ASIFA-Hollywood: The International Animated Film Society
Thursday, March 30, 2006
The ASIFA-Hollywood Volunteer Meeting for March was held last night at Woodbury University.
Edwin Austin (orange jacket) brought in advacados from his tree which ended up going home with the members after this group shot. I have plans for mine this weekend.
The hand in the above advacado shoot belongs to Paul Abramson. Drawn here by Jason Plapp co-creater of a new Nicklodeon project.
Not sure who the guy in the hat is but he looks cool to me.
The main part of the meeting was a workshop on filling out the Pro Registration form for the San Diego Comic Con (yes, it is time to plan for Comic Con)
The ASIFA presence at Comic Con was the main subject of the meeting. We are looking for artist volunteers to man or woman a drawing table at the booth this year. Also need people for the booth (as always) and people with mini DV cameras for the video crew (contact me).
Here is that guy in the hat again. This time he is working on the volunteer database before the meeting.
Other subjects talked about where upcoming ASIFA events, the Animation Rescue Team, and the upcoming move of animation materials from the Victory Street site. Paul shared a job posting from a filmmaker looking for an animator for a documentary.
Thanks again to Woodbury and Dori for letting up meet on your campus.
So far on the slate for next month`s Volunteer meeting; detailed planning for comic con and the set up the the Victory Steet move.
UPA Screening Update:
I met these gentleman at the UPA screening, liked them and loved their history and could not remember their full names and details when it came time to label the photos. My friend Paul Husband has kindly supplied both.
Hi Larry,
Thanks for taking and posting those wonderful pix of the UPA tribute. I would like to give you caption info for the picture that you have without a caption, with Fred Crippen on the left talking to two other guys. The two other guys are:
(next to Fred, in the center of the picture): Paul Carlson. Paul produced over 100 Mr. Magoo commercials at UPA. He was Production Coordinator on Gay Purree (sp?) which was also made at UPA. Paul was also the inbetweener when he was at Disney on the "spaghetti kiss" scene of "Lady and the Tramp" . He wrote books on "How to draw" Mickey Mouse and Mr. Magoo, during his Disney and UPA tenures, respectively. In recent years, though uncredited, Paul was brought in to "punch up" the titles of the live action Mr. Magoo movie.
Paul is now working on an independent project, with his friend, the third guy on the right of picture, whose name is : "Bob Longo". Bob also worked at UPA in 1954 -55, and was an inbetweener on "When Magoo Flew" -- and also worked on one of the shorts that was shown at the screening, which one escapes me this moment. Bob started as a camera man. He left UPA, became a physicist, and worked designing aircraft. Since he retired from science/industry, he has gotten together with his old buddy Paul Carlson to make an animated special.
. . .
Best,
Paul
I met these gentleman at the UPA screening, liked them and loved their history and could not remember their full names and details when it came time to label the photos. My friend Paul Husband has kindly supplied both.
Hi Larry,
Thanks for taking and posting those wonderful pix of the UPA tribute. I would like to give you caption info for the picture that you have without a caption, with Fred Crippen on the left talking to two other guys. The two other guys are:
(next to Fred, in the center of the picture): Paul Carlson. Paul produced over 100 Mr. Magoo commercials at UPA. He was Production Coordinator on Gay Purree (sp?) which was also made at UPA. Paul was also the inbetweener when he was at Disney on the "spaghetti kiss" scene of "Lady and the Tramp" . He wrote books on "How to draw" Mickey Mouse and Mr. Magoo, during his Disney and UPA tenures, respectively. In recent years, though uncredited, Paul was brought in to "punch up" the titles of the live action Mr. Magoo movie.
Paul is now working on an independent project, with his friend, the third guy on the right of picture, whose name is : "Bob Longo". Bob also worked at UPA in 1954 -55, and was an inbetweener on "When Magoo Flew" -- and also worked on one of the shorts that was shown at the screening, which one escapes me this moment. Bob started as a camera man. He left UPA, became a physicist, and worked designing aircraft. Since he retired from science/industry, he has gotten together with his old buddy Paul Carlson to make an animated special.
. . .
Best,
Paul
Tuesday, March 28, 2006
March ASIFA-Hollywood Volunteer Meeting:
Tomorrow: Wednesday, March 29th 7 PM
Woodbury University
Room D104 in the Design Center
7500 Glenoaks Blvd.
Burbank, CA 91510
Subjects Under Discussion: Comic Con Volunteers - Animation Rescue Team
NORTH on the Golden State Freeway (5): Exit Hollywood Way north to Glenoaks and turn right.
SOUTH on the Golden State Freeway (5): Exit Buena Vista Street north to Glenoaks and turn left.
Go to the left past the guard booth and park in the large lot. The Design Center is at the back left of the lot.
Tomorrow: Wednesday, March 29th 7 PM
Woodbury University
Room D104 in the Design Center
7500 Glenoaks Blvd.
Burbank, CA 91510
Subjects Under Discussion: Comic Con Volunteers - Animation Rescue Team
NORTH on the Golden State Freeway (5): Exit Hollywood Way north to Glenoaks and turn right.
SOUTH on the Golden State Freeway (5): Exit Buena Vista Street north to Glenoaks and turn left.
Go to the left past the guard booth and park in the large lot. The Design Center is at the back left of the lot.
Monday, March 27, 2006
It is widely reported that Friz Freleng said that: When I die I don`t want to go to heaven, I want to go to UPA. The spirit of Friz was very happy at the Egyptian Theatre last night. I will label the event photos later today after I teach my animation history class at Laguna. (class subject for today: the strikes, the war and the birth of UPA - how is that for timing?)
Bert Klien - We talked about his upcoming short. He has a killer crew (including his mentor Eric Goldberg) I am looking forward to seeing it.
Mark Kausler, Tee Bosustow, Lou Romano
Fred Crippen
Nick Bosustow
Nick Bosustow & Howard Beckerman
Bert Klien, Mark Kausler, Eric Goldberg
Amid`s Funky Zagreb hat
June Foray
Bob Kurtz, Bert Klien, & Eric Goldberg
The granddaughter of Steve Bosustow - I ended up telling about how UPA came into being (strange - but she asked)
Bill Melendez (we talked about how much he loved working at Disney - strange thing to talk about at a UPA show)
Willis Pyle and Bill Melendez
Willis Pyle
Alan Zaslove
Sam Clayberger & Fred Crippen
Amid Amidi & Lou Romano
original of Fred Crippen Christmas Poster from 50s
a young Bill Melendez
we did not get to see Fudget`s Budget, the wrong film was in the can. But there was a very small piece of it in the documentary
The Brotherhood of Man - it was great to see this on the big screen
I will be finishing up the labeling and will write up a wrap up report of the event later on today. If you didn`t go you really missed out on a once in a lifetime event. (So I well rub that in a little more later)
LATER:
Great night, great screening with very good interviews. (very good job Jerry) The projectionist could have been faster in changing films and there was a 900th generation copy of a Johnny Carson / Magoo
commercial that should not have been shown (it was just too unviewable) Very small downside to a great, great event. I got a new slant on a important past animation event that I was able to use in class today. The only other small down of the night was my always hate of the hieroglyphs in the courtyard. They are so faked that they bug me every thing I come to the Egyptian.
HIGHLIGHT OF THE NIGHT:
I got to hang out with the guests after the show. Heard some great stories from Bob Kurtz and Tom Sito. Hung out with some of my long time heroes and Fred Crippen even asked me if I was Bobe Cannon`s son. He said I looked like Bobe. So I think I will do that for a while.
Bert Klien - We talked about his upcoming short. He has a killer crew (including his mentor Eric Goldberg) I am looking forward to seeing it.
Mark Kausler, Tee Bosustow, Lou Romano
Fred Crippen
Nick Bosustow
Nick Bosustow & Howard Beckerman
Bert Klien, Mark Kausler, Eric Goldberg
Amid`s Funky Zagreb hat
June Foray
Bob Kurtz, Bert Klien, & Eric Goldberg
The granddaughter of Steve Bosustow - I ended up telling about how UPA came into being (strange - but she asked)
Bill Melendez (we talked about how much he loved working at Disney - strange thing to talk about at a UPA show)
Willis Pyle and Bill Melendez
Willis Pyle
Alan Zaslove
Sam Clayberger & Fred Crippen
Amid Amidi & Lou Romano
original of Fred Crippen Christmas Poster from 50s
a young Bill Melendez
we did not get to see Fudget`s Budget, the wrong film was in the can. But there was a very small piece of it in the documentary
The Brotherhood of Man - it was great to see this on the big screen
I will be finishing up the labeling and will write up a wrap up report of the event later on today. If you didn`t go you really missed out on a once in a lifetime event. (So I well rub that in a little more later)
LATER:
Great night, great screening with very good interviews. (very good job Jerry) The projectionist could have been faster in changing films and there was a 900th generation copy of a Johnny Carson / Magoo
commercial that should not have been shown (it was just too unviewable) Very small downside to a great, great event. I got a new slant on a important past animation event that I was able to use in class today. The only other small down of the night was my always hate of the hieroglyphs in the courtyard. They are so faked that they bug me every thing I come to the Egyptian.
HIGHLIGHT OF THE NIGHT:
I got to hang out with the guests after the show. Heard some great stories from Bob Kurtz and Tom Sito. Hung out with some of my long time heroes and Fred Crippen even asked me if I was Bobe Cannon`s son. He said I looked like Bobe. So I think I will do that for a while.
Sunday, March 26, 2006
Yesterday I got this year`s sketchbook calendar from Kyle Boyd. Yes he is running a little late but well worth the wait.
Kyle sends these out each year to friends and co-workers. I am on his list because we work together on the Afternoon of Remembrance.
Each month is a page of 20 or 30 character designs. Really nice stuff. So how do you get one of these. The only way I can think of is to make friends with the guy in the cloth motoring cap that shows up at lots of the ASIFA events.
Here is a sample. This is January. If you want to check out more of his work click on over to http://www.kyleboyd.blogspot.com/
Kyle sends these out each year to friends and co-workers. I am on his list because we work together on the Afternoon of Remembrance.
Each month is a page of 20 or 30 character designs. Really nice stuff. So how do you get one of these. The only way I can think of is to make friends with the guy in the cloth motoring cap that shows up at lots of the ASIFA events.
Here is a sample. This is January. If you want to check out more of his work click on over to http://www.kyleboyd.blogspot.com/
Saturday, March 25, 2006
UPA is to animation what the Bauhaus is to design
This is the big one folks, don`t miss it!
