.

DreamWorks Animation topper Jeffrey Katzenberg knows both helmers from his time at Disney.

"Crood Awakenings," which is about a culture clash between cavemen, has a script by Brit comedy icon John Cleese and Kirk De Micco ("Racing Stripes"). Sanders is rethinking the project, however, and will likely end up doing a significant rewrite.

"We have always loved the premise, and when we finished our relationship with Aardman, we were very interested in keeping it inhouse," said Bill Damaschke, DWA's head of creative production. "We would have been excited to work with Chris on any project. But 'Crood Awakenings' is a high priority for us, and he responded to it."

"The idea of having all the modern conveniences and social structures that we're familiar with gone and being left with just a pure form of people was really fun to imagine working with," said Sanders, who started work at DreamWorks Animation on Monday.

Studio doesn't have a release date for "Crood" yet. Its slate is full through the first half of 2010, when a fourth "Shrek" is slated to bow. Should development go well, "Crood" would likely come out in late 2010 or 2011.

Children To Stop Reading Another Book Series In Favor Of Viewing Aggressively Marketed Films

Spielberg’s DreamWorks moves to bring cartoon hero Tintin to the big screen
By RAF CASERT - Associated Press Writer

BRUSSELS, Belgium (AP) — It was a quarter-century in the making but then again, nothing is easy for cartoon heroes such as Tintin.

Steven Spielberg’s DreamWorks, a division of Viacom Inc., has committed to produce at least one movie about the adventures of the intrepid Belgian reporter, said Nick Rodwell, head of Moulinsart NV, Tintin’s commercial studio, on Thursday.

“After 25 years, they finally said, ‘OK, let’s go,”’ Rodwell said of the protracted talks with Spielberg. In an interview with The Associated Press, Rodwell said the Hollywood company will go into preproduction for a movie, which should appear in theaters in about two years.

It wasn’t clear whether the film would be cartoon animation, computer animation or a movie with actors, or which of the 24 cartoon books of Tintin’s adventures would be picked.

“If movie No. 1 works, we will continue,” Rodwell said.

Talks about a Hollywood movie on Tintin, who saves the lives of countless people and makes sure criminals end up behind bars, have long stalled on financial issues and production questions.

The first plan surfaced just before Tintin’s creator, Georges Remi, aka Herge, died in 1983. Even at that time, Remi, one of the world’s foremost cartoon strip authors, delighted in Hollywood’s interest.

“If Steven Spielberg wants to make a Tintin film I cannot imagine anything better,” Rodwell said of Remi’s thoughts, and he fully realized that a movie adaptation might well change the way Tintin looks.

“Let’s see what he comes up with,” Rodwell said.

Tintin books have sold 220 million copies worldwide and have been translated in 77 languages.

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Well, we'll have to see what develops. I know Spielberg's been interested in making a Tintin film for a long time, so it makes sense that he'd land it eventually. I'd love to see a 2-D animated feature, but I have a feeling that's the least likely of the options (i.e, 2-D animation, live-action, or 3-D animation). The graphic novels are beloved all over the world (and rightly so), but I wonder if they're too violent for a PG-13, family-friendly American film.

New Bee Movie Trailer

I still like the live-action part better, unfortunately. Judge for yourself...

Aardman, Dreamworks Part Ways

VARIETY: Aardman, DWA end partnership
Move comes after failures of 'Rabbit,' 'Flushed' By BEN FRITZ Posted: Tue., Jan. 30, 2007, 7:04pm PT

After a critically lauded but commercially troubled six-year partnership with DreamWorks Animation, Aardman is back on its own.

The British claymation giant, best known for its signature Wallace and Gromit characters and 2000 hit "Chicken Run," officially terminated its five-picture deal with DreamWorks on Tuesday.

Move was widely expected after the financial failures of "Wallace & Gromit: Curse of the Were-Rabbit" and "Flushed Away" (Daily Variety, Nov. 13). The former was a claymation pic made by Aardman and distribbed by DWA, the latter a CGI collaboration between the two companies.

Aardman is back in development on several films inhouse. Having long established its claymation prowess, company's in the midst of building up CGI capabilities, meaning it could potentially produce pics in both formats.

How it will finance those movies, and how they will reach the market, is now an open question. A rep would say only that Aardman execs are looking at several different options.

Possibilities include slate financing from private equity money, a one-off deal with a studio for its next pic or a new multifilm deal.

Only project Aardman has in production is CBS claymation series "Creature Comforts." Eye net ordered seven episodes last year and hasn't yet skedded the show, though it was announced as a midseason replacement for 2006-07. It could still air in the spring or get pushed back to the summer or fall.

Skein could be another test of whether U.S. auds have cooled on Aardman's claymation style and quirky British humor, which stands in sharp contrast to the fast-paced, jokey CG toons of DreamWorks and most other American animation studios.

If it fails, U.S. studios may find it tough to justify picking up the next Aardman project, even though its work is widely lauded by critics and industryites.

"Chicken Run" grossed a solid $106.8 million in 2000, but 2005's "Wallace & Gromit" made only $56.1 million Stateside, while last fall's "Flushed Away," which cost well over $100 million to make, grossed only $63.4 million. ("Gromit" did better overseas, but "Flushed" was a worldwide disappointment.)

DreamWorks Animation had to take writedowns due to the weak performance of the two recent pics.

Likelihood that the companies would sever relations became clear in recent months. There was the "Flushed" flop -- and DreamWorks announced its slate through 2009 without any pics from its British partner. All its upcoming movies are in the hip, sarcastic vein of toon studio's franchises "Madagascar" and "Shrek," sequels of which are in the works.

"The business model of DreamWorks no longer suits Aardman and vice versa," Aardman spokesman Arthur Sheriff said. "But the split couldn't have been more amicable."

Companies had one pic in development, "Crood Awakening," which was announced at the 2005 Cannes Film Festival and penned by John Cleese. Rights to the project revert to DreamWorks, though it's unlikely to see the light of day.

Aardman was founded by Peter Lord and David Sproxton in 1976. They were later joined by Nick Park, who won Oscars for three of his animated shorts and the "Wallace & Gromit" feature.