{"id":52894,"date":"2025-01-28T09:15:29","date_gmt":"2025-01-28T09:15:29","guid":{"rendered":"https:\/\/peraltafinancing.com\/animation\/marcy-page-winner-of-this-years-winsor-mccay-award\/"},"modified":"2025-01-28T09:15:29","modified_gmt":"2025-01-28T09:15:29","slug":"marcy-page-winner-of-this-years-winsor-mccay-award","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=52894","title":{"rendered":"Marcy Page, Winner of This Year\u2019s Winsor McCay Award"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p>Every year at the Annie Awards in Los Angeles, the Hollywood chapter of the International Animated Film Association (ASIFA-Hollywood) presents the Winsor McCay Award in recognition of an individual\u2019s career contributions to the art of animation. Past recipients of this prestigious honour include Walt Disney (posthumously, in 1975), director Tim Burton (2009) and<em> Simpsons<\/em> creator Matt Groening (2010). The 2024 winner is filmmaker and producer Marcy\u00a0Page, who spent many years at the National Film Board.<\/p>\n<p>Born and raised in California, Marcy immigrated to Canada, joining the NFB in 1990, where she initially worked as a director and associate producer before becoming a producer with the English Animation Studio. In that role, she always made a point of seeking out eclectic and unconventional projects that stretched the boundaries of animation.<\/p>\n<figure class=\"wp-block-gallery has-nested-images columns-2 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large is-style-default\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" data-id=\"45333\" src=\"https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_image001-e1708028368106-1024x768.jpg\" alt=\"\" class=\"wp-image-45333\" srcset=\"https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_image001-e1708028368106-1024x768.jpg 1024w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_image001-e1708028368106-387x290.jpg 387w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_image001-e1708028368106-768x576.jpg 768w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_image001-e1708028368106-1536x1152.jpg 1536w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_image001-e1708028368106-1800x1350.jpg 1800w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_image001-e1708028368106.jpg 1814w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption class=\"wp-element-caption\">Marcy Page early years at the NFB. (Photo : Photo: Normand Roger)<\/figcaption><\/figure>\n<figure class=\"wp-block-image size-large is-style-default\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"769\" data-id=\"45332\" src=\"https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_Annecy2003-80-e1708028267163-1024x769.jpg\" alt=\"\" class=\"wp-image-45332\" srcset=\"https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_Annecy2003-80-e1708028267163-1024x769.jpg 1024w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_Annecy2003-80-e1708028267163-386x290.jpg 386w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_Annecy2003-80-e1708028267163-768x577.jpg 768w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_Annecy2003-80-e1708028267163.jpg 1401w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption class=\"wp-element-caption\">Marcy Page and H\u00e9l\u00e8ne Tanguay. (Photo: Normand Roger)<\/figcaption><\/figure>\n<figure class=\"wp-block-image size-large is-style-default\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" data-id=\"45329\" src=\"https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/91-NFB02-e1708028284686-1024x768.jpg\" alt=\"\" class=\"wp-image-45329\" srcset=\"https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/91-NFB02-e1708028284686-1024x768.jpg 1024w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/91-NFB02-e1708028284686-387x290.jpg 387w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/91-NFB02-e1708028284686-768x576.jpg 768w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/91-NFB02-e1708028284686-1536x1151.jpg 1536w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/91-NFB02-e1708028284686.jpg 1653w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption class=\"wp-element-caption\">Party time at the NFB Animation Studio.