#Terry Kalagian

[drawnaghht]

This 2021 SDCC panel is also one of the reasons I couldn't agree with some of the stuff tumblr posts last year had stated... which was mostly made up! ie "Stan didn't actually work on the show" or

Like you can see the joy emanating from their faces when Stan and the cast and other crew explain their parts in the show... I can't believe any of them would hate it, whether this was a promo video or not xD Like... you don't go to a SDCC panel of the show you made if you... absolutely hated working on it. idk, it just doesn't make sense. I get that seeing a show or characters from a fandom lens makes people hate that show/characters make stuff up about the show later (i.e. other fans hating on Yuichi Usagi, just as a concept, bc of the ship/shipping, I get it) but it just seems... so strangely petty. Plus non-shipping fans might have been mad that this was not a direct adaptation.... Again I get it! I've been there with other stuff. But whether a show is good or bad, it seems mean-spirited to just lie about the crew or creators of it. It's okay to admit that you had different expectations about it. Yes, it's aimed at a younger viewership and does not directly adapt the darker aspects of the comic, but, that's wholly because of circumstance (Netflix show) and the show is good despite that. Your view of it can simply depend, well, on your view on spinoffs and animation in general, when you watched, what mood you were in. Whatever opinions fans might have, this panel seems to suggest the cast and crew had a mostly good time on it. Unless everyone here is some sort of pathological liar.

More press coverage of the Samurai Rabbit SDCC 2021 panel:

IGN, Polygon (a few pics), Animation Magazine, Geek Network, AIPTcomics (I'll add any more I find if I find smth new)

Screenrant (announcement of the Comic-Con @ home lineup) longer article on AWN (2022, about the premiere with more pics)

also, Stan's interview with the SDCC blog in 2022

"UBLOG: Samurai Rabbit: The Usagi Chronicles debuted its first season on Netflix, and has already been renewed. What was it like finally getting to see your characters come to life in that way, and how pleased are you that it was so well received? Sakai: We at Usagi Studios are very pleased with Samurai Rabbit: The Usagi Chronicles. The protagonist Yuichi is a direct descendant of my Miyamoto Usagi who is featured very prominently and with a twist that I thought was brilliant. We worked very closely with Gaumont and Netflix, approving/adjusting scripts, designs, suggesting voice actors, etc. I even calligraphed (by hand) the logo for the series. Samurai Rabbit expanded on a mini-series I created titled “Senso” inspired by HG Wells’ War of the Worlds wherein the martians invaded feudal Japan instead. Japan took that alien technology and developed it, adding their own cultural elements. Samurai Rabbit takes place in the future with Yuichi a young samurai in training who worships his famous (or infamous) ancestor, Usagi. Like my Usagi stories, Samurai Rabbit is very character driven and the first season tells of Yuichi meeting what is to become his core group of friends as they battle yokai, the haunts and monsters of Japanese folklore. I’m so glad that a second season is coming up."

i cannot imagine Stan Sakai Lying. like. LEGIT i cannot so i don't get why ppl make stuff up abt the show. it hasn't been very egregious so far, just stuff in tags and reblogs, but still. weird. fandom is weird abt stuff like this lol! I also do not get the hate that the show itself and the character of Yuichi Usagi get for basically. Not being what people imagined in their heads of an Usagi Yojimbo spinoff. I kind of get that part, because when Avatar: LOK was previewed in 2011, I imagined such a vast and colorful version of the show based on just 2 art pieces, I was caught a bit off-guard by the 1st season's premiere, and completely let down by the 2nd season. So I get that part at least. Many articles seemed to suggest that this show would be an adaptation, and I am guessing this is where people's expectations rose ten-fold in a similar way to my 2011 self. From interviews, I sense that the crew had similar expectations when they joined: a Usagi aniamted project with Stan Sakai directly involved! I'd be asking to be on the show too if I'd been a Gaumont studios member at the time.

The mountain is high and it is hard to surpass. When Netflix ordered the show to be about a younger Usagi and gear it for a younger audience too, I find that perhaps the Gaumont and Usagi Studios crew also saw this. In a fan's eyes, almost no one could match Stan Sakai in his storytelling, and the crew are big fans of his work. So it would make sense that they started to see the show they were developing differently. Instead of something like the 2003 adaptation of Miyamoto Usagi, where they make him younger and change his story a bit, the SR crew saw an opportunity. Lets make it about a descendant and a whole different setting, yeah? So the show becomes something quite different, but more manageable now. The mountain seems more like a long trek than an unpassable task.

