![]() I thought, ‘Do I want to grow up and be an animator or do I want to learn how to paint like Frank Frazetta?’ When it came time to look at art schools, the animation program at CalArts looked really fun to me. “I loved comic books and cartoons and illustration. My father was an illustrator, so drawing was encouraged.” Paul’s dad was Rich Rudish, who created the Rainbow Brite character for Hallmark and was art director for the 1985 animated feature Rainbow Brite and the Star Stealer and character designer for the show The Real Ghostbusters. “From the minute my eyes opened, I can always remember liking drawings. “Well, I’ve always loved cartoons,” Rudish responds. We asked him when was the first time he realized he wanted to work in animation. The Mickey Mouse veteran began his career doing character design and storyboards for shows such as Batman: The Animated Series, and writing, designing and directing episodes of Dexter’s Laboratory, The Powerpuff Girls and Samurai Jack, directing Star Wars: Clone Wars and creating Sym-Bionic Titan with Genndy Tartakovsky. In addition, there haven’t been a lot of big challenges other than adjusting to the lockdown and having to shift our whole business to do things remotely.” We get to play with characters’ relationships a little bit more because we have more time. “We’re doing seven-minute episodes instead of the three-and-a-half minutes that we used to do, so we have more room for a bigger cast of characters. ![]() “There are so many fantastic artists on board and our relationship with our animation studio is great,” he admits. Rudish says working with his talented team on the show has been a wonderful experience. We’ve been very fortunate that we’ve been able to continue production though.” ![]() “It’s not as great as being at the studio where you can hang out with everybody and talk to everybody on the spot. “Working from home has definitely had an impact on production, but we’ve managed to keep everything moving,” says the exec producer. Like many animation professionals around the world, Rudish and his crew had to quickly adjust to the new realities of working from home, due to this past year’s COVID pandemic restrictions. “This series is actually a smaller team compared to a lot of productions. “Mercury is our animation production partner in Ottawa, and they’re great,” he notes. The production team included about 30 people at the Disney Television Animation studio in Glendale and another 30 or so at Mercury Filmworks in Canada. There’s a loose association with some of the lands and an occasional cameo from other Disney characters will pop in here and there along the way.” We thought that was a really neat set piece. We have a short called ‘House of Tomorrow’ that’s based on an old Disneyland attraction called House of the Future. “For instance, there’s one that could take place in Frontierland, possibly in Fantasyland and Tomorrowland. “We decided to look at doing various stories that could possibly take place in different lands of Disneyland so we could do more genre pieces,” he says. we are always ready to welcome you.Inspired by Parks and Heritage Charactersįor this new enterprise, Rudish and his team found inspiration in Disney history and many of the studio’s beloved films and theme parks. You can also help us and other parents by commenting on our Comment box. and Age ratings are systems used to ensure that entertainment content, such as games, but also films, tv shows, and Series, is clearly labeled with a minimum age recommendation based on the content they have. ![]() These age ratings we guide consumers, parents, in particular, to help them to decide whether Which TV-Series is good or not for their kids. Who is in the cast of The Wonderful World of Mickey Mouse?
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