<\/figcaption><\/figure>\n<figure class=\"wp-block-image size-large is-style-default\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"766\" data-id=\"45328\" src=\"https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/8_MarcyPage-e1708028302633-1024x766.png\" alt=\"\" class=\"wp-image-45328\" srcset=\"https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/8_MarcyPage-e1708028302633-1024x766.png 1024w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/8_MarcyPage-e1708028302633-387x290.png 387w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/8_MarcyPage-e1708028302633-768x575.png 768w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/8_MarcyPage-e1708028302633-1536x1150.png 1536w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/8_MarcyPage-e1708028302633.png 1793w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption class=\"wp-element-caption\">Patrick Doyon, Wendy Tilby, Marcy Page and Michael Fukushima crafting a sand NFB logo on the beach the day before the Academy Awards ceremony. (Photo: Amanda Forbis)<\/figcaption><\/figure>\n<\/figure>\n<p>During a fruitful career spanning 24\u00a0years, she produced dozens of films by both emerging and experienced directors that, over time, earned more than 350\u00a0international awards for the NFB. That impressive track record includes six nominees for the Best Animated Short Film Oscar. They are Torill Kove\u2019s <strong><em>My Grandmother Ironed the King\u2019s Shirts<\/em><\/strong> (1999) and <strong><em>Me and My Moulton <\/em><\/strong>(2014), Chris Lavis and Maciek Szczerbowski\u2019s<strong><em> Madame Tutli-Putli<\/em><\/strong> (2007) and Amanda Forbis and Wendy Tilby\u2019s<strong><em> Wild Life<\/em><\/strong> (2011), as well as Chris Landreth\u2019s <strong><em>Ryan<\/em><\/strong> (2004) and Kove\u2019s <strong><em>The\u00a0Danish Poet <\/em><\/strong>(2006), both of which went on to win the Academy Award.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.nfb.ca\/film\/danish_poet-edu\/embed\/player\/\" width=\"530\" height=\"345\" frameborder=\"0\" allowfullscreen=\"true\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\"><\/iframe><\/p>\n<p style=\"width:(( width ))px\"><a href=\"https:\/\/www.nfb.ca\/film\/danish_poet-edu\/\" target=\"_blank\"><em>The Danish Poet<\/em><\/a><span>, <\/span><a href=\"https:\/\/www.nfb.ca\/directors\/torill-kove\/\" title=\"more films by Torill Kove\" target=\"_blank\"><span>Torill Kove<\/span><\/a><span>, <\/span><a href=\"https:\/\/www.nfb.ca\" target=\"_blank\">provided by the National Film Board of Canada<\/a><\/p>\n<p>A few days before the Annie Awards ceremony, Marcy was kind enough to sit down with us to answer a few questions.<\/p>\n<h3 class=\"wp-block-heading\"><strong>Could you provide us with a few words about the role of a producer in animation?<\/strong><\/h3>\n<p>I can only speak to being an animation producer at the very unique National Film Board of Canada. At its best, it is about seeking out projects, auteur directors and artists who expand the idea of what animation can be\u2014that push the possibilities of the medium and touch our humanity. It is about helping these creators clarify and realize their own vision to the very best of their ability. This might be by being an honest first audience to their evolving project, helping to put an inventive team in place that will complement their strengths and weaknesses, doing a lot of \u201ccreative listening,\u201d or being an advocate for the project within the institution. Of course, there\u2019s a lot of other less glamorous work that one tends to repress. I come to producing from having been a teacher and an independent animator, so I\u2019ve always been guided by what I myself might have appreciated.<\/p>\n<h3 class=\"wp-block-heading\"><strong>How did you come to work at the NFB?<\/strong><\/h3>\n<p>I met many animation directors and production people from the NFB while teaching animation classes at San Francisco State University with my colleague Marty McNamara. The SF Canadian Consulate correctly saw NFB animation and its makers as cultural ambassadors for Canada and strongly supported cultural exchange. Normand Roger, who freelanced as a composer and sound designer for many renowned NFB animated films, visited as a guest speaker. He also ultimately agreed to collaborate on an animated film I had started. Years later, we mixed the finished film in Montreal. Let\u2019s just say that it was an enchanted time for me. I ended up applying to immigrate to Canada in 1988 to be with Normand, and we have been together ever since.