But it also seems from every interview and official release I've seen that most of the people working on the show really liked what they made and liked working on it, even if it wasn't a direct adaptation of Usagi Yojimbo, something most of the crew were a fan of already themselves.

also, the series was worked on at least since 2018. Yeah, it's aimed at a younger audience, but a lot of effort seems to be put into it anyway, from writing, acting and art aspects all-around, so it just doesn't seem like something that people would feel the need to lie about. it's a good show. It is just not a direct adaptation of the comics, that people have been wanting, or something "style adjacent" to the comics, e.g. what people expect of the comics (that it's only dark and gritty).

A 2019 comicon.com article sharing a facebook photo at Gaumont studios with Stan is the perfect example of this - "This studio is known for their work on the original Redwall animated series. Judging by the key art shown above and Gaumont’s location in Paris, I hope that the animated series will remain faithful to the darker tone of the comics." - of course an article by a reader of the comic would have something like this, but we can see as early as this, the writer is setting themselves up for higher expectations for the series. Which I don't find fault in, who doesn't want a cool animated adaptation of their favourite comic? But comparing a studio now to what the studio was 15-20 years before is like setting the reader up for expectations that are too unrealistic. Redwall is a beautiful adaptation, but each show/series will almost always have a different team of people working on, so from an animation work POV, it just seems like something unrealistic. Animation industry, both western and otherwise, has always been something that can't always cater to all interests.

not-so-hot take but: it's actually good that it's not a direct adaptation!

The expectations people put on any adaptations/projects based on an older thing, is probably also a huge factor in why both younger and older fans (both shppers and the fans of the comic) feel so terse about the series, when in reality, it's possibly the best result we could get for a netflix adaptation (if I look at any anime/manga live-action adaptations for example, netflix has sort of "dropped the ball" on many of these). The series having loose and not-so-loose connections to the comics canon basically ensures that nothing about the comics canon is ever changed much, or that Stan is never obligated to change the comic for the show. The comic and show are allowed to be separate, but the show is also an homage and open fanart to the comic.

This also means that whether viewers hate or love the series, perhaps having a non-adaptation og series based on the comic... means they will actually read the comic itself now. I see this with both liveaction and animated adaptations, but ppl usually don't pick up the og source material based on just one adaptation, and if the adaptation is good or faithful, they still won't - thinking of TMNT 2003 but also Rise series haters who insist Raph doesn't use Tonfa, when that was a og comics reference lol - there's no trust that the animation folk working on your favourite properties adaptation are ALSO FANS of the same thing. So the chances for that might be similar. If people are happy with an adaptation, they might be less likely to seek out more of it. But I just find this series an interesting attempt from that POV. It almost feels similar to what Transmedia Storytelling is explained as a technique - of telling a story across multiple platforms, adding something unique each time.

A direct retelling is different from an original piece or continuation set in the same universe. Imagine that Usagi Yojimbo, the original comic, is like a tentpole that readers gather around. As time grows on, different animated adaptations occur, some tabletop games, a theather play etc. Different media for Usagi to inhabit as a character and a concept. And then comes along Samurai Rabbit, wholly not an adaptation of the comic's stories at all, but something inspired of it, building on it, not changing it much, but still adding to the canon in its own way (the existence of the Ki-Stone in this show). It's different but it's entirely a work made out of love for the comic, and you can see it in the different aspects it adapts from the comic (the 2D sequences, the skull-death-bubbles, the references to the comic, how it shows Miyamoto Usagi) and how it approcahes the characters as a cast.

So because Samurai Rabbit: The Usagi Chronicles is not a strict retelling of any of the comics narratives, it allows itself room to explore and grow as its own thing, while also loosely adding to the canon in an interesting and unique way.

I hope phrasing the show from that vantage point gives other existing a different view on it.

this show also credits everyone in the production, including even the 3D animation company (a lot of animated shows only credit the company itself, or at least used to do this a lot) so I think that speaks a lot about how the production sees the show itself. The people making the show are valuable and did well, whatever the reception is going to be. And genuinely, I hope it was actually a good experience working on the show for all of the cast and crew.

