Inside Animation

I chat with Leo Glantschnig, whose YouTube channel, Crash Frontier, has over 600k Subscribers and several videos with over 1 Million views. We talk about how he uses a sandbox-style, physics-based car crash simulator to create cinematic disaster shorts. In my "back-in-time" segment, we discuss how a trip to Universal Studios in 2003 inspired his love of directing and how the disaster movies of the late 90s led him to create these disaster shorts. Plus, great advice on how to start a YouTube channel using your passions and grow it using analytic tools. You can watch his videos at https://www.youtube.com/@CrashFrontier

I chat with a peer in the animation industry, Casandra Groves. Previously, I've talked with other voice actors, but never with one at my level, trying to get voice acting work of significance in the industry. We talk about the trials and tribulations of attempting to "make it" as a voice actor, which sites to avoid, which classes to take, what equipment to buy, and much more. In my "back in time" segment, we delve into Casandra's love for late 90s Nickelodeon. And as always, great advice if you wish to get started as a voice actor. You can follow her on Instagram at @casandra_groves_vo

I interview Producer Michael Hirsh, who led several animation companies including Nelvana, which was responsible for developing Babar, The Magic School Bus, The Berenstain Bears, Beetlejuice, and many more animated series. We talk about how his company got hired to create the animated short (as part of the Star Wars Holiday Special) that was the defacto introduction of the character of Boba Fett. In my Back-in-time segment, we go back to when he started Nelvana with a college friend and hired recent graduates from a nearby animation school. And in advice, Michael talks about what a great era it is now to be able to start your own animation company. His book Animation Nation: How We Built a Cartoon Empire, is available for pre-order on Amazon, Barnes and Noble, and sutherlandhousebooks.com

You can follow Michael on Instagram at @michaelhirshanimation

I talk with Post Production Supervisor Chris Keith about how his job was to be the last person to see an animated episode before it went out to the audience, ensuring the proper mix of dialogue, sound effects, and music. He talks about his work on Goof Troop, Bonkers, Biker Mice from Mars, Darkwing Duck, and the 2nd season of Family Guy (including some great stories about working with Seth MacFarlane), as well as working on the original Tron film. In our "Back in Time" segment, Chris reveals a certain popular film he had a chance to work on, but declined. And great advice as always about getting into post production, even in this slow time. Go check out his book and podcast, Ghosts of Greystone Beverly Hills https://www.youtube.com/@ghostsofgreystonebeverlyhills

I meet the podcast's youngest guest ever, Josh Young. At just 13 years old, he is already set up to become an incredible cinematographer and stop-motion animator. While his current productions are short and with a very low fps (frames per second), his attention to detail and camera angles already betrays a bright future ahead. We talk about how his younger brother's obsession with The Nightmare Before Christmas got him interested in Stop Motion and later in the interview, he shows how he is one of the wisest 13 year olds I've ever met. Plus we talk about how his grandfather combined with great older war films got him interested in World War II as a subject as well as Star Wars. Plus, the great advice for creators out there. Especially those just getting started. You can follow his content and career as it unfolds on Instagram at @lastbrick_production_

I chat with Doug Engalla, a Researcher at the Walt Disney Animation Research Library (ARL) about his work preserving the art of Disney Animation. We talk about how Disney has accumulated approximately 65 million artworks in the 100 years of the Walt Disney Company and how Walt himself started the archive to create a repository to learn from past works and be able to reference older works at any time. We also talk about the impact Disney has had on the world of animation, including the influence it has had within and outside of its doors. In my "Back in Time" segment, I go back 34 years to when Doug first started with the ARL and how he took an unorthodox path to get there, but ultimately found his dream job. Plus, Doug recalls his first time at Disneyland and how a particular ride scared him so much, he didn't ride it again for many years. And as in every episode, we get advice, this time for those who want to work at a research library, especially one involving art. The Animation Research Library will be involved with D23 this year as part of the Ultimate Disney Fan Event, so go to d23.com to get tickets and more info.

I chat with Taylor Aseere, Layout Lead at Dreamworks Pictures about what is layout, how it's different from storyboards and how pre-vis is the counterpart in live-action films to layout in animation. Plus we talk bout Taylor's own company Shattered Glass Films, which mainly does "pre-vis", or pre-visualization. In my "back-in-time" segment, we talk about Taylor's journey from college to where she is now and how she didn't exactly start in layout, but found a job in the industry that got her there. She expanded on this in my advice segment with several pieces of great advice for someone wanting to break into the animation world. Check out her work at shatteredglassfilm.com or on Instagram/TikTok @shattered_glass_film

Please be advised that this particular episode was recorded live in Taylor's kitchen and due to improper mic set up, took a lot longer to edit and doesn't have as high quality sound as other episodes. My apologies.

This is Inside Animation's first interview with an Oscar Nominee. Adam interviews Pablo Berger, director and writer of Robot Dreams, Nominated this year for the Best Animated Feature Oscar. They talk about the process of taking an animated feature to an Oscar nomination, or at least the steps he took. Also, as this is Pablo's first foray into animation, the differences between live-action directing and animation and how it takes much more patience for animation. Then, in the "Back in Time" segment, Pablo's Japanese Animation influences are discussed and how Miyazaki films made him realize that animation isn't just for kids. Finally, in the "Advice" segment, the difference between live action and animation resurfaces as Pablo give great advice to live action directors finding themselves directing an animated feature.

We start off the 4th season on a positive note with the self described biggest pessimist in the world of animation, Mike Smolev. We talk about how he got into creating an animated show because he wanted good sound design and his harrowing journey so far, including 3 different attempts at a pilot and why he is doing stand up as a way to be able to pitch the show. Plus we find out the one animated show he thinks is any good and I squeeze a bit of advice out of him. To find out more about The Hunk and Grody Show and watch what is out there so far, go to www.mikesmolev.com