<\/p>\n<p>As soon as my landed immigrant status came through in 1990, David Verrall, then an animation producer at the NFB, hired me to temporarily work on a series of eclectic animation sequences for a documentary project. He was also key to eventually hiring me as a producer in the department when Eunice Macaulay retired. This transition involved a number of directors encouraging me to apply for the position, including John Weldon, getting on his knees and begging, proposing that we could make beautiful films together. I did naively apply and got the job. And all the visionary and talented people I worked with on productions ever since made it a decision I do not regret.<\/p>\n<h3 class=\"wp-block-heading\"><strong>What does it mean to you to receive the prestigious Winsor McCay Award presented by the Annie Awards in Los Angeles in recognition of lifetime or career contributions?<\/strong><\/h3>\n<p>It was a complete surprise. I suppose I have been surrounded by Canadian humility far too long, as I think my first reaction when I was phoned with the news was to blurt out, \u201cWhy me?\u201d\u00a0 (also the title of one of my favourite NFB films). I finally believe I am just a figurehead for the wider recognition of NFB animation.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.nfb.ca\/film\/why_me\/embed\/player\/\" width=\"530\" height=\"345\" frameborder=\"0\" allowfullscreen=\"true\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\"><\/iframe><\/p>\n<p style=\"width:(( width ))px\"><a href=\"https:\/\/www.nfb.ca\/film\/why_me\/\" target=\"_blank\"><em>Why Me<\/em><\/a><span>, <\/span><a href=\"https:\/\/www.nfb.ca\/directors\/janet-perlman\/\" title=\"more films by Janet Perlman\" target=\"_blank\"><span>Janet Perlman<\/span><\/a><span> &amp; <\/span><a href=\"https:\/\/www.nfb.ca\/directors\/derek-lamb\/\" title=\"more films by Derek Lamb\" target=\"_blank\"><span>Derek Lamb<\/span><\/a><span>, <\/span><a href=\"https:\/\/www.nfb.ca\" target=\"_blank\">provided by the National Film Board of Canada<\/a><\/p>\n<p>The organization ASIFA is an amazing international collection of chapters all over the world, uniting diverse animators through this transcendent shared art form.\u00a0 ASIFA Hollywood, which sponsors the Annie Awards, is perhaps the largest chapter, representing independent animators and the very lively California animation industry. I think this recognition from them is mainly due to the fondness that animators everywhere feel for the NFB and its example as a working government cultural institution, which is like a unicorn in the world today and certainly in the United States. The NFB has done powerful work to foster experimentation in animation in the auteur tradition of its founder, Norman McLaren, and has stacked up a proud collection of audacious, funny, challenging and touching work.\u00a0 Additionally, the NFB has set an example for inclusion, gender equity and diversity as an organization. In my experience, it is often easier for outsiders to recognize what many Canadians seem to take for granted. To be a <em>government<\/em> institution that supports such creative work sometimes feels like an impossible match (almost an oxymoron) but it has succeeded, and it has reflected Canadian values and multiculturalism in an unparalleled way. The NFB has had a positive, central role in the evolution and ecology of the film industry in Canada and its inspirational ripples have reverberated around the world.<\/p>\n<p><strong>Can you tell us about one or two significant moments related to your role as a producer or your career?<\/strong><\/p>\n<p>There are so many fleeting impressions that come to mind when I think about this question (so not one or two)\u2026 like a stream of consciousness. Watching Torill Kove hoist an Oscar for <strong><em>The Danish Poet<\/em><\/strong> (the key to admission) over her head as she led her \u201centourage\u201d of Canadians and Norwegians to crash the Vanity Fair after-party\u2026 Chris Landreth walking into my office to pitch his animated \u201cpsychorealism\u201d documentary <strong><em>Ryan<\/em><\/strong>, and then much later, my being absolutely stunned by the haunting animation of the character of Ryan Larkin touching a drawing from <a href=\"https:\/\/www.nfb.ca\/film\/walking\/\" target=\"_blank\" rel=\"noopener\"><strong><em>Walking<\/em><\/strong><\/a>\u2026 sitting delighted at a Steenbeck with Janet Perlman and composer Judith Gruber-Stitzer watching a rough edit of <a