ASIFA-Hollywood: The International Animated Film Society
Saturday, April 02, 2005
Sleepy, Happy, Jumpy, Doc .......
Animated News reports on an 8th dwarf: http://www.animated-news.com/archives/00003263.html
Friday, April 01, 2005
A Forced March Down Memory Lane
The big problem about moving really interesting animation artifacts is that they are really interesting. This last Wednesday night we needed to move a lot of stuff in a short time so that Antran could schedule the professional move of the safe that holds all of the rare animation stuff.
So I kept seeing this cool stuff go by that slowed down the move. I moved a whole cabinet filled with voice actor tapes (looked like 70`s and 80`s). Then I moved a box full of Pocahontas commemorative booklets.
The real stopper was a box with binders labeled Payroll Records Don Bluth Studios. Saw some Bata tapes go by from the 1995 Annies, one had Disney`s Gargoyles, what a great show that was.
We moved filing cabinet after filing cabinet filled with the job folders for now defunct small studios from the 50`s, 60`s, 70`s and 80`s. I saw painted backgrounds and cells and rough animation. And the hard part was I didn`t have time to stop and look at it, to shift through it, to dig through the treasures.
Man, this Virtual Archive is going to be so mega-incredible. Steve Worth is ordering the phase one equipment this month, the scanner, the workstation, and the file server. The shelving needs to go up. And then a lot of long hours going through the stuff, getting it in order, cataloging it. Count me in on that detail.
So I kept seeing this cool stuff go by that slowed down the move. I moved a whole cabinet filled with voice actor tapes (looked like 70`s and 80`s). Then I moved a box full of Pocahontas commemorative booklets.
The real stopper was a box with binders labeled Payroll Records Don Bluth Studios. Saw some Bata tapes go by from the 1995 Annies, one had Disney`s Gargoyles, what a great show that was.
We moved filing cabinet after filing cabinet filled with the job folders for now defunct small studios from the 50`s, 60`s, 70`s and 80`s. I saw painted backgrounds and cells and rough animation. And the hard part was I didn`t have time to stop and look at it, to shift through it, to dig through the treasures.
Man, this Virtual Archive is going to be so mega-incredible. Steve Worth is ordering the phase one equipment this month, the scanner, the workstation, and the file server. The shelving needs to go up. And then a lot of long hours going through the stuff, getting it in order, cataloging it. Count me in on that detail.
Marcus Adams is a 3-D animator, a student of animation, and a hell of a nice guy who rolls up his sleeves and pitches in to help. He and his lovely wife Nancy saved my butt at last year`s comic con by filling in at the booth when I couldn`t get anybody.
He worked last year`s 2-D Expo, he is signed up to work this year`s 2-D Expo, he helped set up and break down the comic con booth last year and will be doing the same again this year. And, bless him, he has just promised to help run the ASIFA booth at comic con again his year, committing to close the booth each day, thus freeing me to run the presentations.
He is the kind of person that you want on your team. He is dependable and hard working and fun to be with. I am glad to proclaim him my friend and the ASIFA-Hollywood Volunteer for the month of April.
Thursday, March 31, 2005
Act Of Membership Meeting - It Is where It Is At
The monthly Asifa-Hollywood Act Of Membership meeting is the heart of all ASIFA activities. It is the last Wednesday of each month. Lots of people, lots of work, lots of planning, some pizza and networking. A fun way to spend a Wednesday night and be part of animation history.
When I headed home at 9:30 there were still people standing out on the street trading cards and talking animation.
The monthly Asifa-Hollywood Act Of Membership meeting is the heart of all ASIFA activities. It is the last Wednesday of each month. Lots of people, lots of work, lots of planning, some pizza and networking. A fun way to spend a Wednesday night and be part of animation history.
Last night people from large studios (I saw a DreamWorks card pass hands) people from small studios (we had the head of Smorgasbord), animation students, animators, members of the film press (Internet Movie Data Base), and people that just plain love animation got together to be part of and take part in ASIFA.
