DANCING ON ICE TRAILER



“This will make you smile - A LOT!”

-TORVILL & DEAN


CREDITS


CLIENT: DANCING ON ICE
AGENCY: ITV CREATIVE
CREATIVE DIRECTORS: TONY PIPES / ALEX MATHIESON / ANTON EZER
AGENCY PRODUCER: HANNAH COOPER

PRODUCTION COMPANY: HUSH LONDON
DIRECTOR: KIRK HENDRY
EXECUTIVE PRODUCER: LYDIA RUSSELL

POST PRODUCTION COMPANY: GOODBYE KANSAS
EXECUTIVE PRODUCER: CLAES DIETMANN
PRODUCER: LINDA ÖHLUND
VFX SUPERVISOR: STAFFAN LINDER
ANIMATION LEAD: CHRISTINA SIDOTI
3D LEAD: JOHAN GABRIELSSON
3D ENVIRONMENT: GUSTAV ALEXANDERSSON
COMPOSITING LEADS: RICHARD SÄLLQVIST / DANIEL NORLUND

From The Drum:

ITV is drumming up Dancing on Ice interest courtesy of an animated tale of two polar bears frolicking on a frozen lake watched by their forest-dwelling friends.

Dreamed up by ITV Creative the story sees the bears advance from their first faltering steps on the ice to become proficient figure skaters in the fairytale setting of an ice bound lake below flickering Northern Lights.

ITV’s head of entertainment marketing, Jess Byars commented: "To celebrate the return of the biggest and best show on ice, we wanted a bold campaign that would give it the stature it deserves, and a story that reflects the warmth, charm and distinctiveness of the show itself."

ECD, Tony Pipes added: “We wanted this film to be full of warmth, Christmas fuzz and most of all magic and with Kirk and the team at Goodbye Kansas, we found our magicians”.

Dancing on Ice returns to TV screens in early 2018. The promo will run on ITV and in cinemas through to 19 December.

POSTER










KENSUKE'S KINGDOM FEATURE FILM



“A magnificent contemporary odyssey.”

-TIMES EDUCATIONAL SUPPLEMENT


CREDITS


SCREENWRITER: FRANK COTTRELL-BOYCE
BASED ON THE BOOK BY: MICHAEL MORPURGO
DIRECTORS: KIRK HENDRY / NEIL BOYLE
PRODUCERS: SARAH RADCLYFFE / CAMILLA DEAKIN / BARNABY SPURRIER / STEPHAN ROELANTS
VISUAL DEVELOPMENT: FRAMESTORE

From Cartoon Brew:

Kensuke's Kingdom is a 2D and mixed-media feature film from industry veterans Neil Boyle and Kirk Hendry. When we first previewed the film in 2015, it was still early in development. At last week’s Cartoon Movie market, it was one of the most attended presentations.

Based on the bestselling novel by War Horse author Michael Morpurgo and adapted for the screen by screenwriter Frank Cottrell-Boyce (Millions, Hilary and Jackie, 24 Hour Party People), Kensuke’s Kingdom is about a ten-year-old boy who washes up on a tropical island, where he discovers he is an intruder in the domain of a mysterious Japanese soldier named Kensuke, who lives there with a family of orangutans as his companions..

The action/adventure film is being developed by producers Sarah Radclyffe, Camilla Deakin (whose Lupus Films who have just realased the film of Raymond Brigg's Ethel & Ernest), Barnaby Spurrier and Stephan Roelants.

Kensuke’s Kingdom has strong themes of ecological conservation and respect for the environment, including a climactic showdown with poachers who are trying to overtake the island, and directors Boyle and Hendry have spent time investigating the best approach for visualizing the natural world onscreen. They’ve come up with a solution that balances organic elements with digital compositing, and which is both unique and visually striking.

“The natural world is an essential character in this story and one thing we were keen to achieve was an organic feel to the environment,” said Boyle, whose animation credits include The Thief and the Cobbler and Who Framed Roger Rabbit. “We wanted to use reality, rather than model builds. We wanted it to look damp. With our test sequence, we filled it with many objects we found on the forest floor or rocks we pulled out of the Thames. They all had their own wonderful slime, cobwebs or dead bugs that you could never production design. We were curious to see what we could just find in nature and use.”