[nicefoodfornicefoodies]

Gaumont Promotes Terry Kalagian To President Of Global Animation, Kids And Family

The move is part of a larger Gaumont plan to centralize its animation and kids and family divisions in Europe. from Cartoon Brew https://ift.tt/GJouDmn

[shinanemone]

Gaumont Promotes Terry Kalagian To President Of Global Animation, Kids And Family

The move is part of a larger Gaumont plan to centralize its animation and kids and family divisions in Europe. from Cartoon Brew https://ift.tt/KWpodyO

[drawnaghht]

This art is by Samurai Rabbit art director Khang Le, and you can find more examples of his work on the show on his website :)

On the website it says:

Heroes

Visdev for Usagi, Gen, Kitsune, Chizu, and Spot.

Paint by Khang Le Character Design by Michael O’hare & Jose Lopez

Fun Fact! It's quite possible we wouldn't have the show without Khang's concept art of Neo Edo itself, the view of Usagi arriving at the city, looking at it from afar on his bike.

Stan Sakai saw the one shown in this SDCC panel video, and thought, "oh, this is the shot" and "we can do it, this show'll be good". Stan saw the work Khang and his visdev team were doing and recognized that they knew what they were doing. "You and your team of designers have created a whole new world, that is very futuristic, however, as Terry [Kalagian, exec producer, panel host] said, very tradtional. It's a wonderful fusion." (SDCC 2021) He really trusted this team with this new concept behind the show of being about a descendant and in a near-future Edo. Besides leading the visdev team and overlooking the art direction, Khang also drew the comic pages for the EP 1 opening sequence based on Stan Sakai’s style and designs.

Here’s a concept art of of samurai rabbit

[kubrickstaring]

Korean horror hit TRAIN TO BUSAN (2016) is getting a US remake, with TIMO TJAHJANTO currently attached to direct. The new film is being produced by JAMES WAN, MICHAEL CLEAR of ATOMIC MONSTER, NICOLAS ATLAN, and TERRY KALAGIAN. Considering the track record of many US remakes, are we cautiously optimistic or full on pessimistic?

[feartube2000]

Acquasilente

Basata sulla serie di libri di Scholastic “Zen Shorts”, scritti da Jon J Muth, “Stillwater” è incentrata sui fratelli Karl, Addy e Michael, tre bambini come tutti gli altri che affrontano le tipiche difficoltà associate alla loro età. Fortunatamente per loro, i tre hanno come vicino di casa Stillwater, un panda di grande saggezza. Titolo originale Stillwater Soggetto Jon J Muth Cast James…

[bewitching-elizabeth-olsen]

Press: Lifetime, Hollywood Reporter to Present ‘Women in Entertainment: The Next Generation’ Special on May 24

The special will feature talent including Padma Lakshmi, Anna Kendrick, Elizabeth Olsen, Gillian Anderson, Jurnee Smollett, ‘Girls5eva’ star Sara Bareilles and more as it spotlights five female students mentored by top women execs in Hollywood.

THE HOLLYWOOD REPORTER: As a presenting partner for The Hollywood Reporter’s annual Women in Entertainment Breakfast, Lifetime has joined with THR for the evolution of the event.

Lifetime will air a broadcast special titled Lifetime and The Hollywood Reporter Present Women in Entertainment: The Next Generation, a Voices Magnified program celebrating female trendsetters, industry leaders and potential future female power players.

The special, set to premiere at 8 p.m. ET/PT on Monday, May 24, will be hosted by Padma Lakshmi. The hourlong show also will feature appearances by Anna Kendrick, Anitta, Elizabeth Olsen, Emma Corrin, Gillian Anderson, Lana Condor, Jurnee Smollett and Kathryn Hahn. The special also will feature an interview and special performance by Grammy winner and Girls5eva star Sara Bareilles of her hit song “Brave.”

Voices Magnified aims to give “a national spotlight to timely and important conversations on equality and social reform which are occurring across America today.”

THR’s pioneering Women in Entertainment Mentorship Program, which, in partnership with Big Brothers Big Sisters of Greater Los Angeles, grants $1 million in scholarships to L.A. high school seniors from underserved communities, will be spotlighted in the special. Five of the program’s mentees will share their stories, how they were motivated by their mentors’ belief in what they can accomplish and how their mentors guided them on their journey to college and their future career paths.

The special also highlights Comcast NBCUniversal’s workplace mentorship program with Big Brothers Big Sisters, which has become a mentoring model for corporations nationwide.

Scholarships to Loyola Marymount University and Chapman University underwritten by Spotify, Sony and The Chuck Lorre Family Foundation will be awarded. Lifetime also provides a $10,000 scholarship to each of the girls who participate in The Women in Entertainment Mentorship Program. Cadillac also is a sponsor of Women in Entertainment.