- We rearranged the archive to be ready for the upcoming move of the safe that houses a lot of the really rare stuff.
- We planned our Comic Con presence
- We lined up volunteers for 2-D Expo, Comic Con, the Aladdin Reunion, and the Scrappyland exhibit and screening.
- We had pizza
- We talked
- Networked
- Reviewed animation projects (one of the assistance animators on Robot Chicken talked about the project and her involvement)
When I headed home at 9:30 there were still people standing out on the street trading cards and talking animation.
Wednesday, March 30, 2005
Schlesinger Wars Continued
Amid Amidi, over at Cartoon Brew,
http://www.cartoonbrew.com/archives/2005_03.html#001006 has an article on Leon Schlesinger and how his inactivity and fiduciary negligence make him the prefect animation executive.
Then Mark Evanier over at his New From Me site NewsFromMe answers his post by saying that Leon did give his animators freedom to create but he paid them poorly.
Time for me to weigh in. Yes Leon paid his workers poorly, I agree and yes he gave them freedom and yes he went to the track and he spent time on his yacht but he was more hands on than he is credited with being.
About a year ago I was reading the first couple of chapters of Martha Sigall`s upcoming book in proof form. (2 more days until it in out on the stands). There was a story in her book about things that the animators had to do in storyboards to slip things past Schlesinger (I`m not going to tell you what. It is a great story and I am not about to steal her thunder)
So I think to myself if Leon is always at the track and gives them complete freedom why do they have to put things over on him?
I started talking to Martha and doing some research and I have come to the conclusion that Leon`s reputation has been damaged by animators wanting to take more credit for themselves and in one case purposely minimized in an act of disserved revenge.
First off, Tex Avery and crew were not put over on the Warner`s lot to give them freedom. They were put there because Tom Palmer was about to get fired and Leon wanted his replacement off site so that Tom would finish his work before he found out that the ax was going to fall.
Leon gave Tex the people that were not fitting in at the studio. Bobo Canon, Chuck Jones, and Bob Clampett were misfits that hadn`t had a real chance to shine. Virgule Ross and Sid Southerland came with Tex from Lantz. They were part of his scam to pass himself off as an animation director.
Leon did not go out looking for Tex or get Tex away from Lantz. Tex was recovering from his eye injury and had been out of work for a year. He bluffed his way into Schlesingers. Leon gave him a one picture make or break tryout in an old shake on the Warner's lot.
Leon did enjoy the good life and he did leave the office sometimes (okay a lot of times) but when he was there he was there. It makes the animators seem more important if they minimize his roll. Then they can take credit for everything themselves.
The real damage to Leon`s reputation comes from Chuck Jones. Leon never forgave Chuck for leading the strike. Leon was a smart enough businessman to keep Chuck Jones on staff. But he made his life a living hell whenever he could.
As a pay back Chuck minimized Leon`s roll to that of bumbling buffoon. I have never once seen a piece of Chuck Jones footage about Leon or heard Chuck talk about Schlesinger without him going into an exaggerated Leon lisp. He minimized the strike saying that Leon wanted to get back to the track so he caved in. And he never gave Leon any credit for anything but going to the track and being a buffoon.
I completely understand why Chuck tried to cut Leon Schlesinger out of history and I agree with all of the things that Amid and Mark said. But both of their takes on the subject are too simplistic and the full story of Leon Schlesiger has been hidden long enough.
http://www.cartoonbrew.com/archives/2005_03.html#001006 has an article on Leon Schlesinger and how his inactivity and fiduciary negligence make him the prefect animation executive.
Then Mark Evanier over at his New From Me site NewsFromMe answers his post by saying that Leon did give his animators freedom to create but he paid them poorly.
Time for me to weigh in. Yes Leon paid his workers poorly, I agree and yes he gave them freedom and yes he went to the track and he spent time on his yacht but he was more hands on than he is credited with being.
