Oscar-Nominated FernGully Director Coming to Cedarburg
Bill Kroyer on the set of FernGully
Oscar-nominated director Bill Kroyer will visit Cedarburg on May 3 for a special screening of the beloved animated film FernGully: The Last Rainforest.
Kroyer will share exclusive behind-the-scenes insights, discuss the film's groundbreaking animation techniques, and explore its enduring conservation message.
Kroyer began his animation career at Disney Studios in 1977, where he worked as an animator on The Fox and the Hound. Later, Kroyer to become one of the world's first computer animators on Disney's groundbreaking film TRON in 1982.
Here, Kroyer shares insights into the making of FernGully, working with Robin Williams, and his influential role in animation history.
Event Details:
Saturday, May 3, 12 - 2 PM
RIVOLI Theater
W62N567 Washington, Cedarburg
TICKETS: $10 at the box office (Cash only) All proceeds benefit the Jonathan Clark House Museum in Mequon.
What inspired you to create a children's film with such a powerful conservation theme?
FernGully was originally based on a children's book conceived by Diana Young, wife of Wayne Young, an Australian producer who had just achieved great success with Crocodile Dundee. After major studios turned down Wayne's proposal for an animated feature film, he approached my studio, KROYER FILMS. Although we were small, we had talented, Disney-trained artists. We expanded dramatically to take on the project. From the start, my wife Sue and I were very enthusiastic about making a film with such a strong environmental message.
FernGully combined traditional hand-drawn animation with computer animation (40,000 frames!). How revolutionary was this approach at the time, and how did you manage the technical challenges?
I was among the first computer animators when I worked on Disney's classic TRON in 1982. While I loved computer-generated animation, my background as a traditional animator made me realize that CG at the time lacked the nuanced acting achievable through hand-drawing. At my company, KROYER FILMS, I developed groundbreaking software to convert CG animation into paper drawings. This technique earned me an Oscar nomination for my short film, Technological Threat, and was later extensively used in FernGully, for elements like moving backgrounds, flocks of birds, props, and the massive logging machine known as The Leveller.
What do you hope today's kids take away from the film that might be different from what audiences understood 30+ years ago?
Even after all these years, the central takeaway remains the same: FernGully demonstrates that real nature is as fascinating, beautiful, and magical as any fantasy world. While our story includes magical fairy creatures, all the animals, plants, and trees are faithful representations of real-world nature. The film continues to pose the important question: Isn't such natural beauty worth protecting?
Robin Williams' performance as Batty Koda is legendary. What was it like directing him in the recording booth? Any memorable moments you can share?
The biggest challenge in directing Robin Williams was choosing from the multitude of brilliant, hilarious takes he offered. Beyond being a genius performer, Robin was one of the most courteous and genuinely kind individuals I've met. He would often stay after his recording sessions, chatting and joking with the crew,
For the animation-curious kids in our audience, could you explain your journey from traditional hand-drawn animation to incorporating computer technology? What advice would you give young people interested in animation today?
Hand-drawn animation is not dead, and if you have a talent and skill to pursue that career, I still feel it is the most magical of the art forms. Use the Internet to explore tutorials and lessons. Be informed before you choose a way to pursue both educational options and a career.
My journey from traditional hand-drawing to computer-generated animation mirrored the significant technological evolution within the animation industry. I was fortunate to be both witness and contributor to this transformation. I discuss this journey in-depth in my autobiography, Mr. In-Between: My Life in the Middle of the Animation Revolution, available on Amazon and my website, www.mrinbetween.org.
