Executive Producers Eric Homan Alan Kaufman Carrie Miller Fred Seibert Producers Alan Goodman Jeaux Janovsky Justin Johnson Jeremy Kutner Scott Moschella Creative Consultants /Designers Jeremy Kutner Ben Ross Lee Rubenstein Ad Sales George Stewart Rachel Garcia Editors Justin Johnson Michael Glenn Matthias Sundberg ChannelFrederator Jeremy Kutner Tom Fadial Aaron Pollock Graham Smith Paul Blakey Avi Tuchman Distribution Courtesy of Andres Palmiter, Next New Networks Special Thanks to: Melissa Wolfe Program Cover and Design: Leslie Cabarga

© 2008 Next New Networks, Inc. All rights reserved All illustrations ©2008, by the respective artists. All rights reserved. All essays ©2008, by the respective authors. All rights reserved.

Watch it June 10th, 2008 on

4 Welcome - Eric Homan 6 Best Flash Film 8 Fred Seibert 10 Best CG Film 12 Christopher Zagorski 14 Best Traditional Film 16 Keith Dawkins 18 Best Foreign Film 20 Scott Moschella 22 Best Music Video 25 Jeaux Janovsky 26 Lee Rubenstein 29 Ben Ross 30 Funniest Film 33 Richard Winkler 34 Best Design 36 Joey Ahlbum 38 Elliot Cowan 40 Sick Sick Sick Award 42 Brian Miller

44 So Cute It Hurts Award 46 Albie Hecht 48 Badass Bunny Award 50 Aaron Simpson 52 The Kiwi Award 54 Adam Bernstein 57 Alan Kaufman 58 Josh Weisbrod 60 Youngest Filmmaker 63 J.J. Sedelmaier 65 The Joe Robot Award 67 Pendleton Ward 68 Joel Trussell 70 The Vanguard Award 72 Producers’ Choice 74 Nina Paley 76 David B. Levy 79 Carrie Miller 82 Amid Amidi 84 Justin “Denny” Furlong 87 Eric Robles 91 Dan Meth



E∞ic Homan

And, ∞emember, C

Channel Frederator Awards 2008 / 5



ou know, when we held our inaugural CFA party last year, our main purpose was to thank the filmmakers who had been kind enough to contribute their work to our humble ol’ Channel Frederator network over the course of its first twelve months. Held at CineSpace right on glitzy Hollywood Boulevard, the event couldn’t have been more successful (or crowded). It was a night of colossal proportions where we got to show Channel Frederator submitters how much we appreciate them doing the things they do. Truly, a good time was had by all. Since then, honoring not only cartoon filmmakers but also the cartoon community at large has become our raison d’etre. To that end, we’ve gone and created Channel Frederator RAW, Channel Frederator’s very own social networking community. We’ve introduced more awards for filmmakers, including the brand new “Quarterly Prize for Cartoon Quality”. And, to thank more cartoonists

in person, we’ve rocketed out of Los Angeles to land in lower Manhattan’s Canal Room for this year’s gala Channel Frederator Awards party. (As a side note, we’ve asked the illustrators contributing artwork to this very program to use Robots in Metropolis as a theme. Robots in the Big Apple – if only Fritz Lang were alive today.) And, who knows? Maybe we’ll take next year’s awards on the road yet again, all the better to thank each and every filmmaker who has become Friends of Channel Frederator since our launch back in November 2005. New Zealand, anyone? Speaking of themes, for this year’s written portion of our program, we went and asked a bunch of animation fans, vaguely, “Why Cartoons?” You’ll find their answers – some delightful, some harrowing – herein. So, to all of the cartoon community, thanks for a fantastic 2007. Enjoy the party. — Eric Homan and Team Frederator .

, Channel F∞ederator loves you!

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hese three Flash films run the gamut not only in terms of where they were created (sunny Los Angeles, cloudy England, tornadoey Missouri) but also in subject (suburban life, superhero, sales pitch). We’d like to give each a prize (maybe call it the Trapped in the Man’s Shoebox Award?), but we can’t, unfortunately.


Make Mine Shoebox submitted by Maura Cluthe created by Chris Harding Did you ever wonder how greeting cards are made? This filmmaker lifts the veil on this mysterious industry and fills us in on the stepby-step process. I’m willing to bet you’ll be surprised to find out that it’s all done by bunnies! Huh. Who’da thunk...

The M Man submitted by The Brothers McLeod Stratford upon Avon, Warwickshire, UK In this hilarious short from The Brothers McLeod, we go on a mission with the fearless superhero, M Man. He rescues a missing scientist and through the help of some paper mache, a crop duster, and some very hungry bunnies, he rewrites the history of the dinosaurs. Now that’s a productive day. Greg and Myles McLeod have been writing and directing animations since 2000 and their work has appeared on BBC ONE, MTV, Nickelodeon USA, Channel 4, E4, Channel Frederator and nokiashorts. com. Their surname is pronounced MacCloud for those not versed in NorseScottish history...

Trapped In the Drive-Thru submitted by Doogtoons Santa Monica, CA The perils and pitfalls of deciding what to have for dinner are all too familiar to most. Add on top of that the experience of ordering at the drive-thru and you have a dramatic cinematic masterpiece to rival Gone With the Wind. Doug “Doog” Bresler is the founder and president of Doogtoons. He is the director and animator of such internet hits as “Weird Al” Yankovic’s Trapped in the Drive-Thru music video, the animated Ask A Ninja shorts, Eli’s Dirty Jokes, and Nick and Haig.

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tyosondsme r “Calwa ma e ve a


ha I think p p y. Gee, eryone ha make ev they hap p y.

Crusader Rabbit • Bugs Bunny • Porky Pig • Felix the Cat • Mickey Mouse, Donald Duck • Tom Terrific, Huckleberry Hound • The Flintstones • Rocky & Bullwinkle • Pinocchio • Ren & Stimpy • Beavis & Butthead • Adventure Time • etcetera, etcetera, etcetera.

“Everyone has their own list, but it all adds up to happiness, doesn’t it? I mean, why cartoons? What other choice do we have?” Fred Seibert produces cartoons. He also founded Channel Frederator and Next New Networks.

Floyd Bishop

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hen we held our first Channel Frederator Awards way back in 2007, CG still stood for ‘Cave Generated.’ In that era, who’d have dreamed there’d be a day when cartoons could be rendered three-dimensionally, much less a time when the human appendix would be obsolete? Let’s tip our collective hat to these three nominees, from animators who helped bring cartoons out of the caves and into the computers.

A Great Big Giant Robot From Outer Space Ate My Homework submitted by Mark Shirra We’ve all tried to get out of our homework with great tales of the dog eating your homework or the wind taking off with it at the bus stop. This little fella has a pretty solid claim that a giant robot from outerspace ate his homework. This kid is onto something...

Cocotte Minute submitted by Sylvain Marc Paris, France www.polyminthe. Chefs cheer, chickens chase and feathers fly in this hilarious and actionpacked CG short from Sylvain Marc. This will teach you to play with your food! “Cocotte-Minute” is an animated movie directed by 6 students from Gobelins, l’école de l’image (Paris, France). The short was made as an opening short for the Annecy Animation Festival, which is an international meeting between professionals and people keen on animation. There was 6 months to realize the whole movie, including synopsis, storyboard, animation, rendering, and so on.

Kiwi submitted by Dony Permedi Santa Monica, CA Man struggled for centuries to fly. Following in the footsteps of Leonardo DaVinci and the Wright Brothers, this little kiwi is going to fly…if it kills him. Dony Permedi got his BFA in Digital Arts from Bowling Green State University in 2004 and graduated from the School of Visual Arts in New York City in 2006. Dony freelanced for Galaxy 61 and Curious Pictures in New York City, creating animation for advertising. In 2006, Dony worked at Kush Games in the Los Angeles area as a motion capture animator. He left Kush to pursue more freelance work geared towards character animation in Los Angeles. Since then he has worked on projects for Chef Boyardee, and The 2010 Vancouver Winter Olympics.

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I’d say cartoons!

because they offer me something that no other art form truly can: pure artistic freedom.

of the past 50 years reveals that there’s a direct correlation

Be it ‘freedom of expression1,’ ‘freedom of creation2,’ or ‘freedom of direction3,’ cartoons —to me—are quite simply. . .pure imagination. And I love them for it.
Ten additional reasons (in no particular order) why, for me, cartoons.

• Between the airing of

certain specific shows (I won’t name names) and dramatic surges in popularity for products such as spinach, lasagna, and pic-a-nic baskets.]