About a year ago I was reading the first couple of chapters of Martha Sigall`s upcoming book in proof form. (2 more days until it in out on the stands). There was a story in her book about things that the animators had to do in storyboards to slip things past Schlesinger (I`m not going to tell you what. It is a great story and I am not about to steal her thunder)
So I think to myself if Leon is always at the track and gives them complete freedom why do they have to put things over on him?
I started talking to Martha and doing some research and I have come to the conclusion that Leon`s reputation has been damaged by animators wanting to take more credit for themselves and in one case purposely minimized in an act of disserved revenge.
First off, Tex Avery and crew were not put over on the Warner`s lot to give them freedom. They were put there because Tom Palmer was about to get fired and Leon wanted his replacement off site so that Tom would finish his work before he found out that the ax was going to fall.
Leon gave Tex the people that were not fitting in at the studio. Bobo Canon, Chuck Jones, and Bob Clampett were misfits that hadn`t had a real chance to shine. Virgule Ross and Sid Southerland came with Tex from Lantz. They were part of his scam to pass himself off as an animation director.
Leon did not go out looking for Tex or get Tex away from Lantz. Tex was recovering from his eye injury and had been out of work for a year. He bluffed his way into Schlesingers. Leon gave him a one picture make or break tryout in an old shake on the Warner's lot.
Leon did enjoy the good life and he did leave the office sometimes (okay a lot of times) but when he was there he was there. It makes the animators seem more important if they minimize his roll. Then they can take credit for everything themselves.
The real damage to Leon`s reputation comes from Chuck Jones. Leon never forgave Chuck for leading the strike. Leon was a smart enough businessman to keep Chuck Jones on staff. But he made his life a living hell whenever he could.
As a pay back Chuck minimized Leon`s roll to that of bumbling buffoon. I have never once seen a piece of Chuck Jones footage about Leon or heard Chuck talk about Schlesinger without him going into an exaggerated Leon lisp. He minimized the strike saying that Leon wanted to get back to the track so he caved in. And he never gave Leon any credit for anything but going to the track and being a buffoon.
I completely understand why Chuck tried to cut Leon Schlesinger out of history and I agree with all of the things that Amid and Mark said. But both of their takes on the subject are too simplistic and the full story of Leon Schlesiger has been hidden long enough.
Tuesday, March 29, 2005
If You Have the Screener Why Buy the Desk - Here`s Why!
So I`ve had my ASIFA screener copy of The Incredibles for 4 months. Got all of the cool feelings of superiority out of lording it over my students and friends, I`ve got the Incredibles and you don`t! Defended my copies against same friends, neighbors, and students. No, you can not borrow my copy. It can not leave my hands, thank you very much. I'm the one they are going to come after when you make a pirated copy. Even got to publicly humiliate some jerk in Europe that e-mailed me trying to buy one of my family`s copies of said movie.
I`ve got the movie. I`ve seen it maybe 30 or more times. I`ve got good mileage out of my ASIFA-Hollywood swag. Why should I buy the new commercial disk? Money is tight, right? Okay, let me tell me why. Disk 2. There is more stuff, just plain playing time-wise, on Disk 2 then there is on Disk 1. And it is cool stuff.
REASON 1 - PIXAR GOES 2-D:
We have heard the rumors for the last couple of years that Pixar was going to produce 2D animation. Surprise; check out Mr. Incredible and Pals. I know that this tongue-in-cheek send up of Clutch Cargo is not what the rumor-mongers had in mind but it is a great bit of fun. And maybe even an answer to all the 2-D rumor-mongers.
Make sure to play it with the commentary by Mr. Incredible and Frozone. (P.S. check out Pixar`s titles, Pixar has been quietly producing 2-D animation since Monsters Inc. with no one seeming to take note. I know you want a feature, but be happy with what you have got.)
REASON 2 - JACK-JACK ATTACKS:
Here is a great piece of animation. Good storytelling. Lots of fun. Kari the babysitter may seem like a flake but she knows her stuff and knows how to handle any situation. She has got a lot of grit. Mozart just does too good of a job with Jack-Jack`s cognitive development.