This Sunday at the Egyptian Theatre the big ASIFA-Hollywood / American Cinematheque UPA Tribute The fun begins at 6pm when we will be screening 35mm prints of rare commercials, industrials, TV productions, behind the scenes footage and Scope prints of classic theatrical cartoons (including ROOTY TOOT TOOT and TELL TALE HEART). We will have panels featuring UPA veterans (Bill Melendez, Willis Pyle, Alan Zaslove, Fred Crippen, Sam Clayberger) and guest animators (Mark Kausler, Pixar's Lou Romano). ASIFA members will recieve a discount on admission. Advance tickets are on sale at the box office now. See you there!
Prior to the screening, there will be a private reception at the Egyptian Theatre from 4:30-5:30. If anybody wishes to mingle with the UPA veterans in a more intimate setting, you can attend the reception by RSVP'ing by this Saturday to Tee Bosustow: bosumedia [at] yahoo.com. The cost is $15 and can be paid at the door.
This is the big one folks, don`t miss it!
This Sunday at the Egyptian Theatre the big ASIFA-Hollywood / American Cinematheque UPA Tribute The fun begins at 6pm when we will be screening 35mm prints of rare commercials, industrials, TV productions, behind the scenes footage and Scope prints of classic theatrical cartoons (including ROOTY TOOT TOOT and TELL TALE HEART). We will have panels featuring UPA veterans (Bill Melendez, Willis Pyle, Alan Zaslove, Fred Crippen, Sam Clayberger) and guest animators (Mark Kausler, Pixar's Lou Romano). ASIFA members will recieve a discount on admission. Advance tickets are on sale at the box office now. See you there!
Prior to the screening, there will be a private reception at the Egyptian Theatre from 4:30-5:30. If anybody wishes to mingle with the UPA veterans in a more intimate setting, you can attend the reception by RSVP'ing by this Saturday to Tee Bosustow: bosumedia [at] yahoo.com. The cost is $15 and can be paid at the door.
Friday, March 24, 2006
Archive: More Playboy Cartoons
Today we returned to scanning cartoons from Chad Coyle's wonderful collection of vintage Playboy magazines...
The artists we focused on were Doug Snyed and Phil Interlandi.
Today was a very productive day at the archive. Marc Deckter, David Gemmill and Ryan Khatam volunteered their time to digitize and catalog the collection, and we had several artists stop by to view our exhibits and cartoons. If you are in the area and haven't stopped by yet, please do... We're open on Tuesdays and Thursdays from 1pm to 9pm.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
The artists we focused on were Doug Snyed and Phil Interlandi.
Today was a very productive day at the archive. Marc Deckter, David Gemmill and Ryan Khatam volunteered their time to digitize and catalog the collection, and we had several artists stop by to view our exhibits and cartoons. If you are in the area and haven't stopped by yet, please do... We're open on Tuesdays and Thursdays from 1pm to 9pm.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Thursday, March 23, 2006
Theory of Demo Reels:
My theory on demo reels for people just starting out in the business is that demo reels are all the same and boring and nobody is going to recognize the work because a student hasn`t worked on any big projects yet and demo reels sure don`t show how the student handles story. And most important, you can`t enter a demo reel in a film festival.
Jesus Montero was my student for an internship/career planning class a couple of semesters back. I told him as I told his whole class that short animations are better than demo reels for beginners. He was the student from that class that listened to me and produced this great outlaw biker bug short animation entitled Unexpected. I am only going to show a small clip (which I think I can get away with under fair use) and sound has some problems because I had some real problems with the sound transfer so don`t blame that one on Jesus. The sound design was very good on his disk.
Link to video clip
Okay, he didn`t get the part of the class about acquiring rights to the music so he still has a few legal hoops to jump through before he can enter his short in competition but all those demo reels are never going to get into the festivals no mater how many music rights are acquired. Good job Jesus. Now you have gone and done it. Now I am going to expect a lot from you in the future.
My theory on demo reels for people just starting out in the business is that demo reels are all the same and boring and nobody is going to recognize the work because a student hasn`t worked on any big projects yet and demo reels sure don`t show how the student handles story. And most important, you can`t enter a demo reel in a film festival.
Jesus Montero was my student for an internship/career planning class a couple of semesters back. I told him as I told his whole class that short animations are better than demo reels for beginners. He was the student from that class that listened to me and produced this great outlaw biker bug short animation entitled Unexpected. I am only going to show a small clip (which I think I can get away with under fair use) and sound has some problems because I had some real problems with the sound transfer so don`t blame that one on Jesus. The sound design was very good on his disk.
Link to video clip
Okay, he didn`t get the part of the class about acquiring rights to the music so he still has a few legal hoops to jump through before he can enter his short in competition but all those demo reels are never going to get into the festivals no mater how many music rights are acquired. Good job Jesus. Now you have gone and done it. Now I am going to expect a lot from you in the future.
The second issue of Cartoons - The International Journal of Animation arrived in my mailbox last Tuesday. This is the new magazine of ASIFA International. If you are a member of ASIFA-Hollywood (excluding student memberships - sorry) then you are also a member of ASIFA International and should have gotten this mailing. If your are not, shame on y0u.
Being a member of ASIFA International has never really meant that much to me because I don`t, as a rule, go to Annecy or any of the other big festivals and most of the events that I go to are ASIFA-Hollywood events.
But Cartoons has changed that if for no other reason than it is a damn fine magazine. I am starting to look forward to the arrival of Cartoons in the old mailbox just like I look forward to the arrival Animation Magazine.
This issue has a killer John Canemaker article on Dana Parker, the unknown man in the famous 1926 Pat Sullivan studio photograph. I have often wondered about the man in the fourth chair. I know that Sullivan who did none of the actual animation is setting in Otto Messmer`s chair and that the man in the third chair (normally the second chair) is Raoul Barre` founder of the first animation studio fresh from losing that studio to Charley Bowers. But who is the man is the fourth seat? The guy that was normally Messmer`s right hand man? John answers that question.
Other articles of note: Cartoons Made in Argentine the (nearly) Unseen Story, Hollywood vs. Hicksville: Warner Bros. And Disney in the 1930s, A View of Animation in Israel, and (the article I am currently reading) Animated Couples: Bordo and Vesna Dovnikovic (about the long time first couple of Zagreb). There is a lot more in the magazine that I have not gotten to yet, don`t want to slight anyone, I am just taking my time and enjoying this read.
So how do you get Cartoons - The International Journal of Animation? You got ta buy Wonka Bars/join ASIFA. Class re-dismissed.
Wednesday, March 22, 2006
ASIFA-Hollywood Volunteer Meeting Resume
Wednesday, March 29th 7 PM
Woodbury University
Room D104 in the Design Center
7500 Glenoaks Blvd.
Burbank, CA 91510
Subjects Under Discussion: Comic Con - Animation Rescue Team
NORTH on the Golden State Freeway (5): Exit Hollywood Way north to Glenoaks and turn right.
SOUTH on the Golden State Freeway (5): Exit Buena Vista Street north to Glenoaks and turn left.
For people coming in from off campus, you will go to the left past the guard booth and park in the large lot. The Design Center is at the back left of the lot. The cafeteria, Woody's, is to the right of the parking lot, next to the quad. It serves dinner until 7pm and light snacks and coffee until 9pm.
And a very big thank you to Dori Littell-Herrick and the good people at Woodbury University for their kindness in letting ASIFA use their campus.
Wednesday, March 29th 7 PM
Woodbury University
Room D104 in the Design Center
7500 Glenoaks Blvd.
Burbank, CA 91510
Subjects Under Discussion: Comic Con - Animation Rescue Team
NORTH on the Golden State Freeway (5): Exit Hollywood Way north to Glenoaks and turn right.
SOUTH on the Golden State Freeway (5): Exit Buena Vista Street north to Glenoaks and turn left.
For people coming in from off campus, you will go to the left past the guard booth and park in the large lot. The Design Center is at the back left of the lot. The cafeteria, Woody's, is to the right of the parking lot, next to the quad. It serves dinner until 7pm and light snacks and coffee until 9pm.
And a very big thank you to Dori Littell-Herrick and the good people at Woodbury University for their kindness in letting ASIFA use their campus.
Tuesday, March 21, 2006
Archive: Winter 2006 Illustration Roundup
If you would like to help us spread the word about the ASIFA-Hollywood Animation Archive, please link to one of our Winter '06 roundup posts (Animated Cartoons / Animation Art / Illustration) on your own webpage or blog. Thanks!
One of the aspects sorely missing from a lot of current animation is good design. Too many television shows and features rely on rehashing designs that have outlived their effectiveness. For the past few months, weve been gathering together galleries of images by some of the best illustrators of the 20th century. Each one has an unique approach that can be applied to design for animation. Today, I will be rounding up the Illustration related Media posts from the last four months... Click on the links and images for the full posting.
Golden Books are a wonderful resource for color and background painting style. We digitized several beautiful Golden Books by Tibor Gergely ( Gergely's Golden Books / More Gergely Golden Books )...
We featured Golden Book adaptations of two classic 1960s TV Cartoons... Huckleberry Hound and Rocky And His Friends...
We spotlighted two classic books by Mary Blair ( Little Verses Part One / Part Two / Baby's House )
We showed the progression of Gustav Tenggren's style, from Small Fry And The Winged Horse to The Little Trapper...
And two postings featuring one of the greatest book illustrators of the golden age, Edmund Dulac... ( Edgar Allen Poe's Poetical Works / Tanglewood Tales )
We featured the work of the classic children's book illustrator Kay Nielsen ( Twelve Dancing Princesses / East of the Sun and West of the Moon / Hansel and Gretel )
We digitized a fun collection of scifi, horror and adventure lobby cards from Mexico...
Finally, we digitized jaw droppingly amazing images by Boris Artzybasheff from his long out of print book, As I See. ( Neurotica / Machinalia / Diablerie )
Over the next week, I'll be rounding up our Winter posts on Cartooning, and Biographies. These roundups aren't provided just to entertain you... I want you to think about what these posts mean to you. If you value them, you'll do your part to help the ASIFA-Hollywood Animation Archive reach its goals.
We Need Your Help!
Last month, we posted letters from June Foray and Leonard Maltin urging you to support this project. June and Nancy Cartwright gave a short presentation on the Archive in front of nearly 1000 of animation's top talents at the Annie Awards. We asked people who could not afford to make a monetary donation to Write A Letter Of Support.
