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Women Make History with Walt Disney's "Raya and the Last Dragon"
Press release:
Making History While Making "Raya and the Last Dragon"
The warrior at the center of Walt Disney Animation Studios’ newest film, Raya and the Last Dragon, is brave and resilient; Sisu, the titular dragon of legend, is also a bold hero in her own right, filled with optimism, hope and a disarming sense of humor. These strong women have been brought to life in the film—which debuted in theaters and on Disney+ with Premier Access Friday, March 5, 2021—by a talented team of writers, artists and technologists anchored by women leaders who are pretty inspiring themselves. Produced by Osnat Shurer, Raya and the Last Dragon was developed under the leadership of Disney Animation’s Chief Creative Officer, Jennifer Lee; with co-writer Adele Lim, head of story Fawn Veerasunthorn and co-head of animation Amy Smeed among the women leading the creative charge. Additionally, the film boasts an all-female technical leadership team led by technical supervisor, Kelsey Hurley, and associate technical supervisors, Gabriela Hernandez and Shweta Viswanathan.
The creative, technology and production leads on Raya and the Last Dragon were the best in their areas, Shurer states, and she believes that diversity in leadership “behind the camera” at Disney Animation is essential. She praises the studio’s efforts to increase representation on its films, noting, “The more people of different genders, backgrounds and ethnicities are in the room, the more of ourselves we’ll see on the screen, which is incredibly exciting. There is so much we can learn from each other, which in turn serves to deepen our empathy for one another, and our ability to all work together, embracing our unique contributions, to make a better world. What could be a more timely message?”
The technical leadership team oversees all technology needs for the film, ensuring the artists have the tools and technical resources they need to achieve the directors’ vision. “Our job is a bit behind- the-scenes but just as important,” Hernandez says. “It feels nice when that comes across in the artists’ gratitude when working together.”
“As technical supervisor, it’s my job to ensure we have everything we need from a technical standpoint to create the film. This ranges from making sure we have the tool sets needed, to making sure we have enough render capacity and disk space,” Hurley explains. Along with Hernandez and Viswanathan, the women lead a team of technical directors (TDs) who provide troubleshooting support for artists as well as develop new tools for them.
Raya and the Last Dragon takes viewers to the fantasy world of Kumandra—whose five lands are all filled with their own distinct cultures and creatures. “Each has a unique look and feel, and one of the challenges we faced was representing how large this world really is,” Hurley explains. “Raya brings together all the technologies we’ve created over the last 10 years together. Using Hyperion (our in-house renderer) that we first saw on Big Hero 6, fur simulation made for Zootopia, water tools from Moana and an upgraded volumetric system and environment toolset from Frozen 2, we are able to showcase a large world with a diverse set of characters and landscapes.”
While the technologists were able to draw from previous films to inspire innovations on screen in Raya and the Last Dragon, there was no reference for the shift they had to orchestrate when the pandemic forced production to continue remotely. “The entire team had to hit the ground running. We’re fortunate that our studio already enabled us to work from home to promote work-life balance. The main problem that needed to be solved was with regards to scale—we never had the entire studio need to log on at the same time before,” Hurley recalls. “Within just two weeks, we went from needing to have a rotation for when artists could work, to enabling the entire studio to log on all at once. The technology team at Disney did quick, amazing work which let the movie continue without missing a beat.”
Hurley describes being part of an all-female technology leadership team as “an incredible experience. Not long ago our TD department only had a few women, and now we’re at about equal gender representation in the department and in leadership,” she says. Viswanathan concurs, sharing, “I feel fortunate to have joined Disney, and honestly to have started working at a time where there isn’t a lot of emphasis on my gender, and my success and advancement is purely based on my merit.”