REASON 3 - THE GREATEST 2-D MOVIE NEVER SEEN:
The deleted scenes are taken from Brad Bird`s animatic. It looks like some of it is done with flash, some with 3-D elements, and some is done pencil test style. All of it is great fun. I would love to see the complete animatic. Maybe some day?
REASON 4 - THREE MAJOR MAKING OF DOCUMENTARIES:
The Making of the Incredibles, more making of the Incredibles, visual rendering blunders, and a documentary with Sarah Vewell, the voice of Violet. What a great choice for this teenage wallflower. A very fascinating lady. She is truly out there.
REASON 5 - COMMENTARY, COMMENTARY, AND MORE COMMENTARY:
I am not a big fan of commentaries on live action films, they tend to take the magick out of the filmmaking process. I am of 2 minds. I like to know stuff about production but I don`t want to know so much that it ruins the fun of the movie for me. However when I get to animated movies I really like to hear the animators and the director talk about how they did what they did. Because somehow it makes it all the more magick, if you like this kind of thing then The Incredibles has it in spades. Both Brad and John Walker Commentary and commentary by 10 of the animators. Very cool stuff.
I`ve got the movie. I`ve seen it maybe 30 or more times. I`ve got good mileage out of my ASIFA-Hollywood swag. Why should I buy the new commercial disk? Money is tight, right? Okay, let me tell me why. Disk 2. There is more stuff, just plain playing time-wise, on Disk 2 then there is on Disk 1. And it is cool stuff.
REASON 1 - PIXAR GOES 2-D:
We have heard the rumors for the last couple of years that Pixar was going to produce 2D animation. Surprise; check out Mr. Incredible and Pals. I know that this tongue-in-cheek send up of Clutch Cargo is not what the rumor-mongers had in mind but it is a great bit of fun. And maybe even an answer to all the 2-D rumor-mongers.
Make sure to play it with the commentary by Mr. Incredible and Frozone. (P.S. check out Pixar`s titles, Pixar has been quietly producing 2-D animation since Monsters Inc. with no one seeming to take note. I know you want a feature, but be happy with what you have got.)
REASON 2 - JACK-JACK ATTACKS:
Here is a great piece of animation. Good storytelling. Lots of fun. Kari the babysitter may seem like a flake but she knows her stuff and knows how to handle any situation. She has got a lot of grit. Mozart just does too good of a job with Jack-Jack`s cognitive development.
REASON 3 - THE GREATEST 2-D MOVIE NEVER SEEN:
The deleted scenes are taken from Brad Bird`s animatic. It looks like some of it is done with flash, some with 3-D elements, and some is done pencil test style. All of it is great fun. I would love to see the complete animatic. Maybe some day?
REASON 4 - THREE MAJOR MAKING OF DOCUMENTARIES:
The Making of the Incredibles, more making of the Incredibles, visual rendering blunders, and a documentary with Sarah Vewell, the voice of Violet. What a great choice for this teenage wallflower. A very fascinating lady. She is truly out there.
REASON 5 - COMMENTARY, COMMENTARY, AND MORE COMMENTARY:
I am not a big fan of commentaries on live action films, they tend to take the magick out of the filmmaking process. I am of 2 minds. I like to know stuff about production but I don`t want to know so much that it ruins the fun of the movie for me. However when I get to animated movies I really like to hear the animators and the director talk about how they did what they did. Because somehow it makes it all the more magick, if you like this kind of thing then The Incredibles has it in spades. Both Brad and John Walker Commentary and commentary by 10 of the animators. Very cool stuff.
The Silent Era 1897-1929
Jon Reeves of IMDB comments on yesterday`s rant on professor Bonehead.
See Original Story: Bonehead
The good news is that my favorite print reference for that era, American
Animated Films: The Silent Era 1897-1929, by Denis Gifford (McFarland, ISBN 0-89950-460-4, apparently out of print but available) gets it right, though they list it under what we show as an alternate title, Mr. Bonehead Gets Wrecked.
--
Jon Reeves
The Internet Movie Database http://imdb.com "My God! It's full of stars!"