Response has been disappointing. The ASIFA-Hollywood Animation Archive will not be able to continue without your support. At the top of each post is a quick list of suggestions for how you can help...
Bookmark our HOME PAGE, COMMENT using the link at the bottom of each post, lend us ARTWORK to be digitized, Write a BIOPEDIA ENTRY or LETTER OF SUPPORT, CONTRIBUTE to sustain the project, VOLUNTEER to help us reach our goals, LINK TO US on your own webpage or blog, and TELL YOUR FRIENDS.
If you aren't familiar with the goals of the ASIFA-Hollywood Animation Archive, look in the sidebar under ABOUT THE ARCHIVE... You'll find our Project Mission, an explanation of Why An Animation Archive Is Important, and an outline of What We Have Achieved So Far.
If you find this resource to be valuable, I hope you will acknowledge that with your donations and your support.
The Archive is supported by donations
from people like you. Please contribute...
Thank you
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
One of the aspects sorely missing from a lot of current animation is good design. Too many television shows and features rely on rehashing designs that have outlived their effectiveness. For the past few months, weve been gathering together galleries of images by some of the best illustrators of the 20th century. Each one has an unique approach that can be applied to design for animation. Today, I will be rounding up the Illustration related Media posts from the last four months... Click on the links and images for the full posting.
Golden Books are a wonderful resource for color and background painting style. We digitized several beautiful Golden Books by Tibor Gergely ( Gergely's Golden Books / More Gergely Golden Books )...
We featured Golden Book adaptations of two classic 1960s TV Cartoons... Huckleberry Hound and Rocky And His Friends...
We spotlighted two classic books by Mary Blair ( Little Verses Part One / Part Two / Baby's House )
We showed the progression of Gustav Tenggren's style, from Small Fry And The Winged Horse to The Little Trapper...
And two postings featuring one of the greatest book illustrators of the golden age, Edmund Dulac... ( Edgar Allen Poe's Poetical Works / Tanglewood Tales )
We featured the work of the classic children's book illustrator Kay Nielsen ( Twelve Dancing Princesses / East of the Sun and West of the Moon / Hansel and Gretel )
We digitized a fun collection of scifi, horror and adventure lobby cards from Mexico...
Finally, we digitized jaw droppingly amazing images by Boris Artzybasheff from his long out of print book, As I See. ( Neurotica / Machinalia / Diablerie )
Over the next week, I'll be rounding up our Winter posts on Cartooning, and Biographies. These roundups aren't provided just to entertain you... I want you to think about what these posts mean to you. If you value them, you'll do your part to help the ASIFA-Hollywood Animation Archive reach its goals.
We Need Your Help!
Last month, we posted letters from June Foray and Leonard Maltin urging you to support this project. June and Nancy Cartwright gave a short presentation on the Archive in front of nearly 1000 of animation's top talents at the Annie Awards. We asked people who could not afford to make a monetary donation to Write A Letter Of Support.
Response has been disappointing. The ASIFA-Hollywood Animation Archive will not be able to continue without your support. At the top of each post is a quick list of suggestions for how you can help...
Bookmark our HOME PAGE, COMMENT using the link at the bottom of each post, lend us ARTWORK to be digitized, Write a BIOPEDIA ENTRY or LETTER OF SUPPORT, CONTRIBUTE to sustain the project, VOLUNTEER to help us reach our goals, LINK TO US on your own webpage or blog, and TELL YOUR FRIENDS.
If you aren't familiar with the goals of the ASIFA-Hollywood Animation Archive, look in the sidebar under ABOUT THE ARCHIVE... You'll find our Project Mission, an explanation of Why An Animation Archive Is Important, and an outline of What We Have Achieved So Far.
If you find this resource to be valuable, I hope you will acknowledge that with your donations and your support.
from people like you. Please contribute...
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
H B Lewis Opening At Van Eaton Galleries
From Cartoon Brew...
Wednesday night (3/22) at the Van Eaton Galleries in Sherman Oaks, H.B. Lewis will be on hand to discuss his work in illustration and animation. His credits include character design for Pixar (CARS and RATATOUILLE), Walt Disney Feature Animation (TARZAN and TREASURE PLANET), DreamWorks Animation (MADAGASCAR, OVER THE HEDGE) and Blue Sky/Fox Animation (ICE AGE and ROBOTS). You must RSVP to attend (818) 788-2357. Click here for more info.
Wednesday night (3/22) at the Van Eaton Galleries in Sherman Oaks, H.B. Lewis will be on hand to discuss his work in illustration and animation. His credits include character design for Pixar (CARS and RATATOUILLE), Walt Disney Feature Animation (TARZAN and TREASURE PLANET), DreamWorks Animation (MADAGASCAR, OVER THE HEDGE) and Blue Sky/Fox Animation (ICE AGE and ROBOTS). You must RSVP to attend (818) 788-2357. Click here for more info.
Acting is the base of all animation, improv is the soul of acting. My friend Aki will be performing with his Improv Troop this Saturday in Santa Moncia. You might want to check it out.
Host: Aprils Fools
Location: Piero Dusa Promenade Playhouse
1404 3rd Street Promenade, Santa Monica, CA
When: Saturday, March 25, 7:30pm
Phone: Tickets: 310-318-1705
TWO GREAT IMPROV SHOWS
Produced by Michael Sloan and Mike Wyman
7:30 SHOW "THAT'S LIFE"
Directed by: Sandy Marchese and Doris Usui
Starring:
Christian Africa
Tom Bauer
Valerie Gorsuch
Sandy Marchese
Jim Sheekey
Aki Umemoto
Doris Usui
Keyboard: Dave Keaton
Plus Standup comedy by: Lauren Hayden
9:30 SHOW "RELATIONSHIP REALITIES"
Directed by: Jo Donovan and Gina Pesapane
Starring:
Mike Copnall
Jo Donovan
Winton Lemoine
Gina Pesapane
Rick Ramirez
Bobbie Sloan
Michael Sloan
Mike Wyman
Keyboard: Dave Keaton
Plus Standup comedy by: Doyle Hanks
Tickets: $12 per show or both shows for $20
For ticket reservations or info call:
310-318-1705
or email foolstickets@aol.com
Parking is available in Lot 6 on 2nd Street between Santa Monica and Broadway. That puts you in the alley behind the Playhouse. Walk around the corner on Santa Monica to the theater.
Industry comps available.
Monday, March 20, 2006
New Members Join The Board:
I think that it is about time that we post the outcome of the ASIFA-Hollywood election that was held last month.
We have 3 board members retaining there seats and 2 new members joining the board. Both new board members happen to be from DreamWorks Animation.
A great big welcome to DreamWorks Animation R&D Director Jeff Wike as well as DreamWorks "Over the Hedge" supervising animator David Burgess both newly elected to the ASIFA-Hollywood board. All new terms begin immediately and will run through December 2009.
Returning members are Antran Manoogian (President), Tom Sito (Vice-President), Jerry Beck (Treasurer), and Bill Turner (Secretary), as well as Rita Street, Frank Gladstone, David Derks, Larry Loc, Bob Miller, and Stephen Worth In total, 12 officers are currently serving on the Board.
I think that it is about time that we post the outcome of the ASIFA-Hollywood election that was held last month.
We have 3 board members retaining there seats and 2 new members joining the board. Both new board members happen to be from DreamWorks Animation.
A great big welcome to DreamWorks Animation R&D Director Jeff Wike as well as DreamWorks "Over the Hedge" supervising animator David Burgess both newly elected to the ASIFA-Hollywood board. All new terms begin immediately and will run through December 2009.
Returning members are Antran Manoogian (President), Tom Sito (Vice-President), Jerry Beck (Treasurer), and Bill Turner (Secretary), as well as Rita Street, Frank Gladstone, David Derks, Larry Loc, Bob Miller, and Stephen Worth In total, 12 officers are currently serving on the Board.
Sunday, March 19, 2006
Over at Gang of 7 Tom Sito tells us that today is the day . . . here you read what he said.
This burns me up. (no pun) Because this tragedy lets American historians dismiss this genius and overlook the fact that he taught the New York art world how to animate. Which means that Cohl taught America how to animate. So why isn`t there an Emile Cohl award?
1914- A fire in the negative vaults of the Eclair Studios in New Jersey destroyed forever all the American work of pioneer French animator Emile Cohl. He had come to the U.S. to animate the first cartoon series, George McManus` "The Newlyweds" later to be renamed in comic strip form "Life With Father".
This burns me up. (no pun) Because this tragedy lets American historians dismiss this genius and overlook the fact that he taught the New York art world how to animate. Which means that Cohl taught America how to animate. So why isn`t there an Emile Cohl award?
It is getting to that time again, time to teach about UPA in my current Laguna Animation History class. So that means it is time to get out my HellBoy DVD.
Here is a trend that I would love to see fanned into a forest fire of bandwagon follow travelers. For the past few years a couple of "A" list directors like Guillermo Del Toro with a great love and respect for rare cartoons have used their clout to get studios to open the vault and include hidden animated treasures as extra goodies on the DVD release of hit movies.
I bought HellBoy for the McBoing Boing cartoons. I liked HellBoy. It was an okay movie, I got it out of the library when it first came out. But it was Gerald McBoing Boing, How Now McBoing Boing, Gerald McBoing Boing and the Planet Moo, and The Tell-Tale Heart that made me pull out my Visa Card and take this disk home.
$20 for a copy of Tell-Tale Heart and you throw in 3 McBoing Boings, deal. The feature is just icing on the cake.
Saturday, March 18, 2006
Archive: Kookie Mexican Lobby Cards
Today, we're letting our hair down and having some fun...
I just posted a bunch of fascinatingly crazy Mexican lobby cards from science fiction, horror and adventure movies from the late fifties and early sixties...
Media: More Fun Mexican Lobby Cards
It's clear that the artists who designed these cards had a specific set of techniques to entice moviegoers to want to see the film- even when it was clearly a stinkeroo of a movie!
So I'm asking all you visually literate folks out there to take a look at the cards and see if you can discern some common themes and visual communication devices these artists are using to sell the film they are advertising. Post your observations in the comments section at the bottom of the post.
I'd like to remind those of you in the Los Angeles area that the Archive currently has a jaw droppingly great Mexican Lobby Card Exhibit at the Archive office in Burbank. Stop by during office hours and check it out!
We have had some traffic related growing pains, so I have reduced the number of large galleries that appear on the top page of the Animation Archive blog. Please make a point to use the sidebar navigation so you don't miss any great postings.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
I just posted a bunch of fascinatingly crazy Mexican lobby cards from science fiction, horror and adventure movies from the late fifties and early sixties...
