LOS ANGELES, April 29 — Disney Animation is giving some of its most iconic songs a new voice — one spoken through hands, faces and movement — reimagining classic numbers in American Sign Language to mark National Deaf History Month.

Songs We Don’t Talk About Bruno from Encanto, Beyond from Moana 2 and The Next Right Thing from Frozen 2 were recreated using Deaf West Theatre performers as models for the animation.

The performances are bundled with behind-the-scenes footage in Songs in Sign Language, which premiered Monday on Disney+.

DJ Kurs, artistic director of Deaf West Theatre, said the project challenges the common misconception that deaf people and music don’t mix.

“That’s actually not true — quite the opposite,” he signed during an interview with Reuters, noting that deaf and hearing-impaired artists have long signed and performed music, and that modern captions, assistive technology and high-powered headphones have made music more accessible than ever.

Hyrum Osmond, who also worked on Disney films Zootopia and Raya and the Last Dragon, said that this project was deeply personal for him.

Osmond’s father is deaf, and he said not learning ASL growing up created a barrier he wanted to address.

“This came about as a way to connect and bring down barriers, especially between Disney Animation and the deaf community,” he said.

The production presented unique challenges.

We Don’t Talk About Bruno features multiple characters signing overlapping parts, while The Next Right Thing required the character Anna to sign while climbing a mountain.

Kurs emphasised that ASL relies on facial expressions and full-body movement, details the animators carefully incorporated — from raised eyebrows to subtle shifts in posture.

The Deaf West Theatre artistic director added that each song went through an intensive process of translation, rehearsal and filming, with performers’ movements captured from multiple angles and refined shot by shot.

Osmond praised the collaboration, calling the final result “art.” “It’s less about signing individual words and more about conveying emotion,” he said.

The project took four years to develop, with animation completed in six months.

Osmond said the lessons learned could open new creative possibilities.

“Just working through this sparked ideas and solutions,” he said.

“I think it’s going to lead to things we haven’t even imagined yet.” — Reuters

 

The Annecy International Animation Film Festival has unveiled a stacked Special Events program led by Brad Bird’s “Ray Gunn,” Pixar’s “Gatto,” Ricky Gervais’ “Alley Cats” and a “Rick & Morty” spin-off. In a long-awaited return to Annecy of two-time Academy Award winner Brad Bird, he will walk an audience through upcoming feature “Ray Gunn” during […]

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When Make Mine Music opened in 1946, The New York Post called it “…a veritable vaudeville show, a three-ring circus, and grand opera thrown together into one technical masterpiece.”

It may be the best description for this film made during a difficult time for Walt Disney and his Studio. Between an animators’ strike, and America’s involvement in World War II, production at the Studio had been a challenge during most of the 1940s.

Walt kept animation production going during this period by producing lower-budgeted, easy-to-execute films, known as “package films,” which didn’t have a traditional plot but instead were a series of short subjects strung together during a feature-length running time.

One of these was Make Mine Music, with a common theme among the segments being that each was set to a particular piece of music. As each is so vastly different, the Post’s description of the film is appropriate.

The film plays with the Fantasia formula, opening like a concert complete with a program that reads: “Make Mine Music: A Musical Fantasy.”

From here, the film segues to the first section of the film, “The Martins and the Coys” (billed on the program as “A Rustic Ballad”), narrated by the singing group The King’s Men, as it tells the musical tale of two feuding mountain families.

After this, the Ken Darby Chorus performs the title song, “Blue Bayou.” The slow-paced music features accompanying visuals of a nighttime bayou as a bird takes flight, in a sequence that reuses animation intended for a sequel to 1940’s Fantasia, originally intended to accompany the musical composition “Clair de lune.”

Next up is Benny Goodman and his Orchestra with “All the Cats Join in.” Two “hepcat bobbysoxer” teens of the decade dance to the upbeat music as they get ready for a date, with animation introduced by a pencil that draws images that come to life.

Singer Andy Russell performs the next segment, “Without You,” a ballad, with sad, surreal images that transition into views of lonely woods and nighttime stars.

The following segment is one of the film’s most famous, “Casey at the Bat,” narrated as a “Musical Recital” by comedian Jerry Colonna, in his over-the-top style, as a re-telling of the “baseball poem” by author Ernest Thayer about the Mudville team and their star player. This segment was released later in 1946 as a stand-alone short subject and even spawned a sequel with Casey Bats Again, in 1954.

Singer Dinah Shore sings “Two Silhouettes,” the next segment, a “Ballade Ballet” featuring two ballet dancers in rotoscoped silhouette animation, performing in front of a stylized backdrop and assisted by two cherubic figures.