• Cartoons because they’ve done an

• Cartoons because of all the things

• That conjunctions not only have junc-

they’ve taught me over the years, such as: tions, but in turn, also functions (!) as well. nounce the word “delicious” in Spanish. trustworthy individuals.

amazing PR job for mice (especially those named Mickey, Mighty, Pinky, Fievel, Brain, Tom, and sometimes Speedy.) have never been more lovable than they were on Dr. Katz’ couch. (and because Benjamin Katz was hilariously ill-prepared for existence on Earth) turned out to be a crazy-awesome voice actor. time watching the 10th year of Bart Simpson’s life than I did living the 10th year of my own.4 and Lil’ Sneezer helped me to realize

• Cartoons because stand-up comedians

• How, exactly, a backpack might pro-

• Never trust rabbits; rabbits simply aren’t • Cartoons because Luke Skywalker • Cartoons because children need toys, • Cartoons because they were way
and toys need cartoons to base themselves on. (and … sometimes the other way around.) ahead of the pack in terms of product placement. [A quick look at the socioeconomic trends

• Cartoons because I’ve now spent more

• Cartoons because Chilly Willy, Sniffles, •That I’m not the only fella in this world

who has to deal with chronic ‘cold and flu-like symptoms.’

some Mojo who can rock white Go-Go boots;

• Cartoons because I identify with all

the Charlie Browns of the world, and because sometimes my only solace is that Linus didn’t declare me to be the ‘CharlieBrowniest.’ ten, they only want to capture our own imagination;

• And because any way you slice it -Christopher Zagorski

Wow! Wow! Wubbzy! is just plain fun to say. 5

• Cartoons because nine times out of

Former Asst. to Fred Seibert, real-life “King of Cartoons” (i.e., not the one from PeeWee’s Playhouse)

• Because everybody loves a Jojo with
Footnotes: 1. In cartoons, not only can you say anything you want, but anything can say anything you want. If you want a candlestick to have a conversation with a pendulum clock, it’s all good. And if that same candlestick wants to then go flirt it up with a feather duster, that’s cool too. Call it anthropomorphism if you’d like, but it’s part of what makes cartoons so enchanting— from silly old bears to moose and squirrel, or even a lighthearted sponge who lives in a pineapple under the sea—everyone has a voice. 2. When Craig McCracken decided he wanted to tell a series of stories about The PowerPuff Girls, you’ve gotta figure it was a heck of a lot easier for him to simply draw them, than it would have been to try and cast three tweenage girls of various hair color who exuded ‘power’ and general “puffiness.” 3. Not only can your stories and plotlines go anywhere you want them to, but so can your characters. When I think of all the places I’ve visited through cartoons, transcending both space and time—from ‘Bedrock’ to ‘Orbit City’ to the ‘Great Valley’ or the ‘Second Star to the Right’–- not to mention all the places I have yet to go with them … I’m not gonna lie; it’s a little bit magical. 4. probably not actually true, but … it made you think, didn’t it?]

As an aside -- if anyone is playing devil’s advocate and wondering, “why not cartoons?” -I think the answer may simply be “because sometimes they’re a real pain in the ass to work with, especially on set.” I believe Bob Hoskins touched on this in a rather eloquent passage from his 1989 autobiography, Judge Doom was a Douche.

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ou may know that Webster’s Dictionary defines “traditional” as “of or pertaining to tradition.” What you may not know is the word “Webster” is a generic and copyrightfree term that anyone may legally apply to his own dictionary. For example, we could publish our own Channel Frederator-Webster’s Dictionary, if we were so inclined, and there’s nothing you, Uncle Sam, or those suckas at MerriamWebster can do about it!


Sub! Submitted by Jesse Schmal Brooklyn, NY It’s amazing all of the happenings going on in Sub! A soccer team, a gaggle of nuns, a crew on a miniature sub, and a woman and her finicky dog. One can only wonder how Jesse Schmal manages to bring it all together, but he does! Jesse Schmal is an animator and filmmaker who lives in Park Slope, Brooklyn. After graduating from the Rhode Island School of Design in 2000, he has worked on a variety of animated projects for television. The most notable being the “TV Funhouse” series for “Saturday Night Live.” In his spare time, he likes to spark turf wars with other surfers, and experiment in original recipes for cat food. He is currently a storyboard artist on a popular cartoon for kids. Jesse hopes to someday figure out how to make cartoons that both he and other people enjoy.

Art’s Desire Submitted by Sarah Wickliffe New York, NY Do you ever wonder if paintings in a museum compare themselves? Or what would a character from one of Picasso’s paintings say to Mona Lisa? Art’s Desire opens up a world of artistic wonders and possibilities. Sarah Wickliffe was born in New York and raised in New Jersey. She attended Pratt Institute with a merit scholarship then transferred to NYU Tisch School of Film and TV to study animation. There she completed three films; the last of which, “Arts Desire,” was the recipient of NYU animation’s Richard Protovin Award as well as the Gold Student Academy Award in Animation for 2007. In May of 2006 she graduated from NYU with honors. Currently she is an animator on the hit pre-school show, The Wonderpets!, while pursuing freelance work on the side.

Fumi and the Bad Luck Foot submitted by David Chai San Jose, CA So, a black cat crosses your path and that’s bad luck, but imagine if bad luck was attached to you? Fumi has a bad luck foot. Her bad luck never leaves her alone. Fortunately for her (and the rest of the world) she finds a way to do good with her bad luck foot. David Chai is an independent animation director and an instructor of animation at San Jose State University. He has worked on a variety of projects ranging from educational software, animation for television and video, commercial advertising, to independent films. Commercials directed for Thunderbean Animation received the Gold Award for best animated television commercials at the Kalamazoo Animation Festival International 2005. To date, his independent films have screened in over ninety film festivals internationally.

long for the days when no one cared about about cartoons. Cartoons were better then. Ok....that may not be true but that’s the argument that I’m going with right now. And when I say that no one cared about them, what I really mean is that the only people who cared were the creators and anyone willing to watch.


fluence can be felt around the globe but it could use a jolt from 1988. A time when folks were only starting to care while creatively it was arguably at its peak. This brings me back to cartoons. I long for the days when seemingly no one but the creator cared. These days were great for kids like me. Like the early days of rap the variety was unbelievable. I could consume everything from Woody Woodpecker to Bugs to Mighty Mouse to Mickey to Tom and Jerry to Magilla Gorilla. I could get my super hero fix or I could dine on exciting fair like Voltron and G-Force. The Jackson Five had a cartoon. Josie and the Pussycats were doing their thing. Was that a girl show? I don’t know. I didn’t care. I watched that as well as the Herculoids. And Yes!.....I watched HeMan and She-Ra. Some shows had little or no dialogue......Roadrunner. Some characters couldn’t stop talking.....Foghorn Leghorn. I could go on about all of the shows I liked to watch, but I think you get my point. As the “exec” I understand the various business issues and needs surrounding this industry.....but the kid in me loves the pure idea. That

little germ that turns into Spongebob, Dora, Shrek or Pokemon. It’s so fundamental to this business that we nourish those passionate creators. The ones that unleash their visions on us with such zeal that it leaves us godsmacked and thirsting for more. So my plea here is let’s remember back to the days when no one cared about cartoons. No one but the creator and anyone willing to watch. If we unlock that animation treasure chest I’m sure we’ll find a healthy bounty. Now I’ll have to remind myself that I wrote this the next time I tell some poor creator “no” because the show “didn’t test well.”

My childhood experience with cartoons reminds me much of my growing up with the early days of rap music. Yes Mr. and Mrs. 20 year old......there was a time when no one cared about rap. Just the artist, whatever DJ would play them at the club or on the radio and whatever fan would listen. It was great. Such diversity. So many different styles. So much innovation. Such excitement. Such healthy competition spawning new forms of expression. Even some controvery. The art form was flourishing. What some called a fad became a movement and thus an industry. Once it became industry that means that someone started to care because serious money could be made. Rap started to lose its diversity and became ever more formulaic and commercial. Rap music is bigger than ever and its in-

As Senior Vice President, Nickelodeon Programming Partnerships, Keith Dawkins is responsible for forging new creative partnerships and co-productions with non-traditional programming partners, while overseeing the international and domestic acquisitions of series, films, and short-form programming for both Nickelodeon and Nicktoons Network. He also continues to oversee the daily operations of Nicktoons Network as the network’s GM.

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Alexander Gellner

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artoons can come from anywhere! – from the tiny country with guys in the hats to that hot place in the pictures they always show in that one magazine. The award for your favorite international cartoon is one big ladle of love to our animating brothers and sisters over the borders and across the waters.


Cocotte Minute Submitted by Sylvain Marc Paris, France Chefs cheer, chickens chase and feathers fly in this hilarious and actionpacked CG short from Sylvain Marc. This will teach you to play with your food! “Cocotte-Minute” is an animated movie directed by six students from Gobelins, l’école de l’image (Paris, France). The short was made as an opening short for the Annecy Animation Festival, which is an international meeting between professionals and people keen on animation. There was 6 months to realize the whole movie, including synopsis, storyboard, animation, rendering and so on..