Media: More Fun Mexican Lobby Cards
It's clear that the artists who designed these cards had a specific set of techniques to entice moviegoers to want to see the film- even when it was clearly a stinkeroo of a movie!
So I'm asking all you visually literate folks out there to take a look at the cards and see if you can discern some common themes and visual communication devices these artists are using to sell the film they are advertising. Post your observations in the comments section at the bottom of the post.
I'd like to remind those of you in the Los Angeles area that the Archive currently has a jaw droppingly great Mexican Lobby Card Exhibit at the Archive office in Burbank. Stop by during office hours and check it out!
We have had some traffic related growing pains, so I have reduced the number of large galleries that appear on the top page of the Animation Archive blog. Please make a point to use the sidebar navigation so you don't miss any great postings.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Friday, March 17, 2006
Mark Kausler At Laguna College of Art & Design:
Today Mark Kausler and his wife Kathy came to Laguna to talk to the Animation Department.
Part of the event was interview and question and answer the next part was critique of student films in progress. Here Mark is talking to Christina Yeung about her very personal film about a little girl and her Grandmother.
More critique and ideas on the best way to present story points.
Mark shows students an original music score from a Harmen Ising cartoon that has been marked up for animation accents on the music beats. A bit of a theme for the day.
One of the highlights on any Mark Kausler event is the screening of rare films from his animation collection.
This screening was designed to show examples of animating to the beat of the music. As cruel fate would have it the school projecter blew a fuse and we lost sound. Mark and Aubry faught to get it back on line but with no luck.
We did get to watch one silent Winkler Oswald that I had asked Mark to throw in because I had not seen it before.
Mark promised to bring back his films at a later date and bring his own projector.
We did get to screen Mark`s short animation It`s the Cat (he had it with him on DVD) and the students got to see cel setups of the film. Mark still has some cel setups for sale and we should have some of them at the ASIFA booth this year at Comic Con.
Today Mark Kausler and his wife Kathy came to Laguna to talk to the Animation Department.
Part of the event was interview and question and answer the next part was critique of student films in progress. Here Mark is talking to Christina Yeung about her very personal film about a little girl and her Grandmother.
More critique and ideas on the best way to present story points.
Mark shows students an original music score from a Harmen Ising cartoon that has been marked up for animation accents on the music beats. A bit of a theme for the day.
One of the highlights on any Mark Kausler event is the screening of rare films from his animation collection.
This screening was designed to show examples of animating to the beat of the music. As cruel fate would have it the school projecter blew a fuse and we lost sound. Mark and Aubry faught to get it back on line but with no luck.
We did get to watch one silent Winkler Oswald that I had asked Mark to throw in because I had not seen it before.
Mark promised to bring back his films at a later date and bring his own projector.
We did get to screen Mark`s short animation It`s the Cat (he had it with him on DVD) and the students got to see cel setups of the film. Mark still has some cel setups for sale and we should have some of them at the ASIFA booth this year at Comic Con.
Archive: Winter 06 Animation Art Roundup
The Media Database is the heart of the ASIFA-Hollywood Animation Archive. It contains a wide range of materials... even in the few short months we have been in operation, we have more material to discuss than I can fit in one roundup post. So I'll break the Media Roundups into three categories... Animation Art, Cartooning and Illustration.
Today, I will be rounding up the Animation Art related Media posts from the last four months... Click on the links and images for the full posting.
We digitized a 1918 book by pioneering animator, Bill Nolan titled, Cartooning Self Taught...
Upon news of the passing of Charlie McElmurry, we posted a sample of his work... a storyboard for a Tony the Tiger commercial...
We posted a few samples of drawings by master animator, Mike Lah from ASIFA-Hollywood's physical archives...
Archive Alliance member, Dan Goodsell generously allowed us to digitize his extensive collection of drawings from the Ray Patin Studios. ( Part One / Part Two / Part Three / Part Four / Part Five / Part Six )
Finally, we featured artwork donated by John Kricfalusi... A group of sketches by Vincent Waller...
And a two postings of a section of storyboard from "Stimpy's Invention" ( Part One / Part Two )
Over the next week, I'll be rounding up our Winter posts on Illustration, Cartooning, and Biographies. These roundups aren't provided just to entertain you... I want you to think about what these posts mean to you. If you value them, you'll do your part to help the ASIFA-Hollywood Animation Archive reach its goals.
We Need Your Help!
Last month, we posted letters from June Foray and Leonard Maltin urging you to support this project. June and Nancy Cartwright gave a short presentation on the Archive in front of nearly 1000 of animation's top talents at the Annie Awards. We asked people who could not afford to make a monetary donation to Write A Letter Of Support.
Response has been disappointing. The ASIFA-Hollywood Animation Archive will not be able to continue without your support. At the top of each post is a quick list of suggestions for how you can help...
Bookmark our HOME PAGE, COMMENT using the link at the bottom of each post, lend us ARTWORK to be digitized, Write a BIOPEDIA ENTRY or LETTER OF SUPPORT, CONTRIBUTE to sustain the project, VOLUNTEER to help us reach our goals, LINK TO US on your own webpage or blog, and TELL YOUR FRIENDS.
If you aren't familiar with the goals of the ASIFA-Hollywood Animation Archive, look in the sidebar under ABOUT THE ARCHIVE... You'll find our Project Mission, an explanation of Why An Animation Archive Is Important, and an outline of What We Have Achieved So Far.
If you find this resource to be valuable, I hope you will acknowledge that with your donations and your support.
The Archive is supported by donations
from people like you. Please contribute...
Thank you
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
Today, I will be rounding up the Animation Art related Media posts from the last four months... Click on the links and images for the full posting.
We digitized a 1918 book by pioneering animator, Bill Nolan titled, Cartooning Self Taught...
Upon news of the passing of Charlie McElmurry, we posted a sample of his work... a storyboard for a Tony the Tiger commercial...
We posted a few samples of drawings by master animator, Mike Lah from ASIFA-Hollywood's physical archives...
Archive Alliance member, Dan Goodsell generously allowed us to digitize his extensive collection of drawings from the Ray Patin Studios. ( Part One / Part Two / Part Three / Part Four / Part Five / Part Six )
Finally, we featured artwork donated by John Kricfalusi... A group of sketches by Vincent Waller...
And a two postings of a section of storyboard from "Stimpy's Invention" ( Part One / Part Two )
Over the next week, I'll be rounding up our Winter posts on Illustration, Cartooning, and Biographies. These roundups aren't provided just to entertain you... I want you to think about what these posts mean to you. If you value them, you'll do your part to help the ASIFA-Hollywood Animation Archive reach its goals.
We Need Your Help!
Last month, we posted letters from June Foray and Leonard Maltin urging you to support this project. June and Nancy Cartwright gave a short presentation on the Archive in front of nearly 1000 of animation's top talents at the Annie Awards. We asked people who could not afford to make a monetary donation to Write A Letter Of Support.
Response has been disappointing. The ASIFA-Hollywood Animation Archive will not be able to continue without your support. At the top of each post is a quick list of suggestions for how you can help...
Bookmark our HOME PAGE, COMMENT using the link at the bottom of each post, lend us ARTWORK to be digitized, Write a BIOPEDIA ENTRY or LETTER OF SUPPORT, CONTRIBUTE to sustain the project, VOLUNTEER to help us reach our goals, LINK TO US on your own webpage or blog, and TELL YOUR FRIENDS.
If you aren't familiar with the goals of the ASIFA-Hollywood Animation Archive, look in the sidebar under ABOUT THE ARCHIVE... You'll find our Project Mission, an explanation of Why An Animation Archive Is Important, and an outline of What We Have Achieved So Far.
If you find this resource to be valuable, I hope you will acknowledge that with your donations and your support.
from people like you. Please contribute...
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
Wednesday, March 15, 2006
Hotel Burbank:
I followed a link on http://www.animated-news.com/ to cganimation.blogspot.com over at The Business of Animation blog where I read this rejoicing at the possible firing of Disney Creative Execs.
Now I am not saying that the Creative Execs should be kept on in a job that they were never trained to do. They really have to be moved out of the creative pipeline. They have no business telling visual storytellers how to tell a story.
But these are human beings with families and I would guess feeling. (I do know people that doubt this strongly) I find it hard to rejoice in a purge of any kind. Being unemployed sucks as I well know from the couple of 3 times it has happened to me. They have to go but we shouldn`t look at it as getting even for the March 25th 2002 feature animation blood bath.
It is not their fault that they were asked to do a job that their MBA degree never fit them for. They didn`t create the system or the corporate culture that laid responsibility for story development on the shoulders of glorified corporate bean counters. Who knows, there may be an MBA in this blood bath that happens to have a Camcorder. In a few years we might be looking at a documentary named Scheme on Silly Schemer.
Followup: I just got a email from my Friend Christian from Animated News. Most of the email was on a subject unrelated to this post but he did have a take on roomered executive blood bath:
I followed a link on http://www.animated-news.com/ to cganimation.blogspot.com over at The Business of Animation blog where I read this rejoicing at the possible firing of Disney Creative Execs.
The layer of uncreative development execs that micromanaged projects to death over at the mouse are reportedly gone. I haven`t seen any official word on this, however I was told by a friend that was told by his friend that is close to the situation. I'm waiting to hear it for myself from someone more direct. However, this wouldn't surprise me in the least. Good riddance to rubbish.I will agree that the term Creative Executive is a bit of an oxymoron but isn`t Good riddance to rubbish a bit harsh? Kind of like clan revenge among the Hutu and Tutsis in Rwanda. Here is someone glorying in the downfall of another.
Now I am not saying that the Creative Execs should be kept on in a job that they were never trained to do. They really have to be moved out of the creative pipeline. They have no business telling visual storytellers how to tell a story.
But these are human beings with families and I would guess feeling. (I do know people that doubt this strongly) I find it hard to rejoice in a purge of any kind. Being unemployed sucks as I well know from the couple of 3 times it has happened to me. They have to go but we shouldn`t look at it as getting even for the March 25th 2002 feature animation blood bath.
It is not their fault that they were asked to do a job that their MBA degree never fit them for. They didn`t create the system or the corporate culture that laid responsibility for story development on the shoulders of glorified corporate bean counters. Who knows, there may be an MBA in this blood bath that happens to have a Camcorder. In a few years we might be looking at a documentary named Scheme on Silly Schemer.