See Original Story: Bonehead
Monday, March 28, 2005
Book Signing & Birthday Party for MARTHA SIGALL
Other news about Martha`s Book and related events:
===================
April 17, 2005 • 2:00pm to 5:00pm
ASIFA-Hollywood cordially invites you a
Book Signing & Birthday Party for MARTHA SIGALL
In honor of the publication of her biography
Martha's book!
LIVING LIFE INSIDE THE LINES
Join us as we celebrate the publication of Martha Sigall's book, "Living Life In Side The Lines: Tales From The Golden Age of Animation", and a special birthday celebration at the Van Eaton Animation Art Gallery in Sherman Oaks. Martha will be signing copies of her book, rare one-of-a-kind items will be on sale and raffled away - and they'll be cake for all!
Martha is one of the last from the fabled Termite Terrace where she started working when she was but a teenager. Her stories of her career at Leon Schlesinger, MGM (alongside Hanna, Barbera and Tex Avery), with Bob Clampett, Chuck Jones, etc. are collected in her book - and here's a rare chance to meet her in person! Don't miss this rare Asifa-Hollywood event!
April 17, 2005 • 2:00pm to 5:00pm
Van Eaton Gallery
13613 Ventura Blvd.
Sherman Oaks, CA
========================
Women In Animation have a book signing planned with Martha on April 19th. At Cartoon Network during their Annual Status Meeting. http://womeninanimation.org/
Networking at 6 PM Meeting at 7 PM
=========================
The Culver City Historical Society has Martha scheduled for a book signing on April 20th. at the Veterans Center in Culver City at 7 PM.
=========================
As my readers know I have been waiting for this book for some time. I started reading this in proofs and got hooked and have had to wait for the finished work to hit the stands.
Other news about Martha`s Book and related events:
===================
April 17, 2005 • 2:00pm to 5:00pm
ASIFA-Hollywood cordially invites you a
Book Signing & Birthday Party for MARTHA SIGALL
In honor of the publication of her biography
Martha's book!
LIVING LIFE INSIDE THE LINES
Join us as we celebrate the publication of Martha Sigall's book, "Living Life In Side The Lines: Tales From The Golden Age of Animation", and a special birthday celebration at the Van Eaton Animation Art Gallery in Sherman Oaks. Martha will be signing copies of her book, rare one-of-a-kind items will be on sale and raffled away - and they'll be cake for all!
Martha is one of the last from the fabled Termite Terrace where she started working when she was but a teenager. Her stories of her career at Leon Schlesinger, MGM (alongside Hanna, Barbera and Tex Avery), with Bob Clampett, Chuck Jones, etc. are collected in her book - and here's a rare chance to meet her in person! Don't miss this rare Asifa-Hollywood event!
April 17, 2005 • 2:00pm to 5:00pm
Van Eaton Gallery
13613 Ventura Blvd.
Sherman Oaks, CA
========================
Women In Animation have a book signing planned with Martha on April 19th. At Cartoon Network during their Annual Status Meeting. http://womeninanimation.org/
Networking at 6 PM Meeting at 7 PM
=========================
The Culver City Historical Society has Martha scheduled for a book signing on April 20th. at the Veterans Center in Culver City at 7 PM.
=========================
As my readers know I have been waiting for this book for some time. I started reading this in proofs and got hooked and have had to wait for the finished work to hit the stands.
Undervalued Animator Victim of Bonehead Mistake
I got into a little animation history research yesterday. I have this video that lists Professor Bonehead Is Shipwrecked as the 1912 work of Emile Cohl. It also states that it was created in America.
1912 is the right date for Cohl to be in the U.S. of A. Tom Edison was using his patent to block foreign filmmakers from importing film at the time so a lot of French companies had U.S. studios so that they did not have to import.
