#mukpuddy

[joshuamartian]

The creepy episode I wrote of @mukpuddy's first horror series is now on YouTube! Heard that a friend of the studios' kids were loving the show UNTIL they got to this episode which scared them so much they had to stop. Viewer beware, you're in for a scare! 👻🖥⛲️

[rhysdarbinizedarby]

Rhys Darby returns to New Zealand for two huge milestones - Spy

Rhys Darby is back in New Zealand.

Why is Kiwi comedy star Rhys Darby back in New Zealand?

Rhys Darby is returning from his base in Los Angeles for a double celebration over the next few weeks - his 50th birthday and a special event to mark his 25 years working as a stand-up comic.

“I’m home for my 50th birthday celebrations,” he reveals to Spy.

Darby hits the big milestone on March 21 and says he, his wife and manager Rosie are planning on a shared party with their family and friends.

A week later, Darby will be in proud parent mode as his eldest son Finn’s band, Great Big Cow, will be performing at The Whammy Bar on Karangahape Rd on March 27.

“So, as a cool dad, I’ll be there of course, with my band manager suit on,” he says.

There will be fun and laughter to have on Waiheke Island the following week too. Popular island spot Wild Estate Vineyard in Onetangi has secured Darby for an exclusive one-off New Zealand show with an intimate audience of only 200 tickets.

Punters can be sure Darby’s will be giving the native birds on the island a squawk for their money with his famous bird calls from his 2021 TV stand-up show Mystic Time Bird.

“The show is called ‘25 Years’ - it is a celebration of my stand-up career,” say Darby.

“I’ve hand-picked the best material from my five comedy specials, and I’ve also added some new stuff,” he divulges. “It’s all killer, so the audience can expect me having a blast, and so I’m sure they will too.”

Wild Estate has become the go-to live venue on Waiheke for comedy and live gigs; last month, the Jordan Luck Band rocked the vineyard, and comedians Nick Rado, Tony Lyall, Paul Douglas and Ruby Esther have all had successful stand-up nights there too.

Darby has been home several times over the last few years, whether to film with his mate Taika Waititi in West Auckland for the second season of their hit HBO Max show Our Flag Means Death in late 2022, or his Kiwi road trip with David Hasselhoff called Hoff the Beaten Track last spring.

Darby finished the year with aplomb, hosting the 51st International Emmy Awards in New York in November.

The production company for his road trip show, Stripe Studios, made headlines last month with the New Zealand Herald’s Media Insider column, penned by Shayne Currie, reporting Stripe for unpaid bills. The production company also filmed a travel-style show with US comedian Iliza Shlesinger. Currie reported the Netflix comedy star is applying to have Stripe Studios (Comedy) Ltd liquidated. Stuff followed up this story, reporting Hasselhoff was also owed money from the production company.

Darby politely had no comment on the state of his and The Hoff’s road trip show, but sources say Darby played a big part in getting as many of its Kiwi crew as he could paid by Stripe.

However, Darby did share that Hollywood has been rather wet and dull so far this year. “I have a few top-secret TV and film projects in development, which I am really looking forward to.”

“What I can reveal is: I’ve been involved in Mukpuddy’s awesome adaptation of Badjelly the Witch,” he says.

“I think it’s going to be so so good!”

Source: NZ Herald

[fata-cu-palarie-neagra]

Podcast EP 206: Art Director Matt Haworth and the Animation Industry in New Zealand

The Auckland-based art director and background supervisor discusses the challenges of finding freelance work and building a career in animation in NZ, and shares how he subsequently helped in MukPuddy animation studio’s evolution from a small group to a roster of over 50. from AWN Headline News https://ift.tt/kfXGtDw

[uykulupsikolog]

Podcast EP 206: Art Director Matt Haworth and the Animation Industry in New Zealand

The Auckland-based art director and background supervisor discusses the challenges of finding freelance work and building a career in animation in NZ, and shares how he subsequently helped in MukPuddy animation studio’s evolution from a small group to a roster of over 50. from AWN Headline News https://ift.tt/7IyaGHb

[mukpuddy]

The Adventures of Tumeke Space is available to watch now in New Zealand on TVNZ OnDemand. 