Followup: I just got a email from my Friend Christian from Animated News. Most of the email was on a subject unrelated to this post but he did have a take on roomered executive blood bath:
. . . On another note, you are right that animators shouldn't want an executive blood bath. I hope the execs just get moved to positions they are more suited for. I think the difference is that with their MBAs they could get jobs just about anywhere while Disney animators pretty much have just one place they would want to work at. I wonder if, with all the recent changes, Dan Lund and Tony West will make a followup to Dream On Silly Dreamer. Or maybe I will.
Tuesday, March 14, 2006
Archive: Winter Cartoon Roundup
The ASIFA-Hollywood Animation Archive has been in operation for about four months now. It's time to review some of our past accomplishments for those who have started following our blog recently. First up is a review of the cartoons we have digitized and added to the archive. Click on the images and links for more info...
John Kricfalusi generously donated broadcast quality 3/4 inch tapes of all 120 B&W Popeye cartoons. These are now all available for viewing at the ASIFA-Hollywood Animation Archive in Burbank.
Popeye In "Little Swee Pea"
Popeye In "Lost & Foundry"
John K also donated broadcast quality tapes of Bob Clampett's greatest cartoons...
Coal Black And De Sebben Dwarfs:
Tin Pan Alley Cats:
We discussed film restoration and proper video presentation with these two films...
Swing You Sinners:
Betty Boop In Snow White:
Jerry Beck & Mark Kausler contributed an important collection of rare Terrytoons...
Nutty Network:
Al Falfa in "Pink Elephants":
Over the next couple of weeks, I'll be rounding up our Winter posts on illustration, animation and biographies. These roundups aren't provided just to entertain you... I want you to think about what these posts mean to you. If you value them, you'll do your part to help the ASIFA-Hollywood Animation Archive reach its goals.
A Distressing Fact
Last month, we posted letters from June Foray and Leonard Maltin urging you to support this project. June and Nancy Cartwright gave a short presentation on the Archive in front of nearly 1000 of animation's top talents at the Annie Awards. We asked people who could not afford to make a monetary donation to Write A Letter Of Support.
To date, we have not received a single response to these appeals.
The ASIFA-Hollywood Animation Archive will not be able to continue without your support. At the top of each post is a quick list of suggestions for how you can help...
Bookmark our HOME PAGE, COMMENT using the link at the bottom of each post, lend us ARTWORK to be digitized, Write a BIOPEDIA ENTRY or LETTER OF SUPPORT, CONTRIBUTE to sustain the project, VOLUNTEER to help us reach our goals, LINK TO US on your own webpage or blog, and TELL YOUR FRIENDS.
If you aren't familiar with the goals of the ASIFA-Hollywood Animation Archive, look in the sidebar under ABOUT THE ARCHIVE... You'll find our Project Mission, an explanation of Why An Animation Archive Is Important, and an outline of What We Have Achieved So Far.
If you find this resource to be valuable, I hope you will acknowledge that with your donations and your support.
The Archive is supported by donations
from people like you. Please contribute...
Thank you
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
John Kricfalusi generously donated broadcast quality 3/4 inch tapes of all 120 B&W Popeye cartoons. These are now all available for viewing at the ASIFA-Hollywood Animation Archive in Burbank.
Popeye In "Little Swee Pea"
Popeye In "Lost & Foundry"
John K also donated broadcast quality tapes of Bob Clampett's greatest cartoons...
Coal Black And De Sebben Dwarfs:
Tin Pan Alley Cats:
We discussed film restoration and proper video presentation with these two films...
Swing You Sinners:
Betty Boop In Snow White:
Jerry Beck & Mark Kausler contributed an important collection of rare Terrytoons...
Nutty Network:
Al Falfa in "Pink Elephants":
Over the next couple of weeks, I'll be rounding up our Winter posts on illustration, animation and biographies. These roundups aren't provided just to entertain you... I want you to think about what these posts mean to you. If you value them, you'll do your part to help the ASIFA-Hollywood Animation Archive reach its goals.
A Distressing Fact
Last month, we posted letters from June Foray and Leonard Maltin urging you to support this project. June and Nancy Cartwright gave a short presentation on the Archive in front of nearly 1000 of animation's top talents at the Annie Awards. We asked people who could not afford to make a monetary donation to Write A Letter Of Support.
To date, we have not received a single response to these appeals.
The ASIFA-Hollywood Animation Archive will not be able to continue without your support. At the top of each post is a quick list of suggestions for how you can help...
Bookmark our HOME PAGE, COMMENT using the link at the bottom of each post, lend us ARTWORK to be digitized, Write a BIOPEDIA ENTRY or LETTER OF SUPPORT, CONTRIBUTE to sustain the project, VOLUNTEER to help us reach our goals, LINK TO US on your own webpage or blog, and TELL YOUR FRIENDS.
If you aren't familiar with the goals of the ASIFA-Hollywood Animation Archive, look in the sidebar under ABOUT THE ARCHIVE... You'll find our Project Mission, an explanation of Why An Animation Archive Is Important, and an outline of What We Have Achieved So Far.
If you find this resource to be valuable, I hope you will acknowledge that with your donations and your support.
from people like you. Please contribute...
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
Here is an interesting idea, a Rock and Art show on the Queen Mary. If you happen to be in Long Beach this Friday with nothing to do than you might want to head over to the QM Exhibit Hall.
Frederator and Nicktoons Announces 3 Annual Nicktoon Festival:
Tomorrow the third annual Nicktoon will be announced with a call for submission. Top honors carry a big money prize but the coolest thing is that all the films placing in the top places are aired on Nick.
So if you have a short just able ready to fly here is an outlet that could get your work seen by more that just the other filmmakers at the festival. My friend Rita Street is one the Directors of this year`s festival so that is good enough for me. Here is the content of the early announcement email:
Tomorrow the third annual Nicktoon will be announced with a call for submission. Top honors carry a big money prize but the coolest thing is that all the films placing in the top places are aired on Nick.
So if you have a short just able ready to fly here is an outlet that could get your work seen by more that just the other filmmakers at the festival. My friend Rita Street is one the Directors of this year`s festival so that is good enough for me. Here is the content of the early announcement email:
Hello, Filmmakers and Fans.
It's the gang at Frederator, with some big news we think you'll be glad to hear.
First of all, to those of you who have submitted your cartoons to the Festival in the past, thank you very much. Whether or not your film eventually found its way into a screening, we appreciate your interest in the Festival more than you know. To the rest of you, we offer our sincere thanks for your continued Festival support.
Now,
for that big news: we're writing early to let you know about the third season of The Nicktoons Network Animation Festival for 2006. Frederator Studios and the Nicktoons Network are again producing the festival, and we're betting dollars to donuts that the 2006 go-around will be even more impressive than ever before.
Call for entries is March 15, 2006. Your short must be received by 5:00 p.m. (PST) on May 31, 2006.
The Festival runs six nights (five original screenings plus the best-of) beginning on the Nicktoons Network on August 26, 2006.
Very soon, you'll be able to get all the information you'll need, including those tedious submission forms, by visiting the Festival Website at nicktoonsnetwork.com.
Another big deal: This year, not only are we expanding the Festival to include live screenings, but we'll be distributing the shows through a variety
of digital outlets, too. We'll have more news, including the announcement of this year`s crack Grand Jury members, in the coming weeks.
. . .
Thanks for reading.
Sincerely,
Rita Street, Festival Director
Eric Homan, Festival Director
Fred Seibert, Festival Chairman
Monday, March 13, 2006
Sunday I took my son to the local comic book store. My obsession with comic books has died down over the years. I no longer have to buy every issue of a popular comic book once the artist that made it popular has been moved over to another book to try and up its sales figures. Art counts and so does storytelling so these days the books I buy are limited because my cash is limited but my taste is not.
So what do I stumble across in the local comic racks? Joe Kubert doing Sgt. Rock Comics. I never though I would see Ol' Rock again. I don`t like war comics. I stayed in college to avoid that little breeze from South East Asia. But I will buy and read anything Joe does, even Sgt. Rock the king of the war comic heroes.
So why did I think that Sgt. Rock had seen his last ink? Joe told me straight out that no war is ever justified even War War II (That was during his Fax from Sarajevo phase in 1996 at the DarkHorse party at Comic Con and a Hippie draft dodger like me had to defend World War II to the guy who invented Sgt. Rock - the world is too strange) But I am wondering why he is back doing Rock again if no war is justified then is any war comic justified?
But who cares, this is Joe Kubert art and visual storytelling. He is the Master. The art is classic Kubert, the layout superb, he might not be able to tell you how he does it but he sure does it. So I am saving this book up for a read when nothing will disturb me.
Talking about disturbed, I read an add in the back of that very same comic book that said the Joe Kubert School is in its 29th year. That means it is 27 years since I left those insane halls of higher/higher learning. So if you are an XQB we have to start doing some planning. It is time for a reunion.
Saturday, March 11, 2006
It was such a nice rainy morning that I took a nap after breakfast. I woke to find my daughter watching Cinderella. This reminded me of the story Milt Neal use to tell about the first time he watched Cinderella. I sneezed during my birds and ribbon scene and missed my whole year`s work. Or so he said. It was a good story but you could never tell with Milt. Anyway the point is taken, animation takes a long time.
Yesterday at the taping of my Cal State Fullerton TV interview I ran into a former student who was also there to be interviewed because his animation had just won at a college festival. I pushed him to enter it into other Animation festivals but he was worried because it was just rough animation and still needs to be finished. Animation takes a long time.
Speaking of festivals, I got a phone call from Anne at http://www.platformfestival.com/ the new Platform Festival. I like their approach. They are contacting animation educators and soliciting feed back on what makes a good festival and what categories are needed. It is such a simple idea but nobody ever thinks if it. I, for one, am going to keep my eye on them.
I am off to the local library with my laptop where I can tap into their wireless for a faster download of the Cars trailer.
Yesterday at the taping of my Cal State Fullerton TV interview I ran into a former student who was also there to be interviewed because his animation had just won at a college festival. I pushed him to enter it into other Animation festivals but he was worried because it was just rough animation and still needs to be finished. Animation takes a long time.
Speaking of festivals, I got a phone call from Anne at http://www.platformfestival.com/ the new Platform Festival. I like their approach. They are contacting animation educators and soliciting feed back on what makes a good festival and what categories are needed. It is such a simple idea but nobody ever thinks if it. I, for one, am going to keep my eye on them.
I am off to the local library with my laptop where I can tap into their wireless for a faster download of the Cars trailer.