href=\"https:\/\/www.nfb.ca\/film\/bully_dance\/\" target=\"_blank\" rel=\"noopener\"><strong><em>Bully Dance<\/em><\/strong><\/a> timed to a percussion-only guide track\u2026 my beginner\u2019s luck elation at cementing a co-production at a single festival opening party in Norway with Studio Magica and the Norwegian Film Institute for <strong><em>My Grandmother Ironed the King\u2019s Shirts<\/em><\/strong> (stupidly thinking it might be that easy again)\u2026 Torill Kove and I being mentored by David Verrall on how to edit narration to action for the best comic effect\u2026<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.nfb.ca\/film\/my_grandmother_ironed_the_king_shirts\/embed\/player\/\" width=\"530\" height=\"345\" frameborder=\"0\" allowfullscreen=\"true\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\"><\/iframe><\/p>\n<p style=\"width:(( width ))px\"><a href=\"https:\/\/www.nfb.ca\/film\/my_grandmother_ironed_the_king_shirts\/\" target=\"_blank\"><em>My Grandmother Ironed the King\u2019s Shirts<\/em><\/a><span>, <\/span><a href=\"https:\/\/www.nfb.ca\/directors\/torill-kove\/\" title=\"more films by Torill Kove\" target=\"_blank\"><span>Torill Kove<\/span><\/a><span>, <\/span><a href=\"https:\/\/www.nfb.ca\" target=\"_blank\">provided by the National Film Board of Canada<\/a><\/p>\n<p>\u2026peeking in on Lynn Smith to see the evolution of her astonishing paint-on-glass animation for <a href=\"https:\/\/www.nfb.ca\/film\/soup_of_the_day\/\" target=\"_blank\" rel=\"noopener\"><strong><em>Soup of the Day<\/em><\/strong><\/a> and being caught by one of her funny stories\u2026 planning, gossiping and forever laughing with the ineffable H\u00e9l\u00e8ne Tanguay\u2026 witnessing the puppet setup of <strong><em>Madame Tutli-Putli<\/em><\/strong> with all her earthly possessions lined up on a train platform as Chris Lavis tinkered with lights and Maciek Szczerbowski added yet more tiny artifacts to the magical assembly\u2026<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.nfb.ca\/film\/madame_tutli_putli_en\/embed\/player\/\" width=\"530\" height=\"345\" frameborder=\"0\" allowfullscreen=\"true\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\"><\/iframe><\/p>\n<p style=\"width:(( width ))px\"><a href=\"https:\/\/www.nfb.ca\/film\/madame_tutli_putli_en\/\" target=\"_blank\"><em>Madame Tutli-Putli <\/em><\/a><span>, <\/span><a href=\"https:\/\/www.nfb.ca\/directors\/chris-lavis\/\" title=\"more films by Chris Lavis\" target=\"_blank\"><span>Chris Lavis<\/span><\/a><span> &amp; <\/span><a href=\"https:\/\/www.nfb.ca\/directors\/maciek-szczerbowski\/\" title=\"more films by Maciek Szczerbowski\" target=\"_blank\"><span>Maciek Szczerbowski<\/span><\/a><span>, <\/span><a href=\"https:\/\/www.nfb.ca\" target=\"_blank\">provided by the National Film Board of Canada<\/a><\/p>\n<p>Ines Hardtke, Marie Renaud and I puzzling over how to bring Paul Driessen into the computer age with <strong><em>The End of the World in Four Seasons<\/em><\/strong> and how to assemble eight stories being told on the screen simultaneously\u2026 Gayle Thomas showing me her favourite quilt patterns to abstractly animate her film <a href=\"https:\/\/www.nfb.ca\/film\/quilt\/\" target=\"_blank\" rel=\"noopener\"><strong><em>Quilt<\/em><\/strong><\/a>\u2026 script editing <strong><em>Seth\u2019s Dominion<\/em><\/strong> with Luc Chamberland\u2026 hearing Luc\u2019s distinctive laugh at everyone\u2019s preview screenings\u2026 alternating between tears and laughter as I listened to Sheldon Cohen\u2019s real-life episode that led to <a href=\"https:\/\/www.nfb.ca\/film\/my_heart_attack\/\" target=\"_blank\" rel=\"noopener\"><strong><em>My Heart Attack<\/em><\/strong><\/a>\u2026 picking up discarded ink drawings, spontaneous and delightful, that Chris Hinton had trashed while animating <strong><em>Flux<\/em><\/strong>\u2026 watching with Wendy Tilby and Amanda Forbis the lush and beautiful paint movement on the big screen of the first release print of <strong><em>Wild Life<\/em><\/strong>, their faux documentary \u201cwestern\u201d\u2026<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.nfb.ca\/film\/wild_life\/embed\/player\/\" width=\"530\" height=\"345\" frameborder=\"0\" allowfullscreen=\"true\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\"><\/iframe><\/p>\n<p style=\"width:(( width ))px\"><a href=\"https:\/\/www.nfb.ca\/film\/wild_life\/\" target=\"_blank\"><em>Wild Life<\/em><\/a><span>, <\/span><a