As Hurley, Hernandez and Viswanathan have grown in their tech careers, they praise the studio for fostering an environment that’s collaborative and rich with opportunities to learn from their fellow employees. “There are still some days where I wake up and I am just so stunned to work here alongside folks who made the movies I grew up on, folks whose works we studied in CG courses at university,” Viswanathan shares. “And now, nearly a decade later, I feel so blessed to be able to be here and make my own mark here. The studio truly is so collaborative, nothing is about the ‘I,’ but rather how ‘we’ can all work together to bring the movie to the world.”
Hernandez is grateful to her fellow technology leads for their mentorship and partnership in making Raya, and tried to pay that forward on her own team. “It was my first time being a supervisor, and Kelsey and Shweta always had my back. They trusted me, gave me the space to find my voice and style, and were there if I ever needed them. We grew together,” she says, adding, “I hope the team feels the same. It was very important to me and was one of my goals to give the TDs the best opportunities to grow and shine, too.”
“It’s inspiring working with all the artists and technologists in the studio,” Hurley says. “As someone with a computer science background, I love seeing our work translate to making a movie.” The technologist says she always had an interest in art and computers, but only discovered while she was in college that it was possible to pursue a career that combined the two seemingly disparate fields. “While I love art, I’m not a strong artist, so when I found out that this job acts as a bridge between art and technology, I felt like it was the perfect fit,” she notes.
Hernandez also discovered computer science in college. “That’s when I realized that I love problem solving and creative environments. Being a TD at Disney is perfect for that. Every day there’s a new problem to solve,” she recalls. “Growing up as a Dominican girl from The Bronx and watching Disney movies, I never imagined I would be working at Walt Disney Animation Studios.”
When asked what words of encouragement she has for women who are thinking of pursuing a similar path in animation technology, Hernandez urges, “Don’t be afraid to speak up and take up space. Believe in yourself. We, too, deserve a seat at the table.”
Viswanathan acknowledges the importance of a programming background—essential in building the tools that allow the artists to create—but also stresses, “Be curious and open-minded, and don’t be afraid to ask questions, because that’s a great way to learn. Having mentoring or tutoring experience also goes a long way, since a lot of our day is people-facing; having good soft skills is a huge plus.”
“Be confident in yourself and find your voice,” Hurley stresses. “Those are the two things that have changed my life and let me go out for different opportunities, even when they scared me.”
Shurer, who joined Disney Animation in 2012 and who previous produced the Oscar®-nominated Moana, underscores the importance of perseverance, especially when things are difficult. Her advice to women who are just starting out in animation is, “If you encounter setbacks along the way, take a moment to feel what you feel, and then get back into it,” she says. “Your story, our stories, are valuable and important and need to be told, and your voice in shaping these stories is essential.”
Disney Animation has a long history of stories featuring women in aspirational roles, Shurer points out, and it excites her to see an ever-growing number of equally strong women working behind the scenes at the studio. She shares, “As we move forward, our studio—led creatively by Jenn Lee, a woman who is a creative force in her own right, joined by women in leadership at every level—continues to lead the way towards greater inclusion on the screen and behind the camera. How cool is that?!”
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Sunday, March 21, 2021
Nominations for the 93rd Academy Awards Have Been Announced
93RD OSCARS® NOMINATIONS ANNOUNCED
Actor-producer Priyanka Chopra Jonas and singer, songwriter and actor Nick Jonas announced the 93rd Oscars® nominations Monday, March 15, 2021, live from London, via a global live stream on Oscar.com, Oscars.org, the Academy’s digital platforms, an international satellite feed and broadcast media.
Chopra Jonas and Jonas announced the nominees in 23 categories at 5:19 a.m. PT. For a complete list of nominees, visit the official Oscars website, www.oscar.com.
Academy members from each of the 17 branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and International Feature Film categories, nominees are selected by a vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees.
Active members of the Academy are eligible to vote for the winners in all 23 categories beginning Thursday, April 15, through Tuesday, April 20, 2021.
The 93rd Oscars will be held on Sunday, April 25, 2021, at Union Station Los Angeles and the Dolby® Theatre at Hollywood & Highland Center® in Hollywood, and will be televised live on ABC at 8 p.m. ET/5 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.