Page d’Ecriture Submitted by Filippo Giacomelli, Fabio Tonetto, and Juan Francisco Correa Diaz Rome, Italy Italian Filmmakers Filippo Giacomelli, Fabio Tonetto and Juan Francisco Correa Diaz bring us this gorgeous CG/traditional combo. An intensely boring math class gets a bit carried away when a magical bird brings excitement!

Anfang Anzufangen Submitted by Alexander Gellner Berlin, Germany Based in Berlin, animator Alexander Gellner brings us this bee-bopping, toetapping animation. Created in 2d and paper collage, this film is not only great for its beats, but is also unique in design and style. Freelance designer/samurai, Alex specializes in illustration and motion graphics. Apart from freelancing, he makes comic books and funny films and stuff.

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on my daily The influence of cartoons the Saturday life is undeniable. I was raised on a steady diet of cartoons, both

morning and weekday afternoon varieties. Their stories and characters have become a part of me along with their sugary theme songs. Which is fitting because I was also raised on a steady diet of sugared cereal. The random things that I say and do on any given day usually have a hint of wise ass, thanks to Bugs Bunny, and a tinge of idiocy, thanks to Daffy. And I’m always ready to do a horrible rendition of the Duck Tales theme song... ooooweeeeoooo! Why cartoons? Simply because I don’t think the human race will ever invent a better way to tell a story than cartoons. In cartoons, there’s no limits or special ef-

fects budgets. You can cast any actor in any role and you can put them in any situation in any place. Anything is possible. If you can imagine it, you can put it in a cartoon. And now that I’m a little bit older, I can appreciate all the time and work and love that goes into them which makes them so special - things like background art, sound design and spot-on comedic timing. I love cartoons and would hate to imagine life without them. Scott Moschella spends most of his waking life on the Internet. Some of that time is dedicated to putting Channel Frederator “on the air” every week so that free cartoons can be downloaded and watched anywhere, any time.

Jim Mortensen

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hen we wanted to find out what makes a good music video, we turned to exactly where you’d think – those three guys on the N train always singing Drifters songs. They were good enough to toss these adages our way: • If it’s got a song, you can’t go wrong. • Go take a chance, cause folks love to dance. • You don’t need to cut to the beat to make the film a bona fide treat. • Give it a tune, the major record labels will be calling soon. • If you want a video that sells, call the ZZ Top gals. Thanks for the tips, guys. Here are the nominees for Best Music Video. Let’s see if they took your advice.


Trapped In the Drive-Thru submitted by Doogtoons Santa Monica, CA The perils and pitfalls of deciding what to have for dinner are all to familiar to most. Add on top of that the experience of ordering at the drive-thru and you have a dramatic cinematic masterpiece to rival Gone With the Wind. Doug “Doog” Bresler is the founder and president of Doogtoons. He is the director and animator of such internet hits as “Weird Al” Yankovic’s Trapped in the Drive-Thru music video, the animated Ask A Ninja shorts, Eli’s Dirty Jokes, and Nick and Haig.

Bip Bip submitted by Romain Segaud London, England Hey, this guy is just taking his sweet ol’ time getting to where he’s got to be. He’s out to enjoy the day no matter what kind of rush the rest of the world is in. Coming all the way from Europe, Bip Bip is a unique and fun piece. Romain Segaud is a French director repped by London based Passion Pictures worldwide and by Passion Paris for France. There he works on a number of TV commercials, music videos, and other animated content. Romain became internationally known with 2003 Imagina Grand Prix for TimTom, his degree project at famous animation school Supinfocom. TimTom was also part of Sundance Film festival selection.

Anfang Anzufangen Submitted by Alexander Gellner Berlin, Germany Based in Berlin, animator Alexander Gellner brings us this bee-bopping, toetapping animation. Created in 2d and paper collage, this film is not only great for its beats, but is also unique in design and style. Freelance designer/samurai, Alex specializes in illustration and motion graphics. Apart from freelancing, he makes comic books and funny films and stuff.

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“All your dreams can come true if you have the courage to pursue them.”—Walt Disney

24 frames

(Why oh Why Cartoons?) A poem writ by Jeaux Janovsky (Beat Cartoonista) cartoon ink runs thru his veins cartoon thoughts inside that brain cartoon movement fuels his limbs 24 frames per second four fingered fat hands waving goodbye porkpie hat held oh so high bulbous nose honking and a blowing Straighten up that bowtie, seams are a showing 24 frames per second outta this town Why Cartoons? It’s the only life he knew. Why Cartoons? It’s the only one he’ll choose.

Jeaux Janovsky is: an Animator, Artist, Writer, Illustrator, Painter, MiniComix Creator, Musician, Toy Designer, Executive Hobo & All Around Great Guy. Jeaux attended the California Institute of the Arts, and escaped unscathed with minimal cuts and bruises along with a BFA in the world-renowned Character Animation Program. He has worked for the likes of Mattel, Disney, and is currently Channel Frederator’s Production Coordinator & Network Community Manager.

Lee Rubenstein
Why Cartoons?
Cartoons make us human. They are responsible for kids getting up at 7 a.m. on a Saturday morning. They poke fun at political figures. They make us laugh so hard that milk squirts out of our noses. They describe how to use your seat cushion as a flotation device. They grace our favorite album covers. They sell our breakfast cereal. They dawn our metal lunch-boxes. They teach children to speak other languages. They tell stories. Why Cartoons? Well, why the hell not?

Lee Rubenstein is an animator/ director/doodler/producer from New York City. He is co-founder of and more of his work can be found on

Lee Rubinstein

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Ben Ross

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Ben Ross.
tell you their childMost people willexperience startedinon hood cartoon a saturday morning. well, mine were the morning, but most of my cartoons were watched on the weekdays. my mom and dad both worked so my sister and i were dropped off at susan’s, the babysitter. she was a large woman with a big bleached blonde beehive, long press on nails, and a big heart. she’d take us to the park right outside her apartment complex and we’d tag-a-long on her daily errands around queens. to be perfectly honest i really couldn’t give a crap about the park or the sale that the local bodega was having on green beans. i wanted to get indoors, sit down with my baby sister on the green shag carpet in front of the big tv while susan’s son robbie slept on the cheeto stained couch and watch some fucking cartoons. for the average four year old weekday cartoons started at about six in the morning, which was about the time i arrived at susan’s. there was thundercats, dennis the menace, scooby doo, transformers, voltron, my little pony and jem (two shows i sat through ‘cause my sister loved ‘em) and my all time favorite he-man and the masters of the universe . (wow, i never knew how ridiculous and long that title is.) let me take some time and talk about he-man for a bit. he-man, to a four old is probably about the coolest dude in the world. he is super strong, has a magic sword, rides on a giant tiger like thing called battle cat, and his arch enemy is a goddamn skeleton! how fucking cool is that? uh... really fucking cool. what really sold it for me was he-man wasn’t he-man at first, he was some nerdy prince dude named prince adam. he did prince like things like wear purple shirts and pants. however give that dude a sword and have him recite some magic words about castle grayskull and bam! he becomes the master of the universe. awesome. now i could talk about how it all came crashing down with the live action movie starring mr. ivan drago himself, or the thousands of times i got pinched by the evil spring loaded “damage indicators” on the battle armor he-man action figure, but i’ll save that for another essay. the cartoons i watched as a little kid may have been corny and not the best, and most of them were probably made just to help toy sales, but that really doesn’t matter. all that matters is that they were cartoons. cartoons that took you away from reality if only for 22 minutes. i <3 cartoons. Ben is a boy. He doodles a lot on graph paper. He loves kittens and anything fuzzy. In the near future he plans to be the first pizza delivery boy on the moon.

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allas. We all know the way to score with the ladies is to make them laugh. Seriously. Get them so hysterical they’re snorting milk from their noses and they’ll be like Silly Putty in your hands – stretchable, bouncable, and able to make perfect transfers of the Sunday funnies. And, if you’re clueless when it comes to comedy, you might want to begin with these three funny nominees. You’ll thank us later. ;)


Super Santa in “Vegetation” submitted by Mike Bell Los Angeles, CA nm1220133/ Drop your pre-conceived notions of Santa Claus! While we’ve been told he’s a jolly old soul, he’s also a butt-kicking, vegetable-whupping super hero. He and his wife, Emily, (Mrs. Claus) spend their off-days saving the world. What else did you think Santa did when it wasn’t Christmas season?

Trapped In the Drive-Thru submitted by Doogtoons Santa Monica, CA The perils and pitfalls of deciding what to have for dinner are all to familiar to most. Add on top of that the experience of ordering at the drive-thru and you have a dramatic cinematic masterpiece to rival Gone With the Wind. Doug “Doog” Bresler is the founder and president of Doogtoons. He is the director and animator of such internet hits as “Weird Al” Yankovic’s Trapped in the Drive-Thru music video, the animated Ask A Ninja shorts, Eli’s Dirty Jokes, and Nick and Haig.