href=\"https:\/\/www.nfb.ca\/directors\/amanda-forbis\/\" title=\"more films by Amanda Forbis\" target=\"_blank\"><span>Amanda Forbis<\/span><\/a><span> &amp; <\/span><a href=\"https:\/\/www.nfb.ca\/directors\/wendy-tilby\/\" title=\"more films by Wendy Tilby\" target=\"_blank\"><span>Wendy Tilby<\/span><\/a><span>, <\/span><a href=\"https:\/\/www.nfb.ca\" target=\"_blank\">provided by the National Film Board of Canada<\/a><\/p>\n<p>\u2026marvelling at Craig Welch\u2019s exquisitely drawn, Rube Goldbergesque opening sequence for <a href=\"https:\/\/www.nfb.ca\/film\/how_wings_are_attached\/\" target=\"_blank\" rel=\"noopener\"><strong><em>How Wings Are Attached to the Backs of Angel<\/em><\/strong><strong><em>s<\/em><\/strong><\/a>\u2026 premiering at the Art Gallery of Ontario the stereoscopic installation of <strong><em>June<\/em><\/strong>, Munro Ferguson\u2019s abstract homage to Joyce June Wieland, created on SANDDE (Roman and Paul Kroitor\u2019s novel system)\u2026 doing my own first stereoscopic drawing in space on SANDDE\u2026 coffee and script notes with fellow producer Melissa Malkin for Luc Otter and Claude Grosch\u2019s <strong><em>Rose &amp; Violet<\/em><\/strong> \u2026 finding Norman McLaren\u2019s old slippers in a garbage bin after they cleared out a defunct office and literally \u201cwalking in his shoes\u201d \u2026 and on and on.<\/p>\n<p><strong>What are you currently working on? Do you have any ongoing projects?<\/strong><\/p>\n<p>I have been working on an independent animated short called <strong><em>Virgin Fandango<\/em><\/strong> for a small eternity. The film is inspired by Portugal, where Normand and I spend part of the year in a big house that we share with celebrated animation filmmakers Abi Feijo and Regina Pessoa. Casa de Vilar is becoming somewhat of an animation centre, as Abi has a small animation museum and conducts wonderful workshops, and he and Regina have their studio there for personal film projects, as do Normand and I.\u00a0 They have worked with NFB French animation on various projects, revealing some of those NFB ripples around the world that are in turn multiplying inspiration exponentially. They are partnering on <strong><em>Virgin Fandango<\/em><\/strong> with their company, and Abi is a producer partner.<\/p>\n<p>The film is being created using <em>azulejos<\/em>, Portuguese tiles that have a white base and cobalt blue designs. I create the initial figurative animation on paper and then project these images onto the white tile base that are then painted with cobalt pigment, image by image, by myself and other brave artists. This includes Belinda Oldford, who directed the NFB animation <strong><em>Come Again in Spring<\/em><\/strong> using her watercolour style, and who has been very supportive of the project. There is a kiln setup and we fire the tiles that are ultimately then re-photographed as stop-motion objects. There are now thousands and thousands of tiles. The tile painting is almost all done and the film is half shot, but there\u2019s still much more to do. Yes, animation can be crazy and crazy making. I suspect that it\u2019s more a \u201ccalling\u201d than a profession.<\/p>\n<h3 class=\"wp-block-heading\"><strong>Filmmakers\u2019 tributes<\/strong><\/h3>\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u201cI think we should all\u00a0thank our lucky stars that we have Marcy. Not only because she is such an accomplished and gifted producer, but because she is an exceptionally lovely human being. I am sure there are lots of people around the world who say they cannot think of anyone more deserving of this award than Marcy Page; I am very happy to join that chorus of voices singing Marcy\u2019s praises. She is and always will be a beacon in the international community of animation and a bright star in many, many lives.