Friday, March 10, 2006
Friday Morning Round Up:
Yesterday was about getting registered for E3. With the Video Gaming Annie Award just one year old now is definitely the time to make a big push at the premiere Gaming conference. Last year we had a little trouble getting the game companies to understand what the Annie Awards are about.
I know that E3 is in May but now is the time to plan our attack. Tom Hanson, a judge for last year`s Gaming Annie Award and the manager of my local Game Crazy store, has offered to help with getting the word out to the Gaming companies. So this year Tom and I are going to hit E3 and spread the word.
This afternoon I am being interviewed for a Public Access TV show that originates on the Cal State Fullerton campus. A large number of the Fullerton Radio, Television, and Film department helped out with the video shoot at this year`s Annie Awards and somewhere along the line I was asked to talk about animation on the air. Something I do a lot of when I am off the air so why not?
Picked up the first volume of the Pink Panther cartoons yesterday. Damn, they are good! Friz Freleng kicks butt with these silent cartoons set to music. Friz was there for the change over from silent to sound cartoons so it is of great interest to me that his last giant killer success is animating what amounts to a silent cartoon character.
Yesterday was about getting registered for E3. With the Video Gaming Annie Award just one year old now is definitely the time to make a big push at the premiere Gaming conference. Last year we had a little trouble getting the game companies to understand what the Annie Awards are about.
I know that E3 is in May but now is the time to plan our attack. Tom Hanson, a judge for last year`s Gaming Annie Award and the manager of my local Game Crazy store, has offered to help with getting the word out to the Gaming companies. So this year Tom and I are going to hit E3 and spread the word.
This afternoon I am being interviewed for a Public Access TV show that originates on the Cal State Fullerton campus. A large number of the Fullerton Radio, Television, and Film department helped out with the video shoot at this year`s Annie Awards and somewhere along the line I was asked to talk about animation on the air. Something I do a lot of when I am off the air so why not?
Picked up the first volume of the Pink Panther cartoons yesterday. Damn, they are good! Friz Freleng kicks butt with these silent cartoons set to music. Friz was there for the change over from silent to sound cartoons so it is of great interest to me that his last giant killer success is animating what amounts to a silent cartoon character.
Thursday, March 09, 2006
Archive: John K's Board For Stimpy's Invention
Today, we digitized a sequence of storyboard from "Stimpy's Invention"...
Check it out at the... ASIFA-Hollywood Animation Archive Project Blog
I'll be continuing the storyboard where I left off next week.
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
Check it out at the... ASIFA-Hollywood Animation Archive Project Blog
I'll be continuing the storyboard where I left off next week.
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
Wednesday, March 08, 2006
Sometime last year I gave Amid Amidi a hard time when made a statement that Leon Schlesinger was the perfect animation producer because he was lazy and therefore let his creative people alone to be creative. I took poor Amid to task because I felt that Leon was getting a bad rap and Leon really did take a certain part in the creative process of making cartoons at his studio.
So what brought this back up? I was talking to someone who worked on Iron Giant just the other day and he put forth the theory that it was lack of management supervision that gave Iron Giant its chance to shine.
When Quest for Camelot did less than stellar at the box office they decided in the front office to pull the plug on feature animation but they still had all these animators under contract that they would have had to pay whether they animated anything or not. So they let Brad go ahead with Giant because they had nothing to lose and everything to gain.
Brad use to get notes like; What if the Iron Giant wasn`t a gun? or What if Kent Mansley was really an alien? And Brad would say okay, good point and then go on and make his movie and no one would remember the notes they had given. If they had really been invested in the movie they would have remembered their notes and it would have been a harder fight to make the movie Brad wanted to make.
Interesting theory, so maybe I owe Amid an apology for jumping on him about Leon? Nah! The best thing is still to have a supportive studio and the second best is to have the studio leave the creatives alone and I won`t even get into third place.
Tuesday, March 07, 2006
Archive: Artzybasheff's Diablerie
Today we look at Artzybasheff's political cartoons...
The ASIFA-Hollywood Animation Archive
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
The ASIFA-Hollywood Animation Archive
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
For the last two years Tom Sito has been our Oscar reporter in the nosebleed section, where they hide the animators. This year having his own Blog to fill, Tom put his animation Oscar words of wisdom on his own site http://www.g7animation.com/news/.
I can understand that. I know what it is like to have to come up with something to say every day. But now that Tom is in the same boat and has to fill a space with his own words I think he will understand my link to his site at Gang of 7 as a way to fill my space.
I can understand that. I know what it is like to have to come up with something to say every day. But now that Tom is in the same boat and has to fill a space with his own words I think he will understand my link to his site at Gang of 7 as a way to fill my space.
Monday, March 06, 2006
ASIFA-Hollywood volunteer meetings to resume
The core of ASIFA-Hollywood has long been our volunteers. For the last 3 months the all important volunteer meetings have not been possible because of the changing nature of the ASIFA Animation Center.
We have long known that the time would come when we could no longer hold meeting in the Animation Center. In fact we worked very hard to get to the point where the Center turned into the Animation Archives.
Now due to the kindness of Woodbury University we will be able to re-start this important activity. The first volunteer meeting of the year will be Wednesday, March 29th at 7 PM on the campus of Woodbury University in Burbank. More details and the room number when we get closer to the meeting.
Thank you to Woodbury Animation Department Chair, Dori Littell-Herrick and the administration of Woodbury University. Woodbury has long been supportive of ASIFA. We thank you for this added kindness.
The core of ASIFA-Hollywood has long been our volunteers. For the last 3 months the all important volunteer meetings have not been possible because of the changing nature of the ASIFA Animation Center.
We have long known that the time would come when we could no longer hold meeting in the Animation Center. In fact we worked very hard to get to the point where the Center turned into the Animation Archives.
Now due to the kindness of Woodbury University we will be able to re-start this important activity. The first volunteer meeting of the year will be Wednesday, March 29th at 7 PM on the campus of Woodbury University in Burbank. More details and the room number when we get closer to the meeting.
Thank you to Woodbury Animation Department Chair, Dori Littell-Herrick and the administration of Woodbury University. Woodbury has long been supportive of ASIFA. We thank you for this added kindness.
Annie Awards 5 for 5:
Not to jinx us by talking about it but with last night`s Oscar win for Wallace and Gromit: Curse of the Were Ribbit this makes 5 out of 5 times that ASIFA-Hollywood has picked the Animation Feature Oscar Winner. Congratulation Nick and Steve. Nice bow ties. They looked good on you and they looked good on Oscar.
Congratulation to John Canemaker on his win for The Moon and The Son: An Imagined Conversation. John gave a very good speech with a plug for hand drawn animation.
Not to jinx us by talking about it but with last night`s Oscar win for Wallace and Gromit: Curse of the Were Ribbit this makes 5 out of 5 times that ASIFA-Hollywood has picked the Animation Feature Oscar Winner. Congratulation Nick and Steve. Nice bow ties. They looked good on you and they looked good on Oscar.
Congratulation to John Canemaker on his win for The Moon and The Son: An Imagined Conversation. John gave a very good speech with a plug for hand drawn animation.
Sunday, March 05, 2006
DreamWork Pre-Oscar Party:
Today is the day of the Oscars (r). Yesterday I spent the hours of 10:30 to 2 at the Annual DreamWorks Animation and Visual Effects pre-Oscar party. This is an incredible affair, this year held at the Eat On Sunset Restaurant.
I did get the chance to thank Jeffery Katzsanberg in person for inviting the ASIFA Board members to his party but I would like to also thank him in public. DreamWorks has been very supportive of ASIFA-Hollywood over the years. Not just in money but in free use of their theater for screenings and use of their talent.
The big thrill for me was getting to talk to Nick Park and Steve Box again and getting to meet Peter Sallis, the voice of Wallace from the Wallace and Gromit movies. My daughter and I got a chance to have a long talk with Peter as the party was starting to wend down.
Mr. Sallis seems like a sedate reserved English gentleman, he is not. There is a devil twinkling in his blue eyes. When he found out I was from ASIFA-Hollywood he wanted to know who had pinched his Annie Award for best voice actor in a feature film. It can`t really be still out for engraving, at the Masters Golf tournament they engrave the trophy when the palyers are on the 18th green. Later I introduced him to fellow board member David Derks saying this is the guy that didn`t get your Annie to you.
Peter told a number of great stories about working with Nick Park. I got this call after 8 years from Nick saying do you remember me the film is finished (Grand Day Out), I thought at this rate we will never get anything done. . . . then I came in to do some oohs and ahhs for The Wrong Trousers and they had this train set all laid out and Gromit was laying the track as the train was going and I said Nick this isn`t going to work. It is just too much. And Nick said to me trust me Peter. So I am at the premiere and we get to the toy train scene and the audience starts yelling and almost jump up out of the seats and I look over a Nick and wave to him and he waves back and that has been I motto with Nick Park ever since, trust me Peter.
Nick is coming to the Oscars in a stretch limo, they couldn`t find a car like Wallaces Anti-Pesto car. The nearest one was in Texas. Nick`s tux, that was lost at the airport did show up at the hotel room of Steve Box just before the party.
There was a guy walking around at the party that looked just like Rowan Atkinson, Mr. Bean, but nobody was swarming around him so maybe he was`t but I prefer to think he was.
Tom Sito had to leave early it is so Hollywood, I have to meet my trainer. John Canemaker was there too. We said hi but did not get to really talk. I cornered Jerry Beck on the Mark Kausler Oswald film Mars and how I hope to preserve it. Mark has 20 of 30 films that no studio has any more, ranted Jerry. One at a time, Jerry, we will preserve them one at a time.This is the one I am working on now.
I talked to Dan Sorto of Animation World Network for quite some time. Dan is a long time friend. Look for some exciting new stuff coming from AWN. I`ll not be a spoiler but their have some great features rolling out in the next few months.
As I was walking through the crowds I spotted a guy with a great lapel pin for One Man Band. I asked him if he worked on the film and who I had to kill to get a pin like that. It was Andy Jimenez, director of the Oscar nominated Pixar short animation. He liked my The Triplets of Belleville black and white pin and after a while we traded pins. We talked for quite some time over the course of the party as we kept runing into each other ending in a two person rant about how bad the marketing of Iron Giant was. Kim, Andy`s lady friend, just kind of rolled her eyes and went oh no not Iron Giant again and my daughter, Raven, did much the same.