 Join Tumeke Space, Wahine Troubles and JNR-572 as they take on the Pink Menace in our brand new animated comedy adventure for the whole family.

https://www.tvnz.co.nz/shows/tumeke-space

[mjuvies]

Mukpuddy, {2015} Jonathan Bree: Blur

[redmenentertain]

The rough and final versions of the thumbnail for The Animaniac’s review of Jandal Burn. Coming this sunday

[xanderthurteen]

Loved the new Toy Story 4 trailer...

[swordsparkling]

STAND NAME: 「ROAD TO NOWHERE」

STAND MASTERS: THE BAREFOOT BANDITS (from left to right; TANE, FRIDGE AND RILEY)

Destructive Power: B

Speed: C

Range: C

Durability: D

Precision: B

Developmental Potential: C

Namesake: Road to Nowhere - Talking Heads song

Type: Close-Range Stand, Natural Non-Humanoid Stand, Shared Stand

Ectoplasm Manipulation

Road to Nowhere can create, shape and manipulate extra-planar energy, better known as ectoplasm. As such, it can be understood as a variable-state form of matter-energy coming from planes beyond the physical. Road to Nowhere can manipulate the form of the ectoplasm, ranging from raw seething energy, a misty vapor, a viscous gelatin, a bundle of fine threads, a living membrane or a fine, fabric-like tissue - all of which that can also be solidified and used for material purposes, such as molding it into weapons or using it as an adhesive to trap people. Because of its unstable, esoteric properties, ectoplasm reacts to normal matter/energy in unusual yet useful ways, including being able to ignore most of them. Coating spiritual entities, such as Stands themselves, in ectoplasm can assist the Barefoot Bandits in interacting with them, allowing them to directly attack the Stands themselves with ordinary objects - such as a pencil to stab them, or using air-spray to blind the Stand's eyes. The ectoplasm causes the Stand to become completely visible, meaning that even non-Stand users could see them.

⦁ Road to Nowhere 1 - Tane can mainly use his Stand to restrain, trap or seal Stands into a specific place, item or being, or prevent them from returning back to their Users. Tane can even prevent a Stand from manifesting itself by splattering ectoplasm on its User. Even if the User had ectoplasm on only one part of their body (like their arm), their Stand will end up missing the same body part of its User because the ectoplasm is restraining part of the Stand.

⦁ Road to Nowhere 2 - Fridge can release plasma to attacks of various shapes and intensities, either projected, used as a part of melee attacks, etc. He can also change the ectoplasm into tools, objects, weapons and other items, create semi-living constructs or create structures of varying permanence.

⦁ Road to Nowhere 3 - Riley can use Road to Nowhere only to fly or otherwise move through the air using ectoplasm in the form of wings. She can even surround herself with ectoplasm, projecting a shield around herself to protect her from any physical attack. The shield can go from a huge radius that can block off an entire room to lowering itself down to Riley's skin, making it look as if there is nothing there. Road to Nowhere also allows her to slide on the surfaces for long distances, sliding on her feet or other body parts to skate across surfaces by using ectoplasm to cover her body, as the ectoplasm practically nullifies all friction between Riley and the surface.

[rhysdarbyarchive]

Rhys in a Lanky Lampton video from Mukpuddy Animation Studio

[letterboxd]

The Package.

As the bonkers genre thrill-ride Shadow in the Cloud blasts into the new year, writer and director Roseanne Liang unpacks her love of Terminator 2, watching Chloë Grace Moretz’s face for hours, and the life lesson she learned from Crouching Tiger, Hidden Dragon’s Cheng Pei-Pei.

Roseanne Liang’s TIFF Midnight Madness winner Shadow in the Cloud landed with a blast of fresh genre energy on VOD platforms on New Year’s Day. It’s A-class action in a B-grade body, cramming plenty into its taut 83 minutes, including: a top-secret package, a freakish gremlin, a hostile bunch of Air Force dudes, outrageous stunts, dogfights and a fake wartime PSA that feels remarkably real.

Throughout, the camera is focused mostly on one face—Chloë Grace Moretz’s, playing British flight officer Maude Garrett—as she tackles all of the above from a claustrophobic ball turret hanging under a B-17 Flying Fortress, on a classified mission over the Pacific Ocean during World War II.