Emile Cohl was at the Eclair Studio in Fort Lee, New Jersey from 1912 to 1914. (The studio burned down later helping to destroy his U.S rep. The ground the studio stood on is now the Fort Lee on ramp for the George Washington Bridge - a ramp I have used a lot in the past because there is no way to get out of Newark Airport without heading to the G.W. Bridge even if you do need to head into Jersey)
The first problem that arises with this video is that the title card clearly states that this is a Galmont America Film, the wrong studio for Cohl at this time.
The next problem is that there is clearly a panning run cycle / traveling background technique used in this film which means cell overlay or Rip and Slash. Can`t be done any other ways. Raul Berre` came up with Rip and Slash around 1913 or 1914, Bill Nolan came up with traveling background about the same time and Earl Hurd didn`t patent Cell Overlay until 1915 so the 1912 date is really out of the question.
The third problem is that it just does not look like the work of Emile Cohl. The subject matter does not seem like something he would tackle. The technique is crud in places where Cohl had already shown proficiency, and the drawing style does not match the other works of Cohl.
I love Emile Cohl's work and I would love for there to be more of it. I would love for him to have used cell overlay and panning run cycle / traveling background technique in 1912 and get some of the credit he deserves for creating the New York animation industry. (Which he did by the way - Emile Cohl`s studio was visited in about 1912 by 2 mysterious New York artists. Cohl was not very happy about the visit but his bosses made him give the tour. About 6 months later the first U.S. animation studio was founded clearly using lots of his animation techniques.)
Professor Bonehead Is Shipwrecked can not be a 1912 work that is fact, no way. The techniques just aren`t in place yet. I also very much doubt that it is the work of Emile Cohl.
I don`t know who put out this video with the wrong information or why they did so but I am sick and tired of sloppy scholarship in the early days of animation history. Internet Movie Data Base lists this as a 1916 work by Harry Palmer (good for them) but 80% of the other Internet sites give the 1912 Emile Cohl miss information and date from this video as fact and I fear that it will find its way into classrooms and even books.
1912 is the right date for Cohl to be in the U.S. of A. Tom Edison was using his patent to block foreign filmmakers from importing film at the time so a lot of French companies had U.S. studios so that they did not have to import.
Emile Cohl was at the Eclair Studio in Fort Lee, New Jersey from 1912 to 1914. (The studio burned down later helping to destroy his U.S rep. The ground the studio stood on is now the Fort Lee on ramp for the George Washington Bridge - a ramp I have used a lot in the past because there is no way to get out of Newark Airport without heading to the G.W. Bridge even if you do need to head into Jersey)
The first problem that arises with this video is that the title card clearly states that this is a Galmont America Film, the wrong studio for Cohl at this time.
The next problem is that there is clearly a panning run cycle / traveling background technique used in this film which means cell overlay or Rip and Slash. Can`t be done any other ways. Raul Berre` came up with Rip and Slash around 1913 or 1914, Bill Nolan came up with traveling background about the same time and Earl Hurd didn`t patent Cell Overlay until 1915 so the 1912 date is really out of the question.
The third problem is that it just does not look like the work of Emile Cohl. The subject matter does not seem like something he would tackle. The technique is crud in places where Cohl had already shown proficiency, and the drawing style does not match the other works of Cohl.
I love Emile Cohl's work and I would love for there to be more of it. I would love for him to have used cell overlay and panning run cycle / traveling background technique in 1912 and get some of the credit he deserves for creating the New York animation industry. (Which he did by the way - Emile Cohl`s studio was visited in about 1912 by 2 mysterious New York artists. Cohl was not very happy about the visit but his bosses made him give the tour. About 6 months later the first U.S. animation studio was founded clearly using lots of his animation techniques.)
Professor Bonehead Is Shipwrecked can not be a 1912 work that is fact, no way. The techniques just aren`t in place yet. I also very much doubt that it is the work of Emile Cohl.
I don`t know who put out this video with the wrong information or why they did so but I am sick and tired of sloppy scholarship in the early days of animation history. Internet Movie Data Base lists this as a 1916 work by Harry Palmer (good for them) but 80% of the other Internet sites give the 1912 Emile Cohl miss information and date from this video as fact and I fear that it will find its way into classrooms and even books.
