ASIFA-Hollywood: The International Animated Film Society
Tuesday, October 31, 2006
The Sito Show Rolls Into Cal State Fullerton:
A Tom Sito presentation and book signing happened last night in my History of Animation class. After, there was a meet and greet with food and a lot of great stories that we managed to video tape.
The trick on my part was to move the class right up to the time of the animation strikes and then bring in Tom. Not really as easy as it sounds. But as always with animation, it is all in the timing. (Notice the Disney tables in the background)
A Tom Sito presentation and book signing happened last night in my History of Animation class. After, there was a meet and greet with food and a lot of great stories that we managed to video tape.
The trick on my part was to move the class right up to the time of the animation strikes and then bring in Tom. Not really as easy as it sounds. But as always with animation, it is all in the timing. (Notice the Disney tables in the background)
Archive: Little Mermaid Reunion LAST CHANCE!
Tickets for the Little Mermaid Reunion are selling quickly, so if you plan to attend, you will want to call the Van Eaton Gallery and reserve a seat ASAP. The panel will consist of some of the most talented people in the animation business... Ron Clements & John Musker, Andreas Deja, Mark Henn, Duncan Majorbanks, and the host for the evening is Tom Sito. The ticket price and a portion of the proceeds from the sale of artwork at the event will go to the ASIFA-Hollywood Animation Archive. Don't miss it!
Van Eaton Galleries and ASIFA-Hollywood present a reunion of the creators of THE LITTLE MERMAID. There will be a panel discussion and sale of artwork to benefit the ASIFA-Hollywood Animation Archive (www.animationarchive.org). Seating is EXTREMELY LIMITED, so buy your ticket early.
Friday, November 3rd, 7pm
Tickets $8 in advance ($10 at the door if not sold out)
To purchase a ticket, phone 818 788-2