Fifity Percent Grey (2001)

A soldier awakens on a gray, deserted plane. He rises, stretches - is that a drop of blood we see on the ground? He removes his helmet. A large television set sweeps into view. He walks to it, pushes a video tape into the slot, and the tape begins to play. "Welcome to Heaven, you are dead." The soldier hastens away; another television set rolls in front of him. The soldier draws his gun. Can he put an end to death? Or do other states await him?



Ruairi Robinson 's idea was to make a story where the character starts out a hero, turns into a coward and ends up a fool. It's basically a big cruel trick played on him by whoever controls the afterlife... The subject is potentially controversial , but it's nice to watch a movie that has a really unhappy ending.

Every Word In The The Bible Before Christ, Every Word In The Bible After Death (2007 - 2008)

By Ryan Barone.

Destino (2003)

Destino is a poetic take on love and time in which a dancer moves through bizarre settings and undergoes a series of transformations. It's told through shifting dream-like images, set to the music of Mexican ballad Destino, by Armando Dominguez.
This short is the result of a 1946 collaboration between Salvador Dali and Walt Disney. The idea began when the two artists met at a party in Hollywood and decided to make a short film together, with Dali spending eight months working with director John Hench at the Disney studio, painting, drawing and discussing how to add motion to his images. But in 1947 the studio ran into financial trouble and the unfinished project was shelved in the Disney vaults for the next 54 years.



In 1999, executive producer Roy Disney, director Dominique Monfery, producer Baker Bloodworth, and 95 year-old John Hench, finally finished the film. Monfrey began by reviewing a rough edit of the original artwork adapted from the song. He had good feeling about the song, which was also redone, and was heartened by the strong visual ideas conceived by Dali and John Hench. The first decision was to make the film the way it originally would have been done in 1946, choosing to rely mainly on traditional animated techniques.
One important fact is that there are 2D character animation but there aren't lines on the character: the volume of the character is revealed more by light and shadow than by color. In order to better match Dali, they decided to remove that dark line that usually outlines the character sheet.
The essential technique embraced was the cross-dissolve, part of the montage strategy that Dali intended to utilize in the animation, which Monfrey paired with classical movement and timing to bring clarity to the poetry.

Sketchbook 04

By Tim Beard.

Nibbles (2003)

Based on the true story of a father who takes his sons on a fishing trip in the untamed forests of Montreal, this hilarious animated short by Academy Award-nominated director Chris Hinton is a paean to the joys of family travel and the multiple wonders of fast food.



Displaying Hinton's trademark wacky humor and unique graphic style, this film captures the primal and carnal serenity of fishing, mixing the soothing harmonies of nature with the powerful desire for food consumption along the way. For parents, the true essence of family travel is driven home with riveting clarity.

Criminals of the Art World

By JEREMY W. EATON.

Badgered (2005)

The tale of a grumpy badger who just wants the world to let him sleep.

Two crows disturb while he's hibernation. The badger climbs out of its hole once to try to silence the crows. When that doesn't work, fate intervenes and the hill on which are the crow's tree and the badger's lair becomes an underground missile silo. The badger investigates, and events move beyond its control. Is sleep in the offing?



There is another level to this story of a badger who just wants to sleep, but it is told with a light, humorous touch, not an annoying alarm-clock style bleating. It approaches the topic of nuclear power from a new, refreshing, badger's eye point of view.
It’s funny. It’s political.
Sharon Colman approachs animation from a traditional illustrative angle and is amused by the peculiar and absurdity of human nature, and developed an interest in character and their physiological makeup.