\u201d \u2013 Torill Kove, director<\/p>\n<\/blockquote>\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"778\" src=\"https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_02-25-LA-005b-1024x778.jpg\" alt=\"\" class=\"wp-image-45330\" srcset=\"https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_02-25-LA-005b-1024x778.jpg 1024w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_02-25-LA-005b-382x290.jpg 382w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_02-25-LA-005b-768x584.jpg 768w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_02-25-LA-005b-1536x1167.jpg 1536w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_02-25-LA-005b-1800x1368.jpg 1800w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_02-25-LA-005b.jpg 1920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><figcaption class=\"wp-element-caption\">H\u00e5kon Lammetun (sound designer), Kevin Dean (composer) and Torill Kove after she won the Oscar\u00ae for <em>The Danish Poet<\/em>. (Photo: Normand Roger)<\/figcaption><\/figure>\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><strong>\u201c<\/strong>Marcy Page was our champion from the first day we met\u2014she recognized something in us that we did not yet even recognize in ourselves. She mentored us through every aspect of filmmaking and then every aspect of a film\u2019s success (which at times could be overwhelming). She protected us, picked us up, and never stopped believing in us. She deserves all the awards she\u2019s ever gotten and more.\u201d \u2014 Chris Lavis and Maciek Szczerbowski (<em><strong>Madame Tutli-Putli<\/strong><\/em>)<\/p>\n<\/blockquote>\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"940\" height=\"644\" src=\"https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_1016434-2007cannes06.jpg\" alt=\"\" class=\"wp-image-45331\" srcset=\"https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_1016434-2007cannes06.jpg 940w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_1016434-2007cannes06-423x290.jpg 423w, https:\/\/blog.nfb.ca\/wp-content\/uploads\/2024\/02\/thumbnail_1016434-2007cannes06-768x526.jpg 768w\" sizes=\"auto, (max-width: 940px) 100vw, 940px\"\/><figcaption class=\"wp-element-caption\"><em>Madame Tutli-Putli<\/em> directors Chris Lavis and Maciek Szczerbowski, Marcy Page and NFB Commissioner Claude Joli-Coeur at Cannes Film Festival. (Photo : Normand Roger)<\/figcaption><\/figure>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p>Header image: Patrick Doyon, Marcy Page, Wendy Tilby and Amanda Forbis at the Annie Awards.<\/p>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>Every year at the Annie Awards in Los Angeles, the Hollywood chapter of the International Animated Film Association (ASIFA-Hollywood) presents the Winsor McCay Award in recognition of an individual\u2019s career contributions to the art of animation. Past recipients of this prestigious honour include Walt Disney (posthumously, in 1975), director Tim Burton (2009) and Simpsons creator [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":52895,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12035],"tags":[30807,6119,30808,30809,30810,4096,30811,17867,30812,30813,30814,30815,30816,30817,30818,30819,30820,30821,30838,30840,30822,30823,30824,30825,30826,30827,30828,3620,4347,609,30829,13866,30830,30831,30832,30833,30834,30835,586,30836,30837,5967,30839,1003],"dealstore":[],"offerexpiration":[],"class_list":["post-52894","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-animation","tag-amanda-forbis","tag-animation","tag-animation-films","tag-animation-studio","tag-annie-awards","tag-award","tag-bully-dance","tag-carousel","tag-chris-landreth","tag-chris-lavis","tag-david-verrall","tag-eunice-macaulay","tag-how-wings-are-attached-to-the-backs-of-angels","tag-janet-perlman","tag-john-weldon","tag-luc-chamberland","tag-maciek-szczerbowski","tag-madame-tutli-putli","tag-marcy","tag-mccay","tag-me-and-my-moulton","tag-my-grandmother-ironed-the-kings-shirts","tag-my-heart-attack","tag-national-film-board","tag-nfb-english-animation-studio","tag-nfb-oscar-nominees","tag-nfb-oscar-winners","tag-oscar","tag-page","tag-quilt","tag-rose-violet","tag-ryan","tag-ryan-larkin","tag-seths-dominion","tag-sheldon-cohen","tag-soup-of-the-day","tag-the-danish-poet","tag-torill-kove","tag-walking","tag-wendy-tilby","tag-wild-life","tag-winner","tag-winsor","tag-years"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Marcy Page, Winner of This Year\u2019s Winsor McCay Award - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=52894\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Marcy Page, Winner of This Year\u2019s Winsor McCay Award - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"Every year at the Annie Awards in Los Angeles, the Hollywood chapter of the International Animated Film Association (ASIFA-Hollywood) presents the Winsor McCay Award in recognition of an individual\u2019s career contributions to the art of animation. 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