The real shaking of the head for my daughter came when I asked Andy to be on my State of the Animation Industry panel at the year`s San Diego Comic Con. He said yes. And that rounds out my State of the Industry panel for this year`s Comic Con and my report on the DreamWorks pre-Oscar party. Good luck tonight and don`t let them push you off the red carpet too soon.
Today is the day of the Oscars (r). Yesterday I spent the hours of 10:30 to 2 at the Annual DreamWorks Animation and Visual Effects pre-Oscar party. This is an incredible affair, this year held at the Eat On Sunset Restaurant.
I did get the chance to thank Jeffery Katzsanberg in person for inviting the ASIFA Board members to his party but I would like to also thank him in public. DreamWorks has been very supportive of ASIFA-Hollywood over the years. Not just in money but in free use of their theater for screenings and use of their talent.
The big thrill for me was getting to talk to Nick Park and Steve Box again and getting to meet Peter Sallis, the voice of Wallace from the Wallace and Gromit movies. My daughter and I got a chance to have a long talk with Peter as the party was starting to wend down.
Mr. Sallis seems like a sedate reserved English gentleman, he is not. There is a devil twinkling in his blue eyes. When he found out I was from ASIFA-Hollywood he wanted to know who had pinched his Annie Award for best voice actor in a feature film. It can`t really be still out for engraving, at the Masters Golf tournament they engrave the trophy when the palyers are on the 18th green. Later I introduced him to fellow board member David Derks saying this is the guy that didn`t get your Annie to you.
Peter told a number of great stories about working with Nick Park. I got this call after 8 years from Nick saying do you remember me the film is finished (Grand Day Out), I thought at this rate we will never get anything done. . . . then I came in to do some oohs and ahhs for The Wrong Trousers and they had this train set all laid out and Gromit was laying the track as the train was going and I said Nick this isn`t going to work. It is just too much. And Nick said to me trust me Peter. So I am at the premiere and we get to the toy train scene and the audience starts yelling and almost jump up out of the seats and I look over a Nick and wave to him and he waves back and that has been I motto with Nick Park ever since, trust me Peter.
Nick is coming to the Oscars in a stretch limo, they couldn`t find a car like Wallaces Anti-Pesto car. The nearest one was in Texas. Nick`s tux, that was lost at the airport did show up at the hotel room of Steve Box just before the party.
There was a guy walking around at the party that looked just like Rowan Atkinson, Mr. Bean, but nobody was swarming around him so maybe he was`t but I prefer to think he was.
Tom Sito had to leave early it is so Hollywood, I have to meet my trainer. John Canemaker was there too. We said hi but did not get to really talk. I cornered Jerry Beck on the Mark Kausler Oswald film Mars and how I hope to preserve it. Mark has 20 of 30 films that no studio has any more, ranted Jerry. One at a time, Jerry, we will preserve them one at a time.This is the one I am working on now.
I talked to Dan Sorto of Animation World Network for quite some time. Dan is a long time friend. Look for some exciting new stuff coming from AWN. I`ll not be a spoiler but their have some great features rolling out in the next few months.
As I was walking through the crowds I spotted a guy with a great lapel pin for One Man Band. I asked him if he worked on the film and who I had to kill to get a pin like that. It was Andy Jimenez, director of the Oscar nominated Pixar short animation. He liked my The Triplets of Belleville black and white pin and after a while we traded pins. We talked for quite some time over the course of the party as we kept runing into each other ending in a two person rant about how bad the marketing of Iron Giant was. Kim, Andy`s lady friend, just kind of rolled her eyes and went oh no not Iron Giant again and my daughter, Raven, did much the same.
The real shaking of the head for my daughter came when I asked Andy to be on my State of the Animation Industry panel at the year`s San Diego Comic Con. He said yes. And that rounds out my State of the Industry panel for this year`s Comic Con and my report on the DreamWorks pre-Oscar party. Good luck tonight and don`t let them push you off the red carpet too soon.
Saturday, March 04, 2006
Is It Bookends For Nick and Gromit:
The questions on my mind this fine morning before the Oscars are: Will Nick Park complete his second set of Oscar bookends and how will he arrive to pick it up. The motorcycle and the side car he did the last time was a good idea but the cop, having no sense of humor, gave him a ticket for riding without a helmet.
At the Annies I suggested that he put on the hand break, slide the car sideways and roll down the red carpet. But too few would get the reference and it would not do to have to hobble up on stage. Time will tell on both questions.
The questions on my mind this fine morning before the Oscars are: Will Nick Park complete his second set of Oscar bookends and how will he arrive to pick it up. The motorcycle and the side car he did the last time was a good idea but the cop, having no sense of humor, gave him a ticket for riding without a helmet.
At the Annies I suggested that he put on the hand break, slide the car sideways and roll down the red carpet. But too few would get the reference and it would not do to have to hobble up on stage. Time will tell on both questions.
Friday, March 03, 2006
Cheap Cartoon Review:
I can only stare at the wall for so long and then I have to get out and do something. Yesterday I hit the WalMart for some meaningless digging in a big wire bin of DVDs containing the discards of the Hollywood dream factories. Sandra Bullock in Love Potion Number 9 and The Net, lots of slasher flicks, some John Wayne westerns no one has ever seen before and his ghost would be glad if no ones sees ever again, and 60 cartoons 60 a quantity not quality cartoon collection.
This Ultimate Cartoon Collection, as it bills itself, is made up of two double sided DVDs of every public domain or penny lease cartoon they can lay their hands on all thoughtlessly shoved on to the disks with an added bonus music CD of 51 of the scariest kids songs I have ever heard thrown in for good or bad measure.
More about the music later but first the collection or collections. There were 2 of them for a total, in theory, of 120 different cartoons. Yes there were repeats. But the reason I only picked up one of these gems is that I already had multiple copies everything on one of the collections and almost all of the ones on the other collection.
The only cartoons I did not already have on the collection I did pick up was a couple of Molly Moo Cows and a fun little live action / cartoon switch the camera back and forth thing called Picnic Panic. Everything else I already had. I put down my $5.50 because I did not have some of the content on DVD. That and I was bored and wanted to buy some cartoons after driving all the way to the local WalMart.
The transfer quality (sic) was soooooo bad. How bad was it Johnny? There is an it-is-a-electronic-babysitter-for-kids-for-gods-sake-so-who-gives-a-damn aspect to the whole production. Everything is half-assed and who cares. On one of the collections they list Cob Web Hotel as a Casper cartoon. On the collection I bought they list Bill Peet`s masterful Susie the Little Blue Coupe as a Raggedy Ann cartoon. A Raggedy Ann cartoon! That almost turned me right off of this purchase.
Now for the Music CD, this is a group of penny lease kids songs most of them from the 50s. They are shoveled in with no thought or planning. On the better ones you can tell that the studio musicians are just doing it for the money and think the music director is a fool. The songs fall into three categories, Pattie Page sound-a-likes hopped up on baby powder, beatnik want-to-bees nodding out after mainlining pabulum, and very, very frightening singers that you wouldn`t want to leave alone with your children. My daughter ran screaming from the room when I put this disk on, which might just be the true value of the recording.
CONTENT: (as listed on disk)
DISC I - SIDE A
1. Pantry Panic (Woody Woodpecker) 2. Cad and Caddy (Little Lulu) 3. Wolf Wolf (Mighty Mouse) 4. Westward Whoa (Mutt and Jeff) 5. Slick Sleuths (Mutt and Jeff) 6 Pest Pupil (Baby Huey) 7. Quack a Doodle Doo (Baby Huey) 8. The Story of King Midas 9. Rapunzel 10 The Story of Little Red Riding Hood 11. Hanzel and Gretel 12. Mother Goose Stories
DISC I - SIDE B
1. Comin` Round the Mountain 2. Crazytown 3. The Golden State 4. Winter Draws On 5. It`s A Greeks` Life 6. Picnic Panic 7. Cupid Gets His Man B. Molly Moo-Cow & Robinson Crusoe 9. Hunky & Spunky 10. Always Kickin` 11. Barnyard Brat 12. Fresh Vegetable Mystery 13. Little Lamkins 14. A Kick in Time 15. Snubbed by a Snob 16. You Can`t Shoe a Horse Fly
DISC 2 - SIDE A
1. Poor Cinderella (Betty Boop) 2. Betty In Blundertand (Betty Boop) 3. A Little Soap & Water (Betty Boop) 4. Little Nobody (Betty Boop) 5. The Scared Crows (Betty Boop) 6. Not Now (Betty Boop) 7. We Did It (Betty Boop) 8. More Pep (Betty Boop) 9, The Enchanted Square (Raggedy Ann & Friends) 10. Suddenly It`s Spring (Raggedy Ann & Friends) 11. Susie, The Little Blue Coupe (Raggedy Ann & Friends) 12. The Lion`s Busy (Raggedy Ann & Friends) 13. Teacher`s Pest (Raggedy Ann & Friends) 14. Ups and Downs Derby (Raggedy Ann & Friends)
DISC 2 - SIDE B
1. Bee My Honey (The Three Stooges) 2. The Little Old Bombmaker (The Three Stooges) 3. The Tree Nuts (The Three Stooges) 4. There Auto Be a Law (The Three Stooges) 5. Litter Bear (The Three Stooges) 6. Tin Horn Dude (The Three Stooges) 7. Woodsman Bear that Tree (The Three Stooges) 8. Trunaround is Bearplay (The Three Stooges) 9. Behind the 8-Ball Express (the Three Stooges) It Dizzy Doodlers (The Three Stooges) 11. Goldriggers of `49 (The Three Stooges) 12. To Kill a Clockingbird (The Three Stooges) 13. Who`s Lion? (The Three Stooges) 14. Three Jacks & a Beanstalk (The Three Stooges) 15. Baby Sitters (The Three Stooges) 16. That Was the Wreck That Was (The Three Stooges) 17. The Three Astromutz (The Three Stooges) 18. Little Cheese Chaser (The Three Stooges)
I can only stare at the wall for so long and then I have to get out and do something. Yesterday I hit the WalMart for some meaningless digging in a big wire bin of DVDs containing the discards of the Hollywood dream factories. Sandra Bullock in Love Potion Number 9 and The Net, lots of slasher flicks, some John Wayne westerns no one has ever seen before and his ghost would be glad if no ones sees ever again, and 60 cartoons 60 a quantity not quality cartoon collection.
This Ultimate Cartoon Collection, as it bills itself, is made up of two double sided DVDs of every public domain or penny lease cartoon they can lay their hands on all thoughtlessly shoved on to the disks with an added bonus music CD of 51 of the scariest kids songs I have ever heard thrown in for good or bad measure.