Mortimer Pigmun and His Time Traveling Chums submitted by Matt Witham and Jeff Wallenhorst Wells, Maine If the theme song for this short doesn’t give you the giggles, the stop-motion hijinx of Mortimer and his kooky chums surely must. Mortimer discovers the secret to time travel, but upon his nemesis’s interference... let’s just say hilarity ensues!

Joanna Davidovich

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Richard Winkler
9 out of 10 of Today’s Top Celebs prefer themselves as cartoons. Thousand-Faced Hero, hog butcher to the world, thy name is Cartoon. are you Curious, Pictures, who are making them while I’m writing this? Animation is known to cause swelling, redness, and self amusement. Trying to sound deep? Haiku makes it seem that you have something to say. When I was your age I was (fill in blank) too; but then I found cartoons. Richard Winkler is co-founder and Executive Producer of Curious Pictures. He worked for a variety of film production companies before joining the animation company Broadcast Arts in 1987. Since then, Richard has become an authority on both production and the animation industry.

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o, what rocks your world when it comes to looks? The basic shapes? The curves and angles? The thick and thin lines? Whatever it may be, we’re sure you’ll dig the three nominees in the design category. Sita, Max, and Carlos – what lookers!


Sita Sings the Blues Trailer submitted by Nina Paley New York, NY Unlike many of our other pieces, Sita Sings the Blues is actually a trailer for the independent feature-length film by Nina Paley. The story of a Goddess seperated from her true love, Sita Sings the Blues goes above and beyond in with bright colors and unique designs. Nina Paley retired from newspaper comics to pursue independent animation in 1998. Her first feature, “Sita Sings the Blues,” is currently making its way through film festivals (the kind oriented towards live-action voyeurs) and animation festivals around the world.

Max and the Pigeon Incident submitted by Dave Wasson Pasadena, CA It’s another average day at the office, until a pesky pigeon steals Max’s pencil. Watch as Max embarks on a death defying journey to get back his #2. This feathery film just happens to come with some amazing yet simple and straightforward designs. Bred in Arkansas, Dave Wasson is the creator of Cartoon Network’s “Time Squad.” He most recently served as the showrunner on Amy Winfrey’s Making Fiends at Nickelodeon.

Carlos (My Name is Not) submitted by Maxime Robin Québec, QC, Canada Carlos (my name is not) comes to us from Quebec, Canada. In this film, musician Maxime Robin animates slightly abstract man in a very abstract city. This highly stylized-style animation is truly unique, with a retro feel. Maxime Robin is a towntempo electronic musician and video-ist based in Quebec, Canada. For Carlos (My Name is Not), Robin teamed up with illustrator Pascal Blanchet for this video.

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Joey Ahlbum
Animation is like a drug, you make something
move and you’re hooked.
But then, just making things move is not enough, you want a bigger rush, so you try to tell a story or maybe make people laugh. Before you know it, you’ve spent a year animating “Custer’s Last Stand” complete with the 7th calvary and entire Cheyenne Nation. I guess that’s WHY CARTOONS, because if you wanted to, you could animate just about anything you could imagine. By the time you finish, you might find yourself broke, no friends and living at home with your parents, but you just might have created an amazing piece of animation that’s never been seen before. Joey Ahlbum was born and raised in New York City and Brooklyn. He graduated from the High School of Art and Design and the School of Visual Arts. His animation and illustration work includes projects for Nickelodeon, Pizza Hut, Cartoon Network, MTV, Frederator, Scholastic and Sesame Street.

Joey Ahlbum

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Elliot Cowan
henever animators are interviewed and asked what is so great about animation they always say something about the medium giving you the opportunity to do whatever you like. You can shoot from any angle, present any fantastical idea, create any possible character. Watch any DVD making of documentary from the last 15 years and you’ll hear it over and over again. Fact is that most of us rarely take advantage of the medium in that way, because most of us who make them recognize that in cartoons, all the bells and whistles are not what make it great. Cartoons are like hieroglyphics. Simple graphic representations of something more complex. Because of this we have the opportunity to tell great stories in a more basic way. This isn’t to suggest that cartoons have to be simplistic (although they often are), but that because we are paring back images and content to a representational level, we can say what we want faster, clearer and often in a more subtle way.


And I think because of that we can have more comedy, drama, sadness, anger and joy than any other medium. So that’s why cartoons. After 10 years of making television commercials, doodling and drawing cartoons in Tasmania, Australia, I sold my house, gave the dog to my parents and moved to London. There I worked on a couple of animated feature film projects. I spend most of my time working on my pet project, The Adventures of Boxhead and Roundhead – a series of books nobody seems to want to publish and a set of 6 short films that seem to be very popular. These days I seem to be in New York city doing whatever comes my way.

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Elliot Cowan

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f all the vile, degrading, and deplorable cartoons we’ve received since the last Channel Frederator Awards, our panel of experts in disgust deemed these three films the most barfbag-worthy. We hope you’re truly offended.

How Can I Say No To Sex at School? submitted by Dave Carter Sydney, Australia www.thedavecartershow. com Dave Carter teaches us that, with proper censorship, there’s no need to say no! “Dave Carter’s animations are what might have happened if Monty Python’s Terry Gilliam had been born in Communist Russia and grew up on subtitled Ren and Stimpy cartoons. Anarchic, subversive and bizarre, sure. But more importantly, very, very funny.”

Slaughterween submitted by Rory Cooke Salisbury, Wiltshire, England Rory Cooke tells the tale of a lonely and misunderstood schoolboy who wants to set out to make a very cool, yet rather disturbing, Halloween costume to impress his classmates. This one is not for the faint of heart, so be warned! I started making horrible animations when I was about 15. Then I managed to get a degree by making an animation about a school boy digging up dead animals and murdering a load of people to make the greatest Halloween costume of all time. Now I work for a company in london that makes cartoons and adverts for children.

Respire, Mon Ami submitted by Chris Nabholz Los Angeles, CA It’s normal for a child to gain attachment to something for security. A “security blanket”, a stuffed animal. Chris Nabholz brings us a tale of the security... uh... head. This beautiful CG piece walks the thin line between quaint and disturbing as a child befriends a dead woman’s head. A graduate of the Ringling School of Art and Design, Chris Nabholz currently works as a Lighter & Compositor for Sony Pictures Imageworks in beautiful Los Angeles, California.

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“Because Cartoons are real.”
Brian Miller is Senior Vice President and General Manager of Cartoon Network Studios, the animation production facility in Burbank, Calif., established in 2000 by Cartoon Network. In this capacity, Miller oversees the studio’s production of Cartoon Network original shows as well as its day-to-day operations.

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Tom Kyzivat

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e weceived hundweds of submissions duwing 2007, many of which we categowize as absowutewy adowabaw. We hope you feew the same way, too, as we pwesent to you the cutest of the cutest, the most wovabaw cawtoons of 2007. And wemembew, Channew Fwedewatow Woves You.

Bobble & Sqweek submitted by Choom Lam Vancouver, B.C. Canada www.choomus.blogspot. com/ Best friend equals squeaky toy in this super-cute clip of an alien-monster-type fella playing fetch with his alienmonster-type dog. Short, simple and super cute, this one will tug at the heart strings. Choom is a runaway graphic designer turned animator who escaped the world of corporate design to seek sanity in animation. Born in Singapore where she spent the majority of her life, she moved to Australia at the age of 18 where she received a Bachelor of Arts in Multimedia Design at Curtin University in Western Australia. After a three year stint in design, branding and advertising she decided that there were more important things in life than aligning ascenders... like drawing cartoons about bunnies and cows.

CuddleBee Hugs ‘n’ Such submitted by Adrian Molina and Alex Hirsch Cuddle Bee is so cute you want to punch him. In his encounter with Watson the deer, Watson ends up as the brunt of CuddleBee’s cuteness… and his cuddlebutt.

Giant’s Kitchen submitted by Jiwook Kim Los Angeles, CA Giants are hungry fellers. This giant just happens to have a terrible cook. Thank goodness for him he finds the cutest little girl to help him along. His old cook is a bit sore about it, but even he can’t resist the cute. Jiwook Kim completed this film as her senior project at CalArts. She “wanted to make something funny, not weird.” Jiwook’s short films have been featured in numerous film festivals.

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“Because squash and stretch is how I aspire to live my life.”

Albie Hecht is the CEO of World Wide Biggies, a Digital Entertainment Studio. A former President of Nickelodeon Entertainment and Spike TV. Hecht is a recognized industry leader who oversaw the development and production of some of the animation industry’s biggest hits.

Erik Knutsen

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hey’re just a bunch of bunnies! (they’re cute, they’re cute)

So you’d better watch out! (did you hear what we sang?) Wahh, dahb, d-d-d-DOOOO!!! Cause they’re coming to get YOOOOOUU!!! (fly like the wind) Cha-cha-cha.