Next is arguably the most popular segment, “Peter and the Wolf,” narrated by the familiar, comforting voice of Disney stalwart Sterling Holloway, from the famous musical composition by conductor Sergei Prokofiev. This segment (sans narration) was also created to be an additional component to Disney’s Fantasia.

Set in Russia, the segment tells the tale of young Peter and his friends Sascha, a bird, Sonia the duck, and Ivan the cat, who venture off into the woods to hunt a wolf. A different musical instrument represents each character, with a distinct theme.

“Peter and the Wolf” was such a substantial segment that it has been shown on its own several times and even released as a record album (paired with “The Sorcerer’s Apprentice” on the flip side).

“Peter and the Wolf” is followed by another Benny Goodman number, “Since You’ve Been Gone,” which provides the backdrop for a march of anthropomorphized musical instruments.

The Andrews Sisters then perform the musical narration for “Johnny Fedora and Alice Blue Bonnet,” a sweet story of two hats who fall in love after meeting in a department store window.

The concluding segment is baritone singer Nelson Eddy and the story of “The Whale Who Wanted to Sing at the Met,” about a whale named Willie with incredible operatic talents and dreams. He is hunted by a music conductor who believes that the whale has swallowed an opera singer.

Although it contains a sad ending, this segment includes beautiful, lush animation, particularly where Willie sings as Pagliacci the Clown, and full opportunity is taken for sight gags involving the size and scale of Willie.

Directed by Jack Kinney, Clyde Geronimi, Hamilton Luske, Joshua Meador, and Robert Cormack, Make Mine Music features animation by Disney Legends Ward Kimball, Ollie Johnston, and Eric Larson, among others.

The artists balance the different styles. There’s the entertaining, overly caricatured design of “Casey,” with the main character’s jut-jaw, and a player who touches the base with his giant handlebar mustache. This is offset by scenes with such images in “Without You,” which play out like rain cascading down a window.

Make Mine Music has been shown on The Disney Channel and released on home video in 2000 (with “The Martins and the Coys” removed due to violence and gunplay concerns), and on Blu-ray in 2021, but as of this writing, the film is still not available on Disney+ (although it is available on Amazon Prime).

Make Mine Music had its premiere in New York City on April 20, 1946, and went into general release on August 15. As the film now celebrates 80 years, it’s the perfect time to revisit this “vaudeville show, three-ring circus, and grand opera” from a unique era in Disney history.

For more about the music of Make Mine Music, check out Greg Ehrbar’s 2016 article.

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When James and the Giant Peach came out, Henry Selick was already an animation veteran. Not only had he directed Tim Burton’s The Nightmare Before Christmas, which was released just three years prior, but he had been working in the industry since the late 70s. Selick had been part of Disney’s staff, animating on films such as The Fox and the Hound, but it was stop-motion animation that he eventually fell in love with.

Selick’s dedication to stop-motion extended well beyond James and the Giant Peach. After the film, he went on to direct the live-action/animated Monkeybone in 2001, the Oscar-nominated Coraline in 2006, and 2022’s Wendell and Wild, continuing his journey in this unique animation style.

“It’s something I grew into. I always enjoyed the stop motion [Ray] Harryhausen films,” said Selick in a 1996 interview, reflecting on his career. “When I was a kid, I saw a lot of European puppet films, cut-out films. When I got into animation, I was going to art school already. So, I was experimenting with cut-out photos, and I even did these sorts of life-size figures that were hinged before I got into animation. I made new ones, animated them, and had them moving and talking. I went from 2D animation into 3D, and it’s sort of hard to go back.”

This dedication is evident in James and the Giant Peach, a film celebrating its 30th anniversary this spring, where Selick’s passion for the arduous and beautiful art of stop-motion truly shines.

When it was released on April 12, 1996, filmmakers were looking toward the ever-emerging technology of computer-generated imagery—Toy Story had just been released five months earlier. Despite this industry’s focus on computer graphics, Selick remained very comfortable in his stop-motion lane.

“Even in this day of super-impressive computer effects, which are only going to get more impressive over time, stop-motion still has this hold on my imagination,” said Selick in ‘96, adding, “I feel like I’m further and further out on a limb in the land of stop-motion, but the last thing I’m going to do is throw in the towel and try to compete, head-to-head, with everyone else in computers.”

Based on a book by author Roald Dahl, most famous for Charlie and the Chocolate Factory, the tale features the author’s trademark macabre story elements. “I come from this really strong visual background, so I was in love with the visual possibilities,” said Selick in 1996. “I really like the sort of flavor of Roald Dahl‘s books. There’s some pretty twisted, dark things set off against imaginative, heroic children.”

The film James and the Giant Peach opens in live-action, telling the story of young James Henry Trotter (Paul Terry), a lonely orphan living with his wicked aunts, Spiker and Sponge (Joanna Lumley and Miriam Margolyes, respectively).