While the film’s tonal swings are confusing to some, schlock enthusiasts and genre lovers on Letterboxd have embraced the film’s intentionally outlandish sensibility, which “makes excellent use of its genre mash to create an unpredictable, guilty pleasure,” says Mirza. Fajar writes that “it felt like the people involved in this project knew how ridiculous it is and gave a hundred and ten percent to make it work. Someday, it will become a cult classic.” Mawbey agrees: “It really goes off the rails in all the best ways during the final third, and the last couple of shots are just perfect.”

Chloë Grace Moretz and her top-secret package in ‘Shadow in the Cloud’.

To most of the world, Liang is a so-called “emerging” director, when in fact, the mother-of-two, born in New Zealand to Chinese parents, has been at this game for the past two decades. She has helmed a documentary and a romantic drama, both based on her own marriage; a 2008 short called Take 3, which preceded Hollywood’s current conversation about representation and harassment; and Do No Harm, the splatter-tastic 2017 short in which her technical chops and fluid feel for action were on full display, and, as recorded in multiple Letterboxd reviews, established her as one to watch.

Do No Harm scored Liang valuable Hollywood representation, whereupon producer Brian Kavanaugh-Jones brought Shadow in the Cloud to her, thinking she might connect with the material. “It did connect with me on a level that is very personal,” Liang tells me. “As a woman of color, as a mother who juggles a lot.” She says Kavanaugh-Jones then went through the process of removing original writer Max Landis from the project. “He felt that Max was not a good fit for this project, or for how we like to run things. We like to be respectful and courteous and kind to each other…”

In several interviews, Liang has said she’s comfortable with film lovers choosing not to watch Shadow in the Cloud based on Landis’s early involvement. What she’s not comfortable with is her own contribution—and that of her cast and crew—being erased. While WGA rules have his name attached firmly to the project, the credit belies the reality: his thin script, reportedly stretched out to 70 pages by using a larger-than-usual font, was expanded and deepened by Liang and her collaborators.

Writer-director Roseanne Liang. / Photo by Dean O’Gorman

That team includes editor Tom Eagles, Oscar nominated for Jojo Rabbit, actor Nick Robinson (the titular Simon in Love, Simon) and Beulah Koale, a star of the Hawaii Five-Oh series. The opening newsreel was created by award-winning New Zealand animation studio Mukpuddy, after a small test audience got weirded out by the sight of a gremlin in a war film, despite well-documented WWI and WWII gremlin mythology. It’s an unnecessary but happy addition. The cartoon style was inspired by Private Snafu, a series of WWII educational cartoons scripted by none other than Dr. Seuss and directed by Looney Tunes legend Chuck Jones.

But the film ultimately hangs on Chloë Grace Moretz, who overcame cabin fever to drive home an adrenaline rush of screen craft, in which the very limits of what’s humanly possible in mid-air are tested (in ways, it must be said, that wouldn’t be questioned if it were Tom Cruise in the role). Liang would often send directions to Moretz’s ball turret via text, while her cast members delivered live dialogue from an off-set shipping container rigged with microphones. “I just never got sick of Chloë’s face and I’ve watched her hundreds, if not thousands of times. You feel her, you are her, she just engages you in a way that a huge fighting scene might not, if it’s not designed well. Giant empty spectacle is less interesting than one person in one spot, sometimes.”

Ambitious and nerdy about film in equal measure, it’s clear there’s much more to come from Liang, and I’m interested in what her most valuable lesson has been so far. Turns out, it’s a great story involving Chinese veteran Cheng Pei-Pei (Come Drink With Me’s Golden Swallow, and Crouching Tiger, Hidden Dragon’s Jade Fox), whose film training includes a tradition of remaining on set throughout filming.

Roseanne Liang on the set of ‘Shadow in the Cloud’.

That meant that, during filming of Liang’s My Wedding and Other Secrets, Cheng would stay on set when she wasn’t required. “In New Zealand, trailers are a luxury,” Liang explains. “I said ‘Don’t you want to go to the trailer that we arranged for you?’ ‘No, I just want to sit and watch.’ ‘Why do you want to watch it, you’ve seen it hundreds of times!’ And she said ‘I learn something new every time’. To Pei-Pei, the secret of life is constant education and curiosity and learning. Movies are her work and her craft and her life, and she never gets bored. If I can be like her, that’s the life, right?”