Na na na na, na na But they’re coming to get you (cause they’re badass, too) Bair nair NAIR

Hot Cross Bunnies submitted by Elizabeth Ito Glendale, CA Foul-mouthed little stuffed toy Bunnies are enough to make anyone giggle, but be careful. These li’l fellers take themselves extremely seriously. If you happen upon them, be prepared to take one home with you. Otherwise, they’ll open up a can of whoop-ass on you. Or make you cry. Whichever comes first. Elizabeth Ito is a graduate of UCLA and Cal Arts. Her short films have received much acclaim, including a nomination for a Student Academy Award. On top of her animation skills, she has been in a number of gallery shows, and crafts her own vinyl and stuffed toys. Currently, Elizabeth is a storyboard artist working with various Los Angelesbased studios.

In the Beginning submitted by Choom Lam Vancouver, B.C. Canada www.choomus.blogspot. com/ Hungry bunnies with fangs - they’re the best kind. Who would have thought that these wacky wabbits devoured their way through creation? Those are some serious big bang bunnies. Choom is a runaway graphic designer turned animator who escaped the world of corporate design to seek sanity in animation. Born in Singapore, she moved to Australia where she eventually received a Bachelor of Arts in Multimedia Design from Curtin University. After a three year stint in design, branding and advertising she decided that there were more important things in life than aligning ascenders... like drawing cartoons about bunnies and cows.

Animals In Love/Binge and Purge submitted by Ben Meinhardt Vancouver, B.C. Canada www.crazydeathmonkey. com So these bunnies might look real tame and relaxed and happy-go-lucky... until they transform into blood-thirsty flesh-eating bunny-typebears that destroy humanity. Ben Meinhardt is drawn to making films about cute, yet angry things. He usually cant help but throw in a dash of social commentary in his films as well, but really he just likes making things move around... especially with music. You can see more of his work at www.crazydeathmonkey. com

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myself over-stimulated when Ioftenafindrush around, trying to soakMyI take vacation to another country. wife and I it all in, snapping up unique trinkets and struggling to frame the perfect photo. We’ve all shared this experience - wading wide-eyed through new culture, food and art, buzzing from the excitement of discovery. But then it all comes full circle when we see the common threads. Our origin stories, our hope for the future, our appreciation of a good laugh - it’s essentially the same wherever we go. Milton Berle once said “laughter is an instant vacation,” and I get that same feeling when giggling down the streets of Toon Town, South Park, or when I’m “Spirited Away” to the “Ice Age.” We are thrilled by talking toys, horrible villains and most importantly hysterical, vibrant characters. But we feel most deeply for animation when those journeys arrive at a familiar destination - a resonating story about us, the human race.

But animation ads another ingredient to these stories - magic. It’s cliched by now, but this concept of animated magic is more true now than ever before. Technology has risen to the challenge our minds couldn’t have imagined 100 years ago, and with 3D technology set to go mainstream again, we’re likely standing on the doorstep of another golden age of animation. And if you’re like me, you’re planning to stay on that vacation for the rest of your life.

Aaron Simpson is the Founder of Cold Hard Flash (, a popular news and entertainment site focusing on the rapidly expanding universe of Flash animation. Simpson is also an Emmy-nominated animation producer who operates a small consulting company that caters to clients like Six Point Harness, Animax Entertainment, Sony Pictures TV Animation and Nickelodeon.

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eah, yeah, we know. We could’ve incorporated the Kiwi Award (your favorite film from New Zealand) into the Best Foreign Film category. But it turns out, during the past year, we received a disproportionately high number of terrific films from the Middle Earth. Why is that? Beats us. Maybe it has something to do with all that pav and Anzac biscuits.


Dominate Wax submitted by Flux Animation Studio Auckland, New Zealand This racy sketch doesn’t ride the line of decency. It leaps over it and gives it a good lay. Regardless, it’s beautifully animated and worth a view—if you’re OK with animated pee-pees and boobies and... well we could go on but we’re blushing. Flux Animation Studio is an award-winning character animation specialist that can take a project from concept to completion. The New Zealand-based company has earned a respected local and international profile overt ten years of production, and today Flux’s owners and staff look back on its humble beginnings with a sense of pride and affection.

Sparkle Friends in “Rock ‘em Sock ‘em” submitted by Mukpuddy Animation, Ltd. Auckland, New Zealand The Sparkle Friends duke it out in our favorite way: robot-style. All of this for control of the TV remote, but hey, that’s what Rock ‘em Sock ‘em Sparkle Friends do! It’s a rip-roaring down and dirty fight. Mukpuddy Animation is committed to creating international-quality animation, illustration and design. They are passionate about the arts of story-telling and animation, and strive for excellence in all of their projects. The heart of Mukpuddy is a group of talented artists who wish to create unique worlds filled with memorable characters and tell their amazing stories.

FOT Champion of the World submitted by Alex Dron Auckland, New Zealand www.Megadron.Blogspot. com and There’s one in every class. The kid that wants to play on the good team so bad that it hurts. This poor little fella really thinks he’s quite the buff babe magnet. Unfortunately for him, he’s just not cut out for the athletics. Plus, his head is so big it needs it’s own ZIP code. Alex Dron is a director at Yukfoo animation in Auckland New Zealand. After seven years in the industry he is building up his commercial directing portfolio with a selection of character driven niceties. FOT-Champion of the World is his debut short film completed single-handed on a budget of donuts and beer. A second FOT is already in the pipeline featuring the comedic stylings of Rhys Darby (Flight of the Chocords).

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in a cartoon. They have become the last refuge for

We need cartoons because anything can happen


—Adam Bernstein works in the entertainment industry

Avi Tuchman

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George Pfromm

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Alan Kaufman:
One of my earliest childhood memories
In those pre-cable, pre-color TV days, televisions were also pieces of furniture. This one also had a HiFi and liquor cabinet. I was about two, left in front of the set for hours with a slice of American cheese while my mother tended to my infant brother. Bugs Bunny is in the jungle and happens upon the classic big black kettle of water hanging over a campfire. He thinks it’s a bathtub and very gingerly climbs in, first dipping a toe, then slowly easing himself into the hot water. Naturally, he doesn’t realize the lurking tribesman have their minds set on rabbit stew. That night my very distracted mother drew me a scalding bath, and I repeated Bugs Bunny’s hot water theatrics, even biting into the soap pretending it was a carrot… and did so every night thereafter until I was old enough to use the shower (minus the soap eating). Cartoons leave indelible marks on us in the craziest, most fantastic ways. I’d like to claim those same Bugs Bunny episodes gave me a healthy cynicism about the world, but it’s 100% certain it changed bath time.

is of a Bugs Bunny cartoon I watched in my parents cramped apartment.

Alan Kaufman is production super- visor and producer at Next New Networks. He’s one of a handful of staffers who remember the Apollo moon missions. His wife and 2 children wish he’d grow up.

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Jπh Weisbrod
Back when I was in high school, every night before I went to bed, I would pray fervently that when I woke up, everything would be a cartoon. You see, there was this hard line of distinction between the fictional world of ink and paint and my reality, and this was a real inconvenience for me. Can you blame me? Here was a world where little guys were super-strong, mice were often more people than rodents, and all the best features of a woman’s body were grossly exaggerated. Is too much of a good thing still good? Yeah, it is. Alvin and the Chipmunks had the childhood that even now I can only wish I had. They were animals, children, and rock stars all rolled into one, being raised by a single father in suburbia, with a female counterpart for each of them. The fact that they ignored any possible romantic entanglement with the Chipettes and instead opted to date the human girls in their class is what I would call icing on the cake: a perfect example of a trio of rock stars just living the rock lifestyle. Which is all I ever wanted as a kid. I didn’t have it, but it was right there taunting me on the other side of a piece of glass. It was a colorful world where every problem could be solved in anywhere from six minutes to an hour (in the rare and special case that there should be a twoparter). I didn’t know who Ruby Spears or Hanna or Barbera or the Warner Bros. were, but obviously their business was in making dreams come true. And dammit, mine are going to come true, too. I’ve seen Donatello create an interdimensional warp on at least two separate, non-consecutive occasions, and I could’ve sworn the science behind it was undeniable, but here I am, years later, still trying to recreate that technology. You’d think there would be some way to get to the inside of a TV where everything is a cartoon. Until I figure it out, though, I guess my best bet is to just keep watching them, living by them, and thinking about them all the time. All the time.

Josh is a graduating senior at Pratt Institute. Right now he really likes the Beatles and dragons, and someday hopes to be alone in a desert.

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Dagan Moriarty

Ace & Aqua
submitted by Stephen Levinson New York, NY Citizen Kane was released on the first day of May 1941. Orson Welles was twentyfive years old. Charles Dickens began serializing his first novel, The Pickwick Papers, at the age of twenty-four.

