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Kelly Asbury, a abounding animator and administrator whose credits included Shrek 2, Spirit: Stallion Of The Cimmaron, and added than a dozen added high-profile activated films, has died. Variety letters that the account of afterlife was belly cancer. Asbury was 60.
A CalArts graduate, Asbury got his alpha at Disney in the aboriginal ’90s, alive as a cartoon artisan on a cardinal of projects, including The Little Mermaid, Beauty And The Beast, The Rescuers Down Under, and Toy Story, as able-bodied as confined as abettor art administrator for Tim Burton’s macabrely intricate The Nightmare Before Christmas. He again fabricated the move over to DreamWorks, area he formed for the abutting several years, confined as an artisan and casual adventure contributor on Prince Of Egypt, Chicken Run, Shrek, Kung Fu Panda, and the additional Madagascar film.
During that aforementioned period, Asbury additionally denticulate his aboriginal authoritative credit, alive alongside Lonra Cook on the aggressive 2D activated blur Spirit. Centered on a adolescent Mustang active in the American West in the 19th century, the blur was accepted for its attractive visuals and austere tone. Several of the animators who formed on the activity again followed Asbury to Shrek 2, which was the aboriginal of several movies area he additionally served as a articulation actor, lending his articulation to a scattering of accessory roles. (He got a hardly added arresting role on Shrek 3, although he didn’t direct.)
Asbury connected to assignment steadily up through 2019; his authoritative credits from this time accommodate Gnomeo And Juliet, Smurfs: The Lost Village, and aftermost year’s UglyDolls. In the meantime, he additionally popped in to advice out his old administration at Disney from time to time, with art credits on both Frozen and Wreck-It Ralph. And alfresco his assignment abaft the drafting table/computer, he was allegedly additionally article of an ball historian; in 2003, he appear Dummy Days, a well-regarded history of the lives of bristles arresting 20th aeon ventriloquists.
Asbury’s career straddled a cardinal moment in the history of Western animation, as acceptable 2D assignment consistently gave arena to the acceleration of CG films. He was there for several of those key moments—the casual improvement of stop-motion, the heights of the late-Disney era, the acceleration of Shrek and DreamWorks as a applicable aggressive force. Alive from annihilation but the films he Kelly Asbury lent his pen to, you could draw calm a adequately absolute history of the changes that came over the industry in that era; all that, and he allegedly wrote a appealing acceptable ventriloquism history, too.
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