The five mentor/mentees that will be featured in the special include Ali Hoffman (president, domestic networks for Starz) and Emely Menjivar; Cassidy Lange (director, original studio film, Netflix) and Gracie Flores; Deborah Thomas (senior vp entertainment publicity for NBC) and Celine Mendoza; Mioshi Jade Hill (president, Sirens Media) and Miranda Brock; and Terry Kalagian (executive vp creative content, Gaumont) and Wynda Lee.

“Lifetime is proud to partner with The Hollywood Reporter on the evolution of the Women in Entertainment event to reach even more people with these inspiring stories,” said Paul Buccieri, president and chairman of A+E Networks Group. “I truly believe in the incredible power of mentoring and its importance in shaping an individual’s future, and I am honored that Lifetime will help showcase these rising young leaders’ stories.”

Added Nekesa Mumbi Moody, editorial director of THR: “The Hollywood Reporter couldn’t be prouder of the program we launched 10 years ago with Big Brothers Big Sisters. It’s a gift to be able to pair some of the most intelligent female thought leaders in entertainment with deserving mentees to help them develop the skills they need to flourish academically and professionally. We hope that in leveraging our legacy and partnering with Lifetime, we can continue to inspire engaged audiences to carry out the vital mission of giving back to the next generation.”

Said Dalila Wilson-Scott, executive vp and chief diversity officer of Comcast Corporation: “Our employees are passionate about being champions for young people and helping to change lives as positive role models. After more than a decade of partnering with Big Brothers Big Sisters, our workplace-based mentoring program remains one of our most popular volunteer initiatives, helping our employees to become better leaders while creating opportunities for the next generation. We are proud to join with Lifetime to highlight this partnership and the vital role of mentorship in the lives of young women.”

“Big Brothers Big Sisters of Greater Los Angeles is proud to celebrate The Women in Entertainment Mentorship Program alongside The Hollywood Reporter and Lifetime. For over a decade, this unique and transformative program has helped more than 200 deserving young women in Los Angeles build confidence, find their voices and grow towards their biggest possible futures,” said Lauren Plichta, president and CEO of Big Brothers Big Sisters of Greater Los Angeles. “During a period in our collective history where human connection is at an all-time low, we are incredibly grateful for all of our volunteers and allies who believe in the power of mentorship and work with us to keep kids connected.”

Lifetime and The Hollywood Reporter Present Women in Entertainment: The Next Generation was executive produced by Sharon Scott, Kristy Sabat and Annie Allen for the Category 6 Media group. Lifetime executive producers were Amy Winter, Brie Miranda Bryant and Shura Davison. Nekesa Mumbi Moody, Elisabeth D. Rabishaw and Victoria Gold executive produced from The Hollywood Reporter, while Curtis Thompson produced

Press: Lifetime, Hollywood Reporter to Present ‘Women in Entertainment: The Next Generation’ Special on May 24 was originally published on Elizabeth Olsen Source • Your source for everything Elizabeth Olsen

[demifiendrsa]

Netflix has announced Samurai Rabbit: The Usagi Chronicles, a CGI animated series based on Stan Sakai’s Usagi Yojimbo comic book series.

Samurai Rabbit follows the teenage Rabbit Samurai Yuichi, descendent of the great warrior Miyamoto Usagi, on his epic quest to become a true samurai. But he isn’t alone. He leads a ragtag team of misfit heroes – including a roguish bounty hunter, a cunning ninja, an acrobatic pickpocket and a faithful pet lizard – as he battles depth-charging moles, metal-tipped winged bats and monsters from another dimension, all in the pursuit to become the best samurai Usagi.

Sakai will serve as an executive producer on the show, along with Gaumont’s Nicolas Atlan, Terry Kalagian, Sidonie Dumas and Christophe Riandee, Dark Horse Entertainment’s Mike Richardson, Keith Goldberg and Chris Tongue, and Atomic Monster’s James Wan, Michael Clear and Rob Hackett. Candie and Doug Langdale are attached as executive producers and showrunners. Ben Jones will be the supervising producer, while Khang Le will serve as art director on the series.

“It is a pleasure working with Gaumont and Netflix. I am involved in each step of the production and am enthusiastic with the direction we are going into,” said Sakai in a statement. “It is wonderful to expand the Usagi universe by collaborating with so many talented people. I am working with an awesome team and I’m looking forward to finally seeing an Usagi series on the screen! I thank my wonderful fans, friends and family for their support and encouragement over the last 35+ years.”

[ljblueteak]

From the link: Director: Oscar-nominee® Timothy Reckart (Head Over Heels, The Star) Screenplay: Jon Croker (Paddington, Paddington 2, Fantastic Beasts: The Crimes of Grindelwald) Created, Produced and Original Songs & Music by: Academy Award and 18-time Grammy Award winner Paul McCartney (100 Years, Jojo Rabbit, Yesterday, Live and Let Die, Vanilla Sky). Producers: Bob Shaye  (The Lord of the Rings Trilogy, The Golden Compass, The Mortal Instrument, When the Bough Breaks, and Ambition and upcoming Netflix Limited Series The Liberator), the late Michael Lynne, and Paul McCartney, Sidonie Dumas, Christophe Riandee, Nicolas Atlan, Terry Kalagian (Gaumont)

[dawsey28]

Train to Busan (Remake)

“The anticipated Train to Busan remake at New Line looks to be gaining steam as sources tell Deadline that Timo Tjahjanto is in negotiations to helm the pic based on the blockbuster South Korean hit.

Atomic Monster’s James Wan and Michael Clear and Gaumont’s Nicolas Atlan and Terry Kalagian will produce alongside Coin Operated’s Gary Dauberman, who is adapting the screenplay. Judson Scott, Sidonie Dumas, Christophe Riandee and Johanna Byer are executive producing.”

Article: https://www.google.com/amp/s/deadline.com/2021/02/new-lines-train-to-busan-timo-tjahjanto-1234696403/amp/

Article: https://www.google.com/amp/s/collider.com/train-to-busan-remake-director-timo-tjahjanto/amp/

...

[1suara]

Timo Tjahjanto Sutradarai Remake Train to Busan versi Hollywood : Okezone Celebrity

Timo Tjahjanto Sutradarai Remake Train to Busan versi Hollywood : Okezone Celebrity

JAKARTA – Timo Tjahjanto tengah dalam negosiasi sebagai sutradara film remake asal Korea Selatan, Train to Busan, yang diproduksi New Line Cinema, Amerika. Dilansir dari Deadline, Jumat (19/2/2021), James Wan dan Michael Clear dari Atomic Monster serta Nicolas Atlan dan Terry Kalagian dari Gaumon akan memproduksi skenario bersama Gary Dauberman dari Coin Operation. Baca Juga: Rayakan Imlek…

[horrorpatch]

New Line's TRAIN TO BUSAN Remake Taps Timo Tjahjanto To Direct!

New Line’s TRAIN TO BUSAN Remake Taps Timo Tjahjanto To Direct!

New Line Cinema’s anticipated remake of the South Korean zombie epic, TRAIN TO BUSAN has tapped Timo Tjahjanto (V/H/S/2 segment, The ABCs of Death segment) to direct the pic. Keep reading for more details of the film below. Atomic Monster’s James Wan and Michael Clear and Gaumont’s Nicolas Atlan and Terry Kalagian will produce alongside Coin Operated’s Gary Dauberman, who is adapting the…

[youve-doomed-us-all-jerk]

Netflix has set the first animated TV series based on the long-running Usagi Yojimbo comic books by Stan Sakai. The streamer today announced Samurai Rabbit: The Usagi Chronicles, which is set in a world that mixes modern high-tech images with classic Japanese references.

Spawned from Sakai’s comics that began in 1984 and counting James Wan among its executive producers, the CGI Samurai Rabbit follows the teenage Rabbit Samurai Yuichi, descendent of the great warrior Miyamoto Usagi, on his epic quest to become a true samurai. But he isn’t alone. He leads a ragtag team of misfit heroes – including a roguish bounty hunter, a cunning ninja, an acrobatic pickpocket and a faithful pet lizard – as he battles depth-charging moles, metal-tipped winged bats and monsters from another dimension, all in the pursuit to become the best samurai Usagi.

The series hails from Sakai — creator, writer and illustrator of the comic book series — who will serve as executive producer along with Gaumont, Dark Horse Entertainment and Atomic Monster. Gaumont’s Nicolas Atlan, Terry Kalagian, Sidonie Dumas and Christophe Riandee also serve as EPs along with Dark Horse’s Mike Richardson, Keith Goldberg and Chris Tongue and Atomic Monster’s Wan, Michael Clear and Rob Hackett.

Candie and Doug Langdale also are attached as showrunners and executive producers.

[blueeyedleader-blog]

YASSSS