Added Hendry: “Something that we have been focusing on in the last few years is the creative blend of mixed media. We like to see how the things we love can inhabit the same space — the charm of 2D hand drawn characters, the depth of photoreal worlds, the character of miniature environments, matte paintings and the random nature of filmed effects footage.”

The goal is “to do as much of the film as possible as partial miniature sets with found objects, then extended with matte paintings” Hendry explained to Cartoon Brew. “We just like the look. It’s random, organic and connects with the theme of the piece. It’s different — and its more fun to work this way.”

THE BOOK




CONCEPT ART








CLICK IT OR TICKET U.S. NATIONAL HIGHWAY SAFETY ADMINISTRATION



“A striking take on the public service announcement.” *****

-DAVID'S REVIEWS


CREDITS


CLIENT: NHTSA (USA)
AGENCY: TOMBRAS GROUP
DIRECTOR: KIRK HENDRY
PRODUCER: JOE BINKS
EXECUTIVE PRODUCER: MILANA KARAICA
MODELS: JAMES INNES
ILLUSTRATION / DESIGN: JAMES GIFFORD / JACK MUDGE
ANIMATION: ANTHONY FARQUHAR-SMITH / JASON KOTEY / HARRIET GILLIAN / JE EUN SHIM
COMPOSITING: BARRY MURPHY / SHIV PANDYA / MEITAL MISELEVICH / SEAN MARTIN / JE EUN SHIM
COLOURIST: DANNY ATKINSON

Made for the annual National Highway Traffic and Safety Administration (NHTSA) campaign, these two films highlight the danger of not wearing a seatbelt and uses the 'Click It Or Ticket' message to communicate the statistical probability of being killed in a collision when not wearing a seatbelt.

Mixing a blend of live-action effects footgage, stop motion, and animated elements to create a unique 2.5D world.

Kirk says: “The agency saw our film JUNK, and thought the silhouette shadow-play style with its fun use of mixed media ideal for their campaign. With all the deaths occurring in these spots, I think the agency saw that you could tell the story in this technique with the requisite amount of humour.

Additionally I thought that crashing two remote controlled cars at the end, with the final crunch being done in stop motion, would provide the required amount of seriousness. Seeing toy cars and cartoon characters mangled in a head on collision feels like some kind of violation, which really helps push the message home.”


Watch the 'Click It Or Ticket' making of:



POSTER












JUNK SHORT FILM



“C'est super!”

-SYLVAIN CHOMET



CREDITS


AGENCY: UK FILM COUNCIL
WRITER / DIRECTOR: KIRK HENDRY
PRODUCER: LYDIA BARRAS
NARRATOR: BARRY CLAYTON
MUSIC: JANINE FORRESTER
DESIGN: KIRK HENDRY
CHARCATER ANIMATION: MICHAEL BURGES
3-D: FLO RICHER / VIKTOR BERG / TOM TENNANT /LLYR WILLIAMS /SAM MILLER /AMINATA JOSEPH /SHAUN WHORISKEY
COMPOSITING: ROSS MACDOWELL / PETE BAXTER / MEITAL MISELEVICH / LEWIS DARBY / VIKTOR BERG / STUART FORTUNE / RAVI VISWAMI
SOUND: LUKE HATFIELD
COLOURIST: LEE CLAPPISON - LIPSYNC
MASTERING PRODUCER: KEVIN PHELAN - LIPSYNC
EXECUTIVE PRODUCER FOR TH1NG: DOMINIC BUTTIMORE
EXECUTIVE TO UK FILM COUNCIL: AARON YOUNG

SOUNDTRACK


Made with support from the UK Film Council's 'New Cinema Fund', JUNK tells the story of a boy with an obsession for junk food and the importance of following your gut instinct.

After premiering at the Annecy International Animation Festival in France, JUNK has had official selections at over 100 film festivals around the world. It has gone on to win numerous prizes along the way including The Creative Circle Awards (Most Promising Newcomer), Festival du Film Merveilleux et Imaginaire in Paris (Best Screenplay and Best Music), The Pentedattilo Film Festival in Italy (Best Animation), as well as nominations for 'Best Short Film' at the British Independent Film Awards, British Animation Awards, Rushes Soho Shorts.