The Beach Boys’ Pet Sounds hit record stores when Brian Wilson was still 23. Channel Frederator featured “Ace & Aqua” in the summer of 2007. Creator/ writer/director/producer was all of 16 years old. Suffern High School student Stephen M. Levinson, we at Channel Frederator salute you, the winner of this year’s Youngest Filmmaker Award. The night is yours, buddy, celebrate all you want. Just be in by 11:00 p.m.

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Stephen Levinson

Manny Mederos

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J. J. Sedelmaier
could pull a Dayton Allen and say, “Why not ?!” (look him up), but that’s not what I think you’re looking for. Addressing the question from the standpoint of participating in the process, I’d say, “Because there’s nothing I enjoy participating in more than the development and production of an animated project !” We don’t find ourselves doing a lot of long form/series work, so each and every project is different in terms of content and design. We DO find ourselves working with some outrageous talent – artists, cartoonists, designers, illustrators (someone please tell me the difference between all these), actors, sound designers. . . when you’re lucky enough to get all these ingredients together and make some tasty soup, you feel blessed ! On top of all this, people seem to like our work ! This ends up being very important because it leads to MORE good work and lifts the comfort level high enough so that people leave you to do your thing ! In terms of ,“Why Animation?” in more general terms – because you can do ANYthing with the craft ! Between its employ as a storytelling technique, and the scope of its graphic variety potential, you can’t match it ! Whether your watching a “Lord of the Rings” or a film by Don Hertzfeld, you’re watching animation. You have complete control of the alternate reality you’re creating – if you can imagine it, you can do it ! people also come in tow with a built-in soft-spot for cartoons. Don’t get me wrong, if the piece sucks nothing can save it, but whether you’re charming the viewer with what might be considered a conventional approach, or throwing a wrench at convention and parodying the genre, I DO think people like cartoons ! So, it looks like I just wasted a couple paragraphs when I could have just said, “Why not ?” after all. . . . J.J. Sedelmaier is director of J.J. Sedelmaier Productions, Inc., an animation production and design studio boasting nearly 20 years of experience producing everything from commercials, to shorts, to entire animated series as well as print and branding. J.J., himself, is known in the industry as an all-around expert on the history of film and cartoons, animation, print art and illustration.

A Great Big Giant Robot From Outer Space Ate My Homework
Submitted by Mark Shirra If you’d ask the folks here at Channel Frederator what we wanted more than anything when we were kids, the answer, of course, would be a time machine. Up next on the list would be X-ray vision, followed by Capcom’s first Street Fighter game, an Evel Knievel Super Jet Cycle (with figure), and a personal big, giant robot.* However… … if that personal big, giant robot would’ve done our bidding, like, for instance, eradicating those teachers who got all up in our business when our homework wasn’t quite finished, then we’d probably move said big, giant robot to the top of the list of what we really, really could’ve used. That’s why Mark Shirra’s A Big Giant Robot Ate My Homework wins our choice for this year’s Joe Robot Award, because if zapping your teachers into oblivion isn’t the best use of a robot we’ve seen in 2007, we don’t know what is. (*Truth is, we still pretty much want all these things.)

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Pendleton Ward
generalize are to everyone. Ican’t knowRen AndIwhy cartoonsguy, importantblew my I just when was a little cartoons brains out. Stimpy smashin’ their butts around and peein’ on electric fences. Beavis and Butthead talking to their poop. The Tick and The Simpsons. All that silly weird stuff blasted my imagination to reach farther. Cartoons taught me to be silly, to see the humor in all things which in turn gave me a happy heart. I make cartoons now so new kids growin’ up can be little idiots, just like I was, and eventually they can be sitting at Denny’s and say “remember that cartoon that was stupid?” “oh yes’” said the other kid, and they ate their Texas sized egg scramblers into the sunset. The End Pendleton Ward is an animator living in Los Angeles.

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Joel Trussell
a pretty broad question. I It’scouldways, but to condenseguessoverall it be dissected in many philosophical my thoughts I’d say, “I’ve always liked cartoons. Cartoons are fun. I like fun.” 7. Drawing cartoons of ET and Michael Jackson in exchange for lunch money from friends. 8. Using said money to buy Archie Comics and ogle Betty and Veronica. 9. Drawing naked Betty and Veronica cartoons and hiding them in my closet from my parents. Some experiences as a teenager... 1. Drawing more in the margins of my notebook than writing Algebra II notes. 2. Failing Algebra II. 3. Watching animated music videos like “Take On Me” and “Money For Nothing” and discovering cartoons aren’t just for kids. 4. Seeing Akira and finding out animation/cartoons can be WAY more than just for kids. 5. Seeing Ren and Stimpy and finding out cartoons can be both for kids and adults at the same time. A few experiences as a young adult... 1. Being convinced by college counselors to change my career aspirations over to graphic design since that’s where the money was. If I probe a bit further into the question of “Why cartoons?” though, there are a few personal experiences from the past that helped form my opinion. Some specific influential experiences I had as a child: 1. Waking up every Saturday morning for cartoons while my mom made pancakes that spelled out my name. 2. Once waking too early for cartoons and finding only static on the TV (these were pre-cable days, kids). 3. After finding static, bursting into tears and waking my parents to tell them the TV was broke. 4. Drawing cartoons on church bulletins during service to pass sermon time with friends. 5. Having “too much fun” in church and being separated from drawing friends during sermons. 6. Sketching mustaches and glasses on church staff pictures in retaliation for the punishment.

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2. Failing graphic design. 3. Convincing professors to accept short films for drawing assignments in my fine art classes. Although now drawing is my livelihood, I still instinctively doodle cartoons sometimes to amuse myself alone. It’s even more rewarding, however, when I draw something that entertains me, and even entertains others once I’m finished as well. Cartoons aren’t for everyone I guess, but for me “Why cartoons?” has never been something I stopped to ask myself. It’s just what I do. I could probably make a better attempt at psychoanalyzing my opinion

but I’m no psychiatrist or philosopher. I’m a cartoonist, and for me... cartoons are still fun. Joel Trussell is an award-winning freelance animator/illustrator/director who’s list of clients includes Yo Gabba Gabba!, Disney, Nicktoons and Twentieth Century Fox. He has directed music videos for bands such as Morcheeba, M. Ward and Coldcut, as well as commercials for Esurance and Nicorette. With a deep affection for the old school, Joel keeps his finger firmly on the pulse of the new school aesthetic. He currently lives via the internet at

Daisy Edwards

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Dan Meth, Man of Mystery. Man of Enormous Talent. By Herb Scannell The mystery: I first met or rather saw Dan two summers ago in my partner and friend Fred Seibert’s office. Dan was mysterious because he didn’t say much. He was always there working. I thought he might be one of the tech guys Fred was surrounding himself with as Fred transformed from a TV guy to an Internet disciple. But Dan wasn’t one of those guys. He didn’t look tech. He looked like a rock star – mutton chop sideburns, black hair parted on the side hanging over one eye. And then one day the mystery ended. I walked into Fred’s office and everyone was crowded around Dan’s computer. They were watching “Hebrew Crunk” a hilarious video Dan made for a local Jewish organization, that matched a or rather mismatched Lil John – like Crunk music to the Jewish high holidays. It was inspired. I thought what kind of mind conceived something so odd…and so funny. The talent: So from that point on every time I stopped by Fred’s office I’d ask Dan to show me what was on his computer. Lucky for us at Next New Networks, Fred was two steps ahead of me in recognizing Dan’s talents and commissioned Dan to make The Meth Minute 39 that has rolled

out weekly on our own Channel Frederator. So I saw “Internet People”, “Syd Barrett Meets His Accountant”, “Dylan Meets The Beatles”, “Nite Fite”, “Sex Machine”, and many more before the rest of the world saw them on the Internet. And, oh yeah, every time we had a visitor to Next New I’d take them by Dan’s desk and, universally, whether it was luminaries like Michael Eisner, stars like Little Steven, or just my best friend from high school, they had the same reaction -- they laughed out loud. I’ve worked with some great animators, folks who have it all in their heads – the characters, the voices, the soundtracks, the drawings – and when they put them on paper and then onto film/video they make magic and awe you with their talents. People like Steve Hillenburg (Spongebob), Gabor Csupo (Rugrats), and Butch Hartman (Fairly OddParents). I’d add Dan Meth’s name to that list of special talents. He’s that good! Herb Scannell is CEO and co-founder of Next New Networks. Prior to Next New Networks Mr. Scannell was Vice Chairman of MTV Networks/ President of Nickelodeon Networks and he has also held various marketing and promotional positions in pay TV at The Movie Channel and Showtime.