Nominations for the 2021 / 93rd Academy Awards:
Best motion picture of the year:
- "The Father" David Parfitt, Jean-Louis Livi and Philippe Carcassonne, Producers
- "Judas and the Black Messiah" Shaka King, Charles D. King and Ryan Coogler, Producers
- "Mank" Ceán Chaffin, Eric Roth and Douglas Urbanski, Producers
- "Minari" Christina Oh, Producer
- "Nomadland" Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé Zhao, Producers
- "Promising Young Woman" Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, Producers
- "Sound of Metal" Bert Hamelinck and Sacha Ben Harroche, Producers
- "The Trial of the Chicago 7" Marc Platt and Stuart Besser, Producers
Performance by an actor in a leading role:
Chadwick Boseman in "Ma Rainey’s Black Bottom"
Anthony Hopkins in "The Father"
Gary Oldman in "Mank"
Steven Yeun in "Minari"
Performance by an actor in a supporting role:
Sacha Baron Cohen in "The Trial of the Chicago 7"
Daniel Kaluuya in "Judas and the Black Messiah"
Leslie Odom, Jr. in "One Night in Miami..."
Paul Raci in "Sound of Metal"
Lakeith Stanfield in "Judas and the Black Messiah"
Performance by an actress in a leading role:
Viola Davis in "Ma Rainey's Black Bottom"
Andra Day in "The United States vs. Billie Holiday"
Vanessa Kirby in "Pieces of a Woman"
Frances McDormand in "Nomadland"
Carey Mulligan in "Promising Young Woman"
Performance by an actress in a supporting role:
Maria Bakalova in "Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan"
Glenn Close in "Hillbilly Elegy"
Olivia Colman in "The Father"
Amanda Seyfried in "Mank"
Yuh-Jung Youn in "Minari"
Best animated feature film of the year:
"Onward" Dan Scanlon and Kori Rae
"Over the Moon" Glen Keane, Gennie Rim and Peilin Chou
"A Shaun the Sheep Movie: Farmageddon" Richard Phelan, Will Becher and Paul Kewley
"Soul" Pete Docter and Dana Murray
"Wolfwalkers" Tomm Moore, Ross Stewart, Paul Young and Stéphan Roelants
Achievement in cinematography:
"Judas and the Black Messiah" Sean Bobbitt
"Mank" Erik Messerschmidt
"News of the World" Dariusz Wolski
"Nomadland" Joshua James Richards
"The Trial of the Chicago 7" Phedon Papamichael
Achievement in costume design:
"Emma" Alexandra Byrne
"Ma Rainey’s Black Bottom" Ann Roth
"Mank" Trish Summerville
"Mulan" Bina Daigeler
"Pinocchio" Massimo Cantini Parrini
Achievement in directing
"Another Round" Thomas Vinterberg
"Mank" David Fincher
"Minari" Lee Isaac Chung
"Nomadland" Chloé Zhao
"Promising Young Woman" Emerald Fennell
Best documentary feature
"Collective" Alexander Nanau and Bianca Oana
"Crip Camp" Nicole Newnham, Jim LeBrecht and Sara Bolder
"The Mole Agent" Maite Alberdi and Marcela Santibáñez
"My Octopus Teacher" Pippa Ehrlich, James Reed and Craig Foster
"Time" Garrett Bradley, Lauren Domino and Kellen Quinn
Best documentary short subject
"Colette" Anthony Giacchino and Alice Doyard
"A Concerto Is a Conversation" Ben Proudfoot and Kris Bowers
"Do Not Split" Anders Hammer and Charlotte Cook
"Hunger Ward" Skye Fitzgerald and Michael Scheuerman
"A Love Song for Latasha" Sophia Nahli Allison and Janice Duncan
Achievement in film editing
"The Father" Yorgos Lamprinos
"Nomadland" Chloé Zhao
"Promising Young Woman" Frédéric Thoraval
"Sound of Metal" Mikkel E. G. Nielsen
"The Trial of the Chicago 7" Alan Baumgarten
Best international feature film of the year
"Another Round" Denmark
"Better Days" Hong Kong
"Collective" Romania
"The Man Who Sold His Skin" Tunisia
"Quo Vadis, Aida?" Bosnia and Herzegovina
Achievement in makeup and hairstyling
"Emma" Marese Langan, Laura Allen and Claudia Stolze
"Hillbilly Elegy" Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney
"Ma Rainey’s Black Bottom" Sergio Lopez-Rivera, Mia Neal and Jamika Wilson
"Mank" Gigi Williams, Kimberley Spiteri and Colleen LaBaff
"Pinocchio" Mark Coulier, Dalia Colli and Francesco Pegoretti
Achievement in music written for motion pictures (Original score)
"Da 5 Bloods" Terence Blanchard
"Mank" Trent Reznor and Atticus Ross
"Minari" Emile Mosseri
"News of the World" James Newton Howard
"Soul" Trent Reznor, Atticus Ross and Jon Batiste
Achievement in music written for motion pictures (Original song)
"Fight For You" from "Judas and the Black Messiah" Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
"Hear My Voice" from "The Trial of the Chicago 7" Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite
"Husavik" from "Eurovision Song Contest: The Story of Fire Saga" Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson
"Io Sì (Seen)" from "The Life Ahead (La Vita Davanti a Se)" Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
"Speak Now" from "One Night in Miami..." Music and Lyric by Leslie Odom, Jr. and Sam Ashworth
Achievement in production design
"The Father" Production Design: Peter Francis; Set Decoration: Cathy Featherstone
"Ma Rainey’s Black Bottom" Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton
"Mank" Production Design: Donald Graham Burt; Set Decoration: Jan Pascale
"News of the World" Production Design: David Crank; Set Decoration: Elizabeth Keenan
"Tenet" Production Design: Nathan Crowley; Set Decoration: Kathy Lucas
Best animated short film
"Burrow" Madeline Sharafian and Michael Capbarat
"Genius Loci" Adrien Mérigeau and Amaury Ovise
"If Anything Happens I Love You" Will McCormack and Michael Govier
"Opera" Erick Oh
"Yes-People" GÃsli Darri Halldórsson and Arnar Gunnarsson
Best live action short film
"Feeling Through" Doug Roland and Susan Ruzenski
"The Letter Room" Elvira Lind and Sofia Sondervan
"The Present" Farah Nabulsi
"Two Distant Strangers" Travon Free and Martin Desmond Roe
"White Eye" Tomer Shushan and Shira Hochman
Achievement in sound
"Greyhound" Warren Shaw, Michael Minkler, Beau Borders and David Wyman
"Mank" Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin
"News of the World" Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett
"Soul" Ren Klyce, Coya Elliott and David Parker
"Sound of Metal" Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh
Achievement in visual effects
"Love and Monsters" Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox
"The Midnight Sky" Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins
"Mulan" Sean Faden, Anders Langlands, Seth Maury and Steve Ingram
"The One and Only Ivan" Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez
"Tenet" Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher
Adapted screenplay:
- "Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan" Screenplay by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Peter Baynham & Erica Rivinoja & Dan Mazer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad
- "The Father" Screenplay by Christopher Hampton and Florian Zeller
- "Nomadland" Written for the screen by Chloé Zhao
- "One Night in Miami..." Screenplay by Kemp Powers
- "The White Tigers" Written for the screen by Ramin Bahrani
Original screenplay:
- "Judas and the Black Messiah" Screenplay by Will Berson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas
- "Minari" Written by Lee Isaac Chung
- "Promising Young Woman" Written by Emerald Fennell
- "Sound of Metal" Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Cianfrance
- "The Trial of the Chicago 7" Written by Aaron Sorkin
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