Speaking of which, it’s time we put Liang through our Life in Film interrogation.

What’s the film that made you want to become a filmmaker? Terminator 2: Judgment Day is the movie that is at the top of the mountain that I’m climbing. To me it’s the perfect blend of spectacle, action design, smarts and heart. It poses the theory that if a robot can learn the value of humanity then maybe there’s hope for the ships that are us. That’s perennial, and possibly even more pertinent today. It holds a very special place in my heart, along with Aliens, Mad Max: Fury Road, Die Hard, La Femme Nikita and Léon: The Professional.

What’s your earliest memory of watching a film? I have a cassette tape that my dad made for my grandma in 1981 (he’d send tapes back to his mother in Hong Kong). I was three years old and he had just taken us to see The Empire Strikes Back in the cinema. And he can’t talk to my grandma because I’m just going on and on about R2-D2. I will not shut up about R2-D2 and he’s like, “Yes, yes I’m trying to talk to your grandmother,” and I’m like, “But Dad! Dad! R2-D2!” So it’s actually an archive, but it’s become my memory.

What’s the most romantic film you’ve ever seen? Eternal Sunshine of the Spotless Mind. It’s not the sexiest, but it’s the most romantic. That last scene, those last words where she goes “But you’re gonna be like this forever and I’m gonna be like this forever…” and he just goes “okay”. That to me is one of the most romantic scenes I’ve ever seen. It is a perfect movie.

And the scariest? If it’s a horror movie, the most scared I’ve been is The Ring. I was watching it on a VHS and I was lying on a beanbag on the floor and I was paralyzed with fear. I couldn’t move, because I felt that if I moved she’d see me! Also, American Psycho just came to me this year. I caught the twentieth anniversary of that movie, which is a terrifying film, and again, possibly more relevant now than when it was made. The scariest film that’s not a horror is Joker. It scared me how much I liked it. When I came out of the movie, I was like, “I’m scared because I kind of love it, but it’s horrible. It’s so irresponsible. I don’t wanna like this movie but goddamn, I feel it.” Like, I wanted to go on the streets and rage. In a way we’re all the Joker, we’re all the Batman. That duality, that yin and yang, is inside everyone of us. It’s universal.

What is the film that slays you every time, leaving you in a heap of tears? This is a classic one, the opening sequence of Up. The first ten minutes of Up just destroy me every time. I also saw Soul a couple of days ago and I was with the whole family and I, just, if I wasn’t with the whole family I would have been ugly-sobbing. I had a real ache in my throat after the movie because I was trying to stop [myself] from sobbing.

Tell me your favorite coming-of-age film, the film that first gave you ‘teenage feelings’? Pump Up the Volume. Christian Slater! Off the back of Pump Up the Volume, I fancied myself as a prophet and wrote a theater piece called Lemmings. Obviously the main character was a person who could see through the façade, and everyone else was following norms. “No one understands me, I’m a prophet!” So clearly I have this shitty, Joker-style megalomaniac inside of me. It was the worst play, and I don’t know why my teachers agreed for us to do a staging of it!

Christian Slater and Samantha Mathis in ‘Pump Up the Volume’ (1990).

Is there a film that you and your family love to rewatch? We’ve tried to impose our taste on our children, but they’re too young. We showed them The Princess Bride—they didn’t get it. We literally showed our babies Star Wars in their cribs. That’s how obsessive Star Wars fans we were.

Name a director and/or writer that you deeply admire for their use of the artform. I have a slightly weird answer for this. Can I just give love to Every Frame a Painting by Tony Zhou and Taylor Ramos? They are my film school. I was thinking of my love of Edgar Wright, but then I thought of their video essay on Edgar Wright and how to film comedy, and his essay on Jackie Chan and the rhythm of action and then their essay on the Coen Brothers and Shot Reverse Shot. I must have watched that 30 times ahead of the TV show that I’m making now. I started out in editorial and Tony Zhou is an editor and he talks about when to make the cut: it’s an instinct, it’s a feeling, it’s a rhythm. I realized the one thing in common that I could mention about all the films I’ve loved is Every Frame a Painting. It’s their love of movies that comes bubbling out of every single essay that they made that I just wanna shout out at this part of my career.