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Dan Meth

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ack when Jesse Schmal’s epic Rhode Island School of Design film, “Sub!” picked up Channel Frederator Cartoon of the Month honors, we asked the filmmaker about the genesis of the piece: “The idea was made from lifting several characters and props from the sketchbooks I made during a year in Rome for school. I’m very insecure and inexperienced when it comes to writing anything resembling a script, so I basically took the characters I thought I’d have the most fun drawing and put them all in one place. The submarine being little and coming out of the fountain....hmm....I think I had a submarine drawing that turned into a moth or something. Moths are small, right? Right. I know, weird. But then the mini-submarine became this link between all the characters, and I figured out what each

character would do with the submarine to get themselves out of the jam they start off in (dog won’t eat, no whistle to start the soccer match, woman won’t accept the dude’s advance, etc.) It was kind of like assembling a puzzle. It was pretty much my first foray into storyboarding, and since that’s what I do for a living now, I guess I get a kick out of it and prefer to figure out sequences of events that way, over writing them down.” Those of us here at Channel Frederator, in hearty agreement, are pleased to award “Sub!” and Jesse Schmal with this year’s Producers’ Choice prize. It’s totally got the goods – the short’s weird, funny, and sad, and then weird again. The design is awesome and, of course, you can never go wrong with a boisterous sailors’ tune. Thanks for such a cool cartoon, Jesse.

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Nina Paley
WHY CARTOONS? Because less information = more meaning Animation takes advantage of quirks of human perception. Good cartoons lie somewhere between nature (no abstraction) and text (full abstraction). At its best, animation does what live action can’t. Good animation is unrealistic. This starts with the style itself: drawings and designs of things that can’t exist in the real world. Exaggerated heads and hands, huge or tiny eyes, rubber-hose limbs, cubism. A handmade line drawing of a robot requires our uniquely human imaginations to understand it as “a robot,” but we may recognize it more quickly than a photograph of a real robot. Exhibit A: cartoon drawing of a robot. Animated motion should also defy reality. For example, bouncy walks that no robot (or human) could replicate, even though we can recognize them as “walks.” Good cartoons stimulate and exercise our imaginations in ways live action never can. Like reading or working out, viewing cartoons can be exhausting. But far less time is needed to communicate more meaning. That’s why cartoons are so effective as shorts (and commercials). Live action conveys too much information. “High production values” are the art of removing as much information from nature as possible. Wrinkles and blemishes on actors’ faces are concealed with makeup; stray threads and hairs are tucked away by stylists; wires and microphones hidden through camouflage, meticulous set design and framing; unwanted details lost in shadows via careful lighting, which heightens only those few areas and outlines intended to convey meaning. But still, excessive information abounds in live action. Cartoons start with only the information needed. There’s nothing extraneous to hide. If you mean “eyes,” you show a symbolic short-hand representation of “eyes,” nothing more. No gunk in the corner of the eyes, no moles on the eyelids, no eyebrow dandruff - unless you explicitly intend to convey these details as well. The picture is as clear as the idea in the mind of the artist, and that clarity of meaning is

Exhibit B: photograph of a real robot

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transferred to the viewer. Exhibit C: real eye, belonging to the author. Notice bloodshot veins indicating stress, wrinkles indicating wisdom and maturity, shiny skin surface indicating absence of makeup, and other excess information.

Exhibit D: cartoon eye, or possibly cartoon captain’s wheel.

of cinema. Most moviegoers just want to watch beautiful people. Bonus if the beautiful people are celebrities; extra bonus if the beautiful people are performing sex or violence onscreen. Animation can deliver meaning, story, ideas - but it doesn’t satisfy the sexual voyeur that drives most cinephiles. In live action, a camera can linger for minutes on a beautiful actress’ face, as the audience attends to all that information: every eye-blink, every change in pupil dilation, the subtlest nostril flare, the slightest movement of any of the hundreds of facial muscles lurking below the makeup. In live action, such a scene is watchable. How could such a serious and pensive scene be conveyed in animation? It would either be painfully dull (a long still) or ridiculous (imagine a Bill Plympton interpretation where every nuance is exaggerated: small nostril flare becomes huge, facial muscle twitch becomes twitchy animal running around under skin) and, like all animation, exhausting. Live action satisfies our voyeurism, animation ridicules it. Since I can’t take voyeurism seriously, I go for ridicule.

(Also, producing animation totally trumps live action: No uppity actors. No obnoxious crew. No permits. No tedious laws of physics. If you can imagine it, you can animate it; no extra charge.) But animation remains the bastard child

Nina Paley retired from newspaper comics to pursue independent animation in 1998. Her first feature, “Sita Sings the Blues,” is currently making its way through film festivals (the kind oriented towards live-action voyeurs) and animation festivals around the world. , www.

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David B. Levy


ost of us working in this industry know how lucky we are. An animation artist’s life is enriched by their work. This does not mean to suggest that animators are work-a-holics (although some clearly are). Why cartoons? Oscar-nominated animation filmmaker Michael Sporn explained it best in a bonus feature on the DVD for his award-winning films White Wash and Champagne: “Animation has the potential to be the greatest of all the arts. It combines drawing, painting, music, acting, photography, and computer art. Anything you can think of can be combined by the animator to be used at his or her disposal.” The word “cartoons” conjures up a medium for children despite all the art and craft inherent in bringing to life any cartoon. I first encountered the bias against cartoons as a serious pursuit in a conversation with my high school guidance counselor. When I informed him of my decision to become an animator he asked, “What’s that?” I replied, “You know, cartoons? Walt Disney? Bugs Bunny?” “That’s kid stuff,” he said, dismissively. I snapped back, “It’s for kids, but adults make it.”

Then he informed me that I needed a real career, one that I could count on. He suggested becoming a plumber or an electrician. All these years later I think I finally understand his attitude. Cartoons are often loud, silly, and meant for children. Animation is a far broader term. I wouldn’t say that I work in cartoons. I would say I work in animation, sometimes on projects aimed at preschoolers, other times on projects geared to stoned college kids. My guidance counselor was right about one thing. Animation is not an industry one can count on and many find it very difficult to break in to a first job let alone to build a career. An animation artist’s life, even after becoming established in a career, is often one of instability. Jobs are short term and sometimes few and far between. There’s usually no health insurance and often the animation artist does not work at any one job long enough to qualify for unemployment insurance. Such conditions naturally weed out those who are not fully committed to a life spent in this art form. Acclaimed independent animator Patrick Smith recently spoke to my School of Visual Arts class, telling the students that he used to wake up at 6 AM and work on his

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Daisy Edwards

own film until 9 AM and then go to work at MTV for a full day. He carried on this way for years until his first film, Drink, was complete. In this way Pat Smith showed his personal commitment to achieving something no matter what the industry might throw his way. Each of us has the potential to make our own luck, to pave the road for our own opportunities, and to make a very happy life for ourselves in animation or cartoons.

David B. Levy is an award-winning independent filmmaker and animation director for Nickelodeon’s Blues Clues, the Noggin Channel’s Pinky Dinky Doo, and Cartoon Network’s Assy McGee. He’s also the author of the best-selling book, Your Career in Animation: How to Survive and Thrive (Allworth Press). Levy is currently finishing a second book, this time on the ins-andouts of animation pitching and development. He lives in Brooklyn, New York.

Brothers McLeod

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he CFA staff really debated and thought long and hard about our essay topic this year, and actually, “Why Cartoons?” one of the first ideas to come up. We quickly turned away from it, declaring it too vague. After about one million other ideas later, we circled back to “Why Cartoons?” and took another view on it. We thought about the wide variety of answers and thoughts we would get on this topic and finally decided that “Why Cartoons?” really was the best. Unfortunately, when I sat down to write this essay, I was really stumped. I mean, I love cartoons. I wouldn’t work in any other industry. But why cartoons? My passion for cartoons didn’t necessarily start in front of the Saturday Morning TV shows. I mean, come on. I was a kid in the ‘80s, so there wasn’t a lot to go on. Then, many years later, along came this little show called The Powerpuff Girls. Those ruff & tuff girls were so cool. Then, I was hooked on Dexter’s Laboratory, then it was Samurai Jack. All of these shows hit while I was in college and truly inspired me. Somehow, God knows how, I ended up here at Frederator Studios. It was at Frederator I realized it wasn’t cartoons I

loved. I mean, cartoons are great, but what I really love are cartoonists. Cartoons are great because great people work on them. Beyond being some of the most creative and amazing artists I’ve met, cartoonists are just such wonderful people. I’ve never met one who isn’t goofy in some way or another. They don’t take life too seriously, they’re always laughing, and their brains just plain work differently than other humans’. In addition, when you’re talking about cartoons, you’re not usually talking about one cartoonist. You’re talking about an entire TEAM of these goofballs. Layout artists, storyboard artists, background painters, character designers, animators, and more all have a hand in the finished product you watch on TV. The final cartoon is a beautiful combination of these personalities and talents. These are the people who make it worth while for me to come to work every day. If I were producing a documentary, or a live action show, I just don’t know that I’d really love what I do. I truly love working with cartoonists, and that is “Why Cartoons”. Carrie Miller works with cartoonists.

