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27 de sept. de 2023 · Nine-time Emmy Award-winning independent animation studio, Baobab Studios, today announced Osnat Shurer has joined the studio as Co-Chief Creative Officer alongside Chief Creative Officer Eric Darnell (Madagascar).Shurer brings over 30 years of experience as an animation creative talent. She produced the Oscar-nominated Disney hits Raya and the Last Dragon and Moana, which grossed over $700 ...
4 de nov. de 2016 · Osnat Shurer, Ron Clements, and John Musker present “Moana” at D23 Expo 2015. Shurer (cont’d): Also, the more I learned about the culture, as we were helping with the research, what I ...
3 de sept. de 2020 · Osnat Shurer, producer of Disney ’s upcoming animated feature “ Raya and the Last Dragon ,” will give a virtual talk at the 2020 VIEW Conference, based in Turin, Italy. Her session will be ...
27 de sept. de 2023 · Former Walt Disney Feature Animation producer Osnat Shurer will join indie animation studio Baobab Studios and serve as Co-Chief Creative Officer alongside CCO Eric Darnell. Shurer boasts over 30 years of experience in animation, having previously simultaneously held the roles of VP of Development at Walt Disney Feature Animation and executive producer of the short films group at Pixar.
26 de ene. de 2021 · By Tatiana Hullender. Published Jan 26, 2021. Screenwriter Adele Lim and producer Osnat Shurer chat about developing Disney's next original animated film, Raya and the Last Dragon. Walt Disney Animation's first original release in almost five years, Raya and the Last Dragon, is a labor of love that arrives in homes and select theaters on March 5.
23 de nov. de 2016 · By Joe Deckelmeier. Published Nov 23, 2016. We interview Moana producer Osnat Shurer about the process creating the film's catchy soundtrack and various Disney Easter eggs. In the years between its conception and its release, an animated feature can go through countless iterations. Disney’s Moana is no exception.
27 de ene. de 2021 · Osnat Shurer: I just fell in love with, with the themes of community that we felt were shared everywhere with some of the visual underlying visual design elements. And so what we tried to do, and it wasn’t something you do once, you do it constantly throughout the film, is always look at the inspiration, and then how it feeds the story and how it works in the fantasy.