Interview about JUNK with Flip Magazine -

FLIP: What's behind the story?
Kirk: Well, I guess it stems from living in cities my whole life being surrounded by concrete. How virtually every part of daily life seems man-made or pre-packaged. It's no big social statement, more that some part of my genetic memory craves mud and green things and when it does, my daily surroundings seem completely insane. It's as if my genes have adapted reluctantly.

FLIP: Why did you chose to tell the story in silhouettes?
Kirk: I had previously made a film called Round that was made entirely with hand shadows, so was a big fan of the drama of silhouettes. I had made the animatic for 'Junk' without tying it to a particular style. Then I saw The Adventures Of Prince Achmed by Lotte Reiniger. After seeing Achmed, I got excited about doing that cutout/lightbox style with computers. It became an exercise in lighting that has been very useful ever since.

FLIP: How did you create the film? It has a mixed media look to it.
Kirk: That's right, it is a mixed media film. Thrown in there are silhouette cutout characters, live-action effects footage shot against black (snow, sparks, rain, milk-in-water-clouds etc) thousands and thousands of cut out photographs, 3-d models, miniatures, all set up in 3-d space and made to look like it was shot in-camera. That was the goal anyway. Even though it is mixed media, I think the blend is convincing enough that it doesn't feel like collage. That seamless blend of mixed media is something I think is very exciting about the future of animated films. To move beyond them being either simply hand drawn, stop motion or CG. They can be anything now, with charming new styles coming through driven as much by accident as by the inventiveness of the film makers.

POSTER





PRESS



Interview with French magazine Khimaira.








GALILEO ARDBEG



“If we can see the horizon, we want to know what's beyond.”

-BUZZ ALDRIN


CREDITS


CLIENT: ARDBEG WHISKY
AGENCY: STORY
DIRECTOR: KIRK HENDRY
PRODUCER: RU WARNER
DESIGN: RAVI VISWAMI
3-D: VIKTOR BERG / GERGELY CZIRAKI
COMPOSITOR: SEAN MARTIN

From the BBC:

A distillery that sent unmatured malt whisky into space to study the effect of near-zero gravity on flavour has described its findings as "groundbreaking". Ardbeg Distillery, on Islay, sent a vial to the International Space Station in a cargo spacecraft in October 2011. Another vial of the same whisky was kept at the distillery for comparison. The distillery said its space samples were "noticeably different" in terms of aroma and taste. The company had set up the experiment to investigate how micro-gravity would affect the behaviour of terpenes, the building blocks of flavour for many foods and wines as well as whisky spirits. It has now identified "major differences" in its analysis of the two sets of samples.

Ardbeg was invited to take part in the space experiment in late 2011 by Texas-based space research company NanoRacks. The vial was launched by Soyuz rocket from Baikonur in Kazakhstan and spent nearly three years in space.

The Baikonur Cosmodrome in Kazakhstan





POSTER












SAVE THE CERRADO WWF



“This art is another way of drawing. Instead of using a pencil, I use my hands.”

-EL MAGO SERPICO


CREDITS


CLIENT: WORLD WILDLIFE FUND
AGENCY: NEO
DIRECTOR: KIRK HENDRY
PRODUCER: LYDIA BARRAS
SHADOW ARTIST: EL MAGO SERPICO
DOP: SAM WIDDOWS
CAMERA ASSISTANT: CHRIS SKEENE
COMPOSITING: CHRIS WALKER
COLOURIST: DANNY ATKINSON

WWF-UK's “Save the Cerrado” film exclusively uses hand shadows to tell its story and raise awareness of the devastating effects of commercial agriculture in the Brazilian savannah of Cerrado.

The campaign is trying to protect one of the world's most unique ecosystems from deforestation caused by rapidly increasing soya production. Large areas of natural savannah woodland and forest are being lost to the production of a crop which in many cases is then sold for export to the UK, Europe and Asia.

Kirk says: “I had the good fortune of working with Serpico before and he was happy to come over from Argentina to help with WWF's campaign. When we began researching the Cerrado together, we were fascinated by the strange variation of life there - just more bizarre than you could make up yourself - and how we might bring these creatures 'alive' with nothing but Serpico's two hands. The process of studying their anatomy and movement gave us a real connection with these wonderful animals by the end of the production. ”

Watch the 'Save The Cerrado' making of:




POSTER










WORKING WITH SYLVAIN CHOMET


THE SIMPSONS SYLVAIN CHOMET COUCH GAG



“Ou est Maggie!?”