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Jim Manocchio

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Amid Amidi
Why Cartoons? Tex Avery. Chuck Jones. Bob Clampett. John Hubley. Bobe Cannon. Frank Tashlin. Friz Freleng. Bob McKimson. Emile Cohl. Winsor McCay. Ward Kimball. Jack Kinney. Hugh Harman. Rudolf Ising. Max Fleischer. Lotte Reiniger. Bill Hanna. Joe Barbera. Willis O’Brien. Otto Messmer. Walt Disney. Ray Harryhausen. Ub Iwerks.
Why Cartoons? Karel Zeman. Bretislav Pojar. Jiri Trnka. George Pal. Walerian Borowczyk. Osamu Tezuka. Bob Godfrey. George Dunning. Alexandre Alexeieff. Claire Parker. Stan Brakhage. John Whitney. Jan Lenica. Witold Giersz. Terry Gilliam. Vladimir Kristl. Lou Bunin. Dusan Vukotic. Boris Kolar. Fyodor Khitruk. Peter Sachs. Richard Williams. Yoji Kuri. Stan VanDerBeek. Ralph Bakshi. Gene Deitch. Len Glasser. Luzzati & Gianini. Norman McLaren. John Korty. Kihachiro Kawamoto. Ladislas Starewicz. Ryan Larkin. Ernest Pintoff. Fred Crippen. Jan Svankmajer. Len Lye. Hy Hirsh. Frederick Back. Oskar Fischinger. Jay Ward. Peter Foldes.

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Why Cartoons? Bruce Bickford. Brad Bird. Trey Parker. Matt Stone. John Lasseter. Smith & Foulkes. Marv Newland. Michael Sporn. Yuri Norstein. Isao Takahata. William Kentridge. John Canemaker. Don Hertzfeldt. Koji Yamamura. Bill Plympton. PES. George Griffin. Joanna Quinn. Patrick Smith. JJ Villard. Nick Park. Raimund Krumme. Pritt Parn. Paul Fierlinger. Guilherme Marcondes. Peter Chung. Mike Judge. Koji Morimoto. Pete Docter. Caroline Leaf. Marcell Jankovics. Henry Selick. Richard Condie. Paul Vester. Bob Jaques. Sylvain Chomet. Phil Mulloy. Oscar Grillo. Hayao Miyazaki. Paul Driessen. Aaron Springer. Masaaki Yuasa. Tim Burton. John Kricfalusi. Andreas Hykade. Georges Schwizgebel. Jonas Odell. The Brothers Quay.
Why Cartoons? Bill Littlejohn. Rod Scribner. Irven Spence. Emery Hawkins. Bill Melendez. Pat Matthews. Tom Oreb. Dick Lundy. Frank Smith. Jimmy Murakami. Grim Natwick. Ken Harris. Ben Washam. Hawley Pratt. Paul Julian. Bob Givens. Pete Alvarado. Gene Hazelton. Bill Tytla. John Sibley. Hardie Gramatky. JP Miller. Jim Tyer. Lillian Friedman. Ty Wong. Pete Burness. John Gentilella. Don Morgan. Walt Peregoy. Ralph Hulett. Jim Bodrero. Art Babbitt. Jack Zander. Preston Blair. Jules Engel. Herb Klynn. Victor Haboush. Ray Aragon. Iwao Takamoto. Warren Foster. Mike Maltese. John Dunn. Abe Liss. Ted Parmelee. Maurice Noble. Ed Benedict. Eyvind Earle. Mary Blair. Ken Anderson. Bill Peet. Don DaGradi. Freddie Moore. Marc Davis. Milt Kahl. Frank Thomas. Ollie Johnston. Eric Larson. John Lounsbery. Bill Scott. Bill Hurtz. Art Heinemann. Gene Fleury. Bernyce Polifka. John McGrew. Phil Eastman. Bob Dranko. Phil DeGuard.

With artists like these working in the animation medium, the only question should be:

Why Anything Else?

Amid Amidi is an award-winning author and historian. He is the author of “Cartoon Modern: Style and Design in Fifties Animation” (Chronicle Books) and co-founder of the popular animation blog He lives in New York CIty.

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Justin “Denny” Furlong
hen I was asked to contribute an essay, I thought it would be easy; then I started thinking about it. Why cartoons? Why would anyone choose to work in this industry? Why did I? A long time ago, when I was just a child in awe of the animated films of my day, I just wanted to make X movie and Y profit. It sounded cool. As I grew, my priorities changed. All of a sudden, film was more than just entertainment, it was a platform from which I could change the world. Now that I’ve spent some time getting to know the industry, my outlook has changed again.


Why cartoons and animation? Of all things, I’ve found myself here. Why do I stay? The work is hard, the pay is relatively low, the time required is insane, why bother? When it comes to working for or with someone else, I’ve found that the greatest reward comes from those around me. The greatest people ever to grace my presence have all been animators and cartoonists, some were cartoons themselves. My encounters over the years are truly worth their weight in gold and I would not trade these friends I’ve made for the world. That is my wealth, merely a fondness for those about me. That is my incentive of trade, I need not any other reason to animate.

Working alone is an entirely different story. There’s no joke to keep me happy, no zany antics to make my day. The level of discipline required to complete a personal film is both frightening and admirable. Why, then, do I bother? As an artist, I am driven to create beautiful works. As a storyteller, I must entertain, but also leave my audience with some insight, some additional value to their lives. As a filmmaker, I am granted the ability to create events, experiences for the viewer that become memories. As a cartoonist, I can bring joy to the world. As an animator, I can bring entire worlds to life. Why cartoons? Why animate? Anything less would be irresponsible. Our gift is a shroud of anonymity. An ideal behind a name is mere opinion; through anonymity and the experience of film, we transcend personal boundaries and our ideals take flight into the collective conscious of man. That is why I animate, to show the world what words fail to say. An independent animator, writer and critic, Denny Furlong is currently working on a series of animated shorts entitled “[sic]” and the formation of “[sic] Animation”, a small studio of close friends and colleagues. Watch for the debut of “[sic]” this Fall on Channel Frederator.

Christina Natsuko Paulos

Tom Kyzivat

Eric Robles

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Why Cartoons? Ever since I could remember, I have always related cartoons with some form of emotional reality. Whatever the characters were feeling, the end result left me with a feeling of pure enjoyment. Animation is my world and cartoons are my life.

Why Cartoons? Ever since I could remember, I have always related cartoons with some form of emotional reality. Whatever the characters were feeling, the end result left me with a feeling of pure enjoyment. Animation is my world and cartoons are my life. Eric Robles started his career in animation in 1995, and has been living his childhood dream ever since. His imaginative style has been used for such major studios like DreamWorks Animation, Disney Animation, Cartoon Network, Nickelodeon, and countless others. He is currently working on his very own cartoon series for Nickelodeon Animation entitled “Fanboy and Chum Chum”.

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Saxton Moore

Tom Kyzivat

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Dan Meth
hy Cartoons? What a strange question. I think what we should be asking ourselves is, “Why anything BUT cartoons?” What other human achievement is more pure, powerful, and vital to the well-being of mankind than cartoons? Nothing. Have you ever LAUGHED from science, engineering, architecture, or politics? No.


ish fun sacrificed to omnipresent deadlines. And all to save the world. Cartoons have stopped wars (can’t think of which particular war at this moment). Never do they cause violence or unrest (except for Danish cartoonists). They are mystics, saintly artisans placed by cosmic destiny to eliminate pain and suffering from a cold galaxy of uncaring animalistic savagery. Cartoonists deserve the entire world’s utmost respect and a comprehensive dental plan. This will probably never happen... but at least they have the Freddy awards; a night in which cartoonists can honor each other. Dan Meth is a New York-based animator who’s been working with Frederator since 2006. He’s just completed his weekly series “The Meth Minute 39” and is currently writing, performing, and directing a spinoff series called “Nite Fite.”

The cartoonist should be hailed as a SAINT. No other vocation is as selfless and important (ok...maybe doctors, firemen, teachers, etc. but whatever). As the saying goes, “If you’ve made one person laugh you’ve saved the whole world.” I think Ghandi said that... or maybe the guy who created Dennis the Menace. Cartoonists save the world and ask nothing in return. They are like modernday MARTYRS; aching backs bent over drafting tables and Wacom tablets, eyes blinded by Mac screens, evenings of self-

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9 Floyd Bishop 17 Alexander Gellner 21 Jim Mortensen 24 Jeaux Janovsky 27 Lee Rubenstein 28 Ben Ross 32 Joanna Davidovich 37 Joey Ahlbum 39 Elliot Cowan 43, 86, 90 Tom Kyzivat 47 Erik Knutsen 51 Mukpuddy 55 Avi Tuchman 56 George Pfromm 59 Dagan Moriarty 61 Stephen Levinson 62 Manny Mederos 66 Pen Ward 71 Dan Meth 69, 77 Daisy Edwards 78 Brothers McLeod 80 Jim Manocchio 85 Christina Natsuko Paulos 88 Saxton Moore 92 Eric Robles

Art Credits

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Eric Robles