More about the music later but first the collection or collections. There were 2 of them for a total, in theory, of 120 different cartoons. Yes there were repeats. But the reason I only picked up one of these gems is that I already had multiple copies everything on one of the collections and almost all of the ones on the other collection.
The only cartoons I did not already have on the collection I did pick up was a couple of Molly Moo Cows and a fun little live action / cartoon switch the camera back and forth thing called Picnic Panic. Everything else I already had. I put down my $5.50 because I did not have some of the content on DVD. That and I was bored and wanted to buy some cartoons after driving all the way to the local WalMart.
The transfer quality (sic) was soooooo bad. How bad was it Johnny? There is an it-is-a-electronic-babysitter-for-kids-for-gods-sake-so-who-gives-a-damn aspect to the whole production. Everything is half-assed and who cares. On one of the collections they list Cob Web Hotel as a Casper cartoon. On the collection I bought they list Bill Peet`s masterful Susie the Little Blue Coupe as a Raggedy Ann cartoon. A Raggedy Ann cartoon! That almost turned me right off of this purchase.
Now for the Music CD, this is a group of penny lease kids songs most of them from the 50s. They are shoveled in with no thought or planning. On the better ones you can tell that the studio musicians are just doing it for the money and think the music director is a fool. The songs fall into three categories, Pattie Page sound-a-likes hopped up on baby powder, beatnik want-to-bees nodding out after mainlining pabulum, and very, very frightening singers that you wouldn`t want to leave alone with your children. My daughter ran screaming from the room when I put this disk on, which might just be the true value of the recording.
CONTENT: (as listed on disk)
DISC I - SIDE A
1. Pantry Panic (Woody Woodpecker) 2. Cad and Caddy (Little Lulu) 3. Wolf Wolf (Mighty Mouse) 4. Westward Whoa (Mutt and Jeff) 5. Slick Sleuths (Mutt and Jeff) 6 Pest Pupil (Baby Huey) 7. Quack a Doodle Doo (Baby Huey) 8. The Story of King Midas 9. Rapunzel 10 The Story of Little Red Riding Hood 11. Hanzel and Gretel 12. Mother Goose Stories
DISC I - SIDE B
1. Comin` Round the Mountain 2. Crazytown 3. The Golden State 4. Winter Draws On 5. It`s A Greeks` Life 6. Picnic Panic 7. Cupid Gets His Man B. Molly Moo-Cow & Robinson Crusoe 9. Hunky & Spunky 10. Always Kickin` 11. Barnyard Brat 12. Fresh Vegetable Mystery 13. Little Lamkins 14. A Kick in Time 15. Snubbed by a Snob 16. You Can`t Shoe a Horse Fly
DISC 2 - SIDE A
1. Poor Cinderella (Betty Boop) 2. Betty In Blundertand (Betty Boop) 3. A Little Soap & Water (Betty Boop) 4. Little Nobody (Betty Boop) 5. The Scared Crows (Betty Boop) 6. Not Now (Betty Boop) 7. We Did It (Betty Boop) 8. More Pep (Betty Boop) 9, The Enchanted Square (Raggedy Ann & Friends) 10. Suddenly It`s Spring (Raggedy Ann & Friends) 11. Susie, The Little Blue Coupe (Raggedy Ann & Friends) 12. The Lion`s Busy (Raggedy Ann & Friends) 13. Teacher`s Pest (Raggedy Ann & Friends) 14. Ups and Downs Derby (Raggedy Ann & Friends)
DISC 2 - SIDE B
1. Bee My Honey (The Three Stooges) 2. The Little Old Bombmaker (The Three Stooges) 3. The Tree Nuts (The Three Stooges) 4. There Auto Be a Law (The Three Stooges) 5. Litter Bear (The Three Stooges) 6. Tin Horn Dude (The Three Stooges) 7. Woodsman Bear that Tree (The Three Stooges) 8. Trunaround is Bearplay (The Three Stooges) 9. Behind the 8-Ball Express (the Three Stooges) It Dizzy Doodlers (The Three Stooges) 11. Goldriggers of `49 (The Three Stooges) 12. To Kill a Clockingbird (The Three Stooges) 13. Who`s Lion? (The Three Stooges) 14. Three Jacks & a Beanstalk (The Three Stooges) 15. Baby Sitters (The Three Stooges) 16. That Was the Wreck That Was (The Three Stooges) 17. The Three Astromutz (The Three Stooges) 18. Little Cheese Chaser (The Three Stooges)
Archive: Art Babbitt
I once asked Art what he thought his best piece of animation was, expecting him to cite Goofy in "Moving Day", The Chinese Mushrooms in Fantasia or Gepetto in Pinocchio. But Art surprised me. He stated without equivocation that his animation of the bear chasing the dandilion in UPA's "Grizzly Golfer" was his best. I had recently seen the cartoon on home video. (The moment I heard that Art was going to be working at the studio, I went out and rented everything I could find by him!) I had to agree. It's a tour-de-force on several levels...
See the pencil test at The ASIFA-Hollywood Animation Archive Project Blog
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
See the pencil test at The ASIFA-Hollywood Animation Archive Project Blog
Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
Thursday, March 02, 2006
Rewards of Teaching Cures the Blues:
Fairly burnout this morning, been a roller-coaster ride this last two weeks. Getting lessen plans together for the classes I was going to miss, Florida for a funeral, all week doing family things and dealing with major changes in the family and closing down a house. Sorting through the past.
Back last Friday, gods I hate the cramped cattle nature to flying and wish I could afford first class. Prep for my classes, find out that lots of stuff that needed to be taught last week wasn`t because they got a babysitter not a teacher. (okay, last minute, I understand)
Playing catch up all week ending yesterday in a 17 hour day ending in an ASIFA board meeting (up at 5 AM back home at 10:30 PM, fun, fun, fun! !).
So what stands out in that two week collage of happenings as I stare at my screen and drool into my shoe and try to think of something to write for these pages?
Yesterday, that`s it, yesterday I am looking at a student`s animation. Superhero girl jumping and then landing in a crouch. Starts in a medium shot with the character leaping from stage left to stage right at the camera into an extreme close-up of the face then the face turns to stage left and then it goes into a medium shot of the character jumping down into a crouching pose.
Lots of problems here. Not thought out. lots of fun things put together and they don`t go together. The close-up of the face with all the action going from stage left to stage right and then the face in one frame already looking stage left. Just does not work. All the thrust going one way and then, no wait it is going the other way with no way of getting there. How did we get here? Better yet how are you going to make people beleave you got here? Lots of other problems going on in other parts of the animation but this is the first stumbling block and needs to be fixed first.
Have you ever watched Dover Boys or seen the work of Eric Goldberg? Have you ever heard of the term smear animation?
He hadn`t but no doubt he will. I got him to animate a smear of the face from stage right to stage left and insert it on ones.
Okay, that works. Now what is going on here with the extreme close-up going right into a medium shot of the hero jumping down into a crouch? How is that going to work? and I bring out Hitchcock and talk about breaking the close-up and how that drains the tension from the scene.
Okay, even Hitchcock broke that rule sometimes. This looks like a time we can do so because the character is going right through the camera. The question is how are we going to do it and get into this medium shot from the close-up?
Okay, try this, insert a single blank frame between the close-up and the medium shot. That gives us a two frame cut through white. Now take this drawing of the character in medium shot jumping down. Trace it and then take your hand and just smear the pencil from top to bottom.
The look on the student`s face when his animation came to life and really worked after these two small changes, that is what teaching is all about. I see him catch fire and start to understand timing and transition. I predict that smear animation will become a major tool it this animators toolbox. Maybe he will even use it too much for a while, that is okay. Other tools will come along and they will all take their place. I also predict that the fire in his eyes will carry him forward for quite a while. Hell, it makes me feel better. And it gave me something to write about.
Fairly burnout this morning, been a roller-coaster ride this last two weeks. Getting lessen plans together for the classes I was going to miss, Florida for a funeral, all week doing family things and dealing with major changes in the family and closing down a house. Sorting through the past.
Back last Friday, gods I hate the cramped cattle nature to flying and wish I could afford first class. Prep for my classes, find out that lots of stuff that needed to be taught last week wasn`t because they got a babysitter not a teacher. (okay, last minute, I understand)
Playing catch up all week ending yesterday in a 17 hour day ending in an ASIFA board meeting (up at 5 AM back home at 10:30 PM, fun, fun, fun! !).
So what stands out in that two week collage of happenings as I stare at my screen and drool into my shoe and try to think of something to write for these pages?
Yesterday, that`s it, yesterday I am looking at a student`s animation. Superhero girl jumping and then landing in a crouch. Starts in a medium shot with the character leaping from stage left to stage right at the camera into an extreme close-up of the face then the face turns to stage left and then it goes into a medium shot of the character jumping down into a crouching pose.
Lots of problems here. Not thought out. lots of fun things put together and they don`t go together. The close-up of the face with all the action going from stage left to stage right and then the face in one frame already looking stage left. Just does not work. All the thrust going one way and then, no wait it is going the other way with no way of getting there. How did we get here? Better yet how are you going to make people beleave you got here? Lots of other problems going on in other parts of the animation but this is the first stumbling block and needs to be fixed first.
Have you ever watched Dover Boys or seen the work of Eric Goldberg? Have you ever heard of the term smear animation?
He hadn`t but no doubt he will. I got him to animate a smear of the face from stage right to stage left and insert it on ones.
Okay, that works. Now what is going on here with the extreme close-up going right into a medium shot of the hero jumping down into a crouch? How is that going to work? and I bring out Hitchcock and talk about breaking the close-up and how that drains the tension from the scene.
Okay, even Hitchcock broke that rule sometimes. This looks like a time we can do so because the character is going right through the camera. The question is how are we going to do it and get into this medium shot from the close-up?
Okay, try this, insert a single blank frame between the close-up and the medium shot. That gives us a two frame cut through white. Now take this drawing of the character in medium shot jumping down. Trace it and then take your hand and just smear the pencil from top to bottom.
The look on the student`s face when his animation came to life and really worked after these two small changes, that is what teaching is all about. I see him catch fire and start to understand timing and transition. I predict that smear animation will become a major tool it this animators toolbox. Maybe he will even use it too much for a while, that is okay. Other tools will come along and they will all take their place. I also predict that the fire in his eyes will carry him forward for quite a while. Hell, it makes me feel better. And it gave me something to write about.