-MARGE SIMPSON


CREDITS


CLIENT: GRACIE FILMS / 20TH CENTURY FOX
DIRECTOR: SYLVAIN CHOMET
PRODUCER: RU WARNER
LEAD ANIMATOR: NEIL BOYLE
ANIMATOR: PETER DODD
LIGHTING DESIGN / LEAD COMPOSITOR: KIRK HENDRY
MUSIC: SYLVAIN CHOMET / OLIVER DAVIS

Kirk says: “I was lucky enough to be invited to work on this project as lighting designer and lead compositor. It was my first job with Sylvain and he was full of many fun, irreverent ideas - just like The Simpsons!
Lighting wise I tried to recreate Saturday nights at my grandma's house. She'd let us stay up late to watch movies and the room would be lit by nothing but the warm light from her old valve TV.”



From the Washington Post:

It’s so easy to take “The Simpsons” for granted: It’s on the air, has seemingly always been on the air and thanks to syndication will always will be on the air. Still, after 25 seasons, a show still has to create buzz online somehow — So why not bring in famous artists to mix up the show’s famous opening intro?

French animator Sylvain Chomet (The Triplets of Belleville, The Illusionist) gets the honors this week, with a truly bizarre take on the iconic couch gag. In this version The Simpsons turn French - we see Homer eating snails, Bart enjoying a DIY goose liver pate kit, Lisa playing the accordion and Marge speaking French while looking for Maggie.

The sequence was met with lots of laughter by Matt Groening and longtime producer Al Jean, who called the experience a ”dream come true.” “We were totally surprised that these openings caught on so big.” Jean explained, “We’re really pretty easy with these guest couch gags. We just approach people that we admire and say, ‘It just has to have a couch’, and ‘make what you want'.”



Watch the 'Simpsons - Sylvain Chomet couch gag' making of:




POSTER












CARMEN STROMAE by SYLVAIN CHOMET



“In 1875, Georges Bizet compared love to a rebellious bird.”

-STROMAE


CREDITS


CLIENT: STROMAE / MOSAERT
MUSIC: STROMAE
DIRECTOR: SYLVAIN CHOMET
PRODUCER: RU WARNER
LEAD ANIMATOR: NEIL BOYLE
LIGHTING DESIGN / LEAD COMPOSITOR: KIRK HENDRY

Kirk says: “Like many in the English speaking world, I had not heard of Stromae. Then a few months before we began this job I came across Tous Les Mêmes and was completely knocked out by it. The Jacques Brel comparisons are not just because he's Belgian! When Dom, the boss of th1ng said "would I like to work with Sylvain on a video for a Belgian rapper?", I thought "I bet it's not a rapper - I bet it's Stromae". I was delighted to find out that it was. We went to see him do a fantastic show at Hammersmith Odeon to an almost entirely ex-pat French/Belgian crowd. At the show I remember thinking this is what it must have been like to see Prince on the 1999 tour, feeling that this guy really has something and maybe something as magical as Purple Rain could be next!”

From Buzzfeed:

He’s one of the biggest stars in the French-speaking world and his brilliant-in-any-language music videos have racked up over 400 million views on YouTube. He’s conquered Europe and now, at long last, he’s bringing a unique brand of genre-bending pop stateside. Next week he’ll embark on his second North American tour, and today he’s releasing a new music video exclusively on BuzzFeed Music.

The animated Carmen clip was directed by the acclaimed French filmmaker Sylvain Chomet. Chomet gave the cartoon his signature evocative style. Widely regarded as one of the best animators in the world, his films The Triplets of Belleville and The Illusionist were both nominated for Academy Awards.

Stromae first teased the video on Instagram, an appropriate strategy given that it follows his drawn doppelgänger as he falls into the social media abyss.

“In 1875 Georges Bizet compared love to a rebellious bird.” Stromae told BuzzFeed. “140 years later (and in 140 characters-messages) love is a blue bird.”


POSTER