A mysterious man (Pete Postlethwaite) gives James a bag of glowing green seeds, which he drops near an old peach tree outside his aunts’ house. The next day, a peach appears on the tree and keeps growing. The aunts begin charging the public admission to see it while forbidding James from going near the peach.

James sneaks away one night and enters a tunnel in the giant peach (the film then transitions to stop-motion animation). Once inside, James meets a group of large insects, who soon set the peach rolling out to sea, and he joins them on a magical journey to New York City, a place he has always dreamed of seeing.

The insect characters feature an impressive all-star voice cast. Susan Sarandon is Miss Spider, Richard Dreyfuss is the gruff Centipede, Simon Callow (Four Weddings and a Funeral) is Grasshopper, Jane Leeves (Daphne on TV’s Frasier) is Lady Bug, Margolyes as Mrs. Glowworm, and David Thewlis, is the voice of the Earthworm. “He did a remarkable job of this basic coward who’s blind and always imagines things being worse than they really are,” said the director of Thewlis, adding, “He did this amped-up performance, a quivering voice that really fueled the animation.”

There’s another character in James and the Giant Peach that audiences will immediately recognize. In one sequence, James and the insects run across an army of skeletal pirates. Look closely at the pirates, and you’ll notice a cameo that Lane Smith, the film’s character designer, snuck into the movie. “Lane kept putting in this tall, skinny guy against these other shapes,” remembered Selick in ‘96. “I finally said, ‘Well, he keeps looking like Jack Skellington, let’s just put him in the movie.”

Jack Skellington’s tale of The Nightmare Before Christmas is a film that, although not a success during its initial run, has generated a following that few films have. Sadly, this was originally not the case with James and the Giant Peach.

Despite not achieving box-office success initially, the film has since gained a following, helped by home video and its availability on Disney+.

Thirty years later, what audiences appreciate about James and the Giant Peach is reflected in the original review of The New York Times’ film critic Janet Maslin, who wrote: “Together, this prodigiously clever group has come up with expert animated effects and some boldly beautiful sights unlike anything else on screen…”

“Wind carries away destinies,” reads the brief synopsis for a short film titled “Jour de Vent,” or “Windy Day.” The sweeping animation was created in 2024 by a team of six graduates—Martin Chailloux, Ai Kim Crespin, Élise Golfouse, Chloé Lab, Hugo Taillez, Camille Truding—from École des Nouvelle Images school in Avignon, France.

A cast of characters—including a businessman, a picnicking family, a young couple, a cyclist, an old man and his dog, and a guitarist—spend a seemingly average day at the park. When a powerful gust of wind blows everyone’s day out of proportion, themes of change, acceptance, and connection emerge.

Much like the film’s surrender to the flow of life, the team embraced natural evolvement through the production process itself. “Interestingly enough, the story kept changing until the last day,” the graduates share in an interview with Animation Magazine. “The final shot was decided only three days before the end.”

“Jour de Vent” has won a multitude of awards, including Jury’s Choice Award at the 2025 SIGGRAPH Festival and Best International Short Film at Quickdraw Animation Society, among many more. Watch it now on Vimeo.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article A Strong Gust of Wind Disrupts the Mundane in ‘Jour de Vent’ appeared first on Colossal.

Jason Mitcham’s childhood home in Greensboro, North Carolina, is no longer standing. In 2011, the local government seized the house and the land he grew up on via eminent domain to widen what was then High Point Road into what’s now Gate City Boulevard. Mitcham last saw the site in 2023, when a paved highway blanketed where the neighborhood once stood, and fragments of garages and barns still marked the landscape.

To memorialize this beloved landmark, Mitcham hand-painted “Ever Behind the Sunset,” a touching stop-motion film that combines a series of expressive compositions with audio from the artist’s mother and his own home videos taken throughout the 1980s. Panels of thick, gestural brushstrokes animate a story of loss, grief, and remembrance as if viewed through a dreamlike haze.

Mitcham shares that the film reflects a series of compounding devastations, both personal and local: “the collapse of my father’s civil engineering and land-surveying firm after the 2008 housing crisis, my parents’ bankruptcy, his death, followed by my mother’s, and the community’s fight against the commercial development that would permanently alter their neighborhood.”

It’s worth watching the behind-the-scenes video that shares more of the artist’s process and thinking. Explore an archive of his films and works on canvas on his website and Instagram. You might also like the paintings of Jeremy Miranda.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Painted by Hand, a Stop-Motion Film Eulogizes a Lost Childhood Home appeared first on Colossal.

Ett gäng ungdomar roar sig på nöjesfältet ännu lyckligt ovetande om att de inte kommer ut därifrån förrän de gjort av med vartenda öre….

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