Were there any crucial films that you turned to in your development for Shadow in the Cloud? Indiana Jones was something that Chloë brought up—she likes the spiffiness and the humor of Indiana Jones. Sarah Connor was our touchstone for the female character. For one-person-in-one-space type stories, I watched Locke quite a lot, to figure out how they shaped tension and story and [kept] us on the edge of our seats when it’s only one person in one space. In terms of superheroes, I came back to Aliens. Not Alien. Aliens. You know, there are two types of people in this world—people who prefer Alien over Aliens, and people who prefer Aliens over Alien. But actually I think I vacillate for different reasons.

Can there be a third type of person, who thinks they’re both great, but Alien³, just, no? Maybe that’s the best group to be in. We don’t need to fight about this, we can love both of them! I was having an argument with James Wan’s company about this, because there’s a rift inside the company of people who prefer Alien over Aliens.

Okay, program a triple feature with your film as one of the three. I don’t know. Ask Ant Timpson!

I’ll ask Ant Timpson. [We did, and he replied: “Well, one has to be the Twilight Zone episode with William Shatner: Nightmare at 20,000 Feet. And then either Life (2017) or Altitude (2010).”]

Thank you Ant! I used to go to his all-nighters as a university student. He is the king of programming things.

Jake Gyllenhaal in ‘Life’ (2017).

It’s strange that we never met at one of his events! Ant would make me dress up in strange outfits and do weird skits between films. (For those who don’t know, Timpson ran the Incredibly Strange Film Festival for many years—now part of the New Zealand International Film Festival—and still runs an annual 24-Hour Movie Marathon.) So what’s a film from those events that sticks in your head as the perfect genre experience with a crowd? It was a movie about a man protecting a woman who was the girlfriend of a mafia boss: A Bittersweet Life. Not only does it have one of the sexiest Korean actors, sorry, not to objectify, but also I actually screenshot a lot of that film for pitch documents. And, do you remember a crazy Japanese movie where someone’s sitting on the floor with a clear umbrella and a woman is lactating milk? Visitor Q by Takashi Miike. I remember just how fucking crazy that was.

Finally, what was the best film you saw in 2020? I haven’t seen Nomadland yet, so keep in mind that I haven’t seen all the films this year. I have three: The Invisible Man, which I thought was just amazing. I thought [writer-director] Leigh Whannell did such a great job. The Half of It by Alice Wu, a quiet movie that I simply just adored. And then the last movie I saw at the cinema was Promising Young Woman. The hype is real.

Related content

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Follow Gemma on Letterboxd

‘Shadow in the Cloud’ is available in select theaters and on video on demand now.

[joshuamartian]

The last of Gruck and Slarg for the season. I imagine Gruck is constantly on the lookout for a third. Also great that they see a climactic battle about to happen and nope out of there

Watch the thrilling finale of 'The Adventures of Tumeke Space' and maybe we can make more! The world needs more Gruck. And, possibly, the others.

[rhysdarbinizedarby]

The clip:

[abbyboothy51]

Barefoot Bandits creators aiming to be New Zealand’s answer to Nickelodeon

Having expanded from three to more than 50 employees, Auckland-based Mukpuddy have their sights set on gaming and even a feature film.

[fernimterm1-blog]

Chelsey Furedi

Chelsey Furedi is an full-time animator for Mukpuddy, and creates comics in her spare time. She has a fluid style which works with her characters well in creating emotions, and seems to have a cartoony style and a more realistic style. She uses a wide range of bright colours on her work which makes it stand out and makes the lighting obvious, from night-time colours to a bright nightclub. 

She created the comic ‘Rock and Riot’, a fun comic about LGBT gangs in the 50′s, including non-binary, trans, ace and bisexual people. This is a common theme, as her currently ongoing comic, Project Naught, is also including LGBT people. 

[mukpuddy]

Super excited to show off the first official poster for "The Adventures of Tumeke Space" coming to HEIHEI / TVNZ OnDemand soon... Poster design by Chelsey Furedi.