Writer:	Natércia Rocha
Edition:	1992
Link:	Biography

N atércia Rocha was born in Lisbon on the 8th of June 1924 and died also in Lisbon on may 20th 2004. she was a writer an investigator, a critic and a proactive of books for children; she also collaborated regularly in the “Sesame’s street” magazine and in the organization of the Gulbenkian children’s literature meetings.

NATÉRCIA WROTE “A CAT WITHOUT A NAME”
N atércia Rocha specialized in books and libraries for children. She also did programs for television (“Children and Books,” Fair of Dolls “etc.). She graduated in the Faculdade de Letras de Lisboa and got a diploma in Language and English culture at the university of Cambridge.

S he is the individual author of a numerous children’s books and one collection, written in partnership with Carlos Correia and Maria Alberta Menéres.

N atércia Rocha was many times premiered by the Nacional Institute of Environmental (“O Ambiente na Literatura Infantil”).

Writer:	Nik Phelps
Edition:	1992
Link:	NikProcket.org

L ives in Gent, Belgium with his wife, Nancy and Remi, a West Highland Terrier. He has recorded with Tom Waits and Dan Hicks, and has appeared with Tony Bennett, Earl “Fatha” Hines, Frank Zappa, Joe Williams and numerous other popular musicians.

COMPOSER NIK PHELPS
H aving spent twenty years as a wind instrument performance specialist, Nik began to work more exclusively on film composition upon joining the Club Foot Orchestra in 1989. In the CFO, widely known for creating eclectic and insightful soundtracks for silent films, Nik began working with the techniques of modern and period composition that he had immersed himself in as an instrumental musician.

H is work in this period included music for Fritz Lang’s Metropolis, Buster Keaton’s Sherlock, Jr., and G.W. Pabst’s Pandora’s Box. Llater compositions include commercial music for companies such as Herman Miller, Intel and the Smithsonian Institute, and film soundtracks for independent animators including Nina Paley, Brooke Keesling and Simone Massi.

A s one of the lead composers in the CFO, he composed music for the CBS animated series The Twisted Tales of Felix the Cat, and in October 1996 was nominated for an Annie Award for Individual Achievement in Music by ASIFA-Hollywood (International Animated Film Society) for songs he wrote for the Felix series. As a result of his associations with ASIFA-SF and, later the Film Arts Foundation,(now The San Francisco Film Society), he recognized a need and desire to develop a wider audience for the wide range of independent animation and film being currently produced, both by veteran artists and skilled newcomers.

Director:	Charlie Blue
Short:	2008
Link:	More About Me

C arlos Cruz , also known as pseudonym Charlie Blue began working in cinema at a very early stage in his life. At only age 14 he initiated at Topfilme studios (animation studio) were he worked for 4 years with animator directors Ricardo Neto and Artur Correia. In 1979 Charlie Blue forms a little animation studio, that not only worked on animation but also postproduction and special effects for cinema, back then still in 35mm film. He became notorious in the cinematographic world working with many directors and producers namely: Cinequanon, Nova Imagem, Costa do Castelo, BlowUp, Panorâmica 35 among others.

A CHARLIE BLUE FILM
L ike every artist, never satisfied with the work produced, he turned towards finding other solutions so he began to travel abroad, finding out about new technologies and always looking for new and better results.

H e then forms “Imagina” a publicity film producer. In “Imagina” Charlie Blue begins to direct advertisements for television in animation and imagem real, both in film and digital format. He directed many movies namely: “AXA seguros”, “Yoogy”, “Cimpor”, “Tulicreme”, “Estrelitas”, “Tampinhas”, “Bollycao”, “Uzo”, “Bubaloo”, among others.

H aving also won Award Winning with the film “Castle Water” at the Cinanima animation festival.

I n 1999 a more ambitious project led way for a partnership. He formed his first industrial animation studio “MagicToons” were he worked with over 40 visual artists, creating a mark in the history of Portuguese animation. At this point the first step had been taken for the beginning of the animation industry in Portugal, opening doors for other initiatives such as the Belgian studio Neurones.

H owever the “MagicToons” project came to an end eventually, not due to lack of motivation but because of the crises that inevitably affected the animation industries around the whole world. This led sponsors to stop investing in the projects.

U nsatisfied with such designations Charlie Blue keeps firm and does not quit. At this moment even with the present national and worldwide crises, Charlie Blue is still motivated to gather ideas for the future of children’s animation and films, thus being very committed to taking forward a combination of actions be it in formation or production for television and home video.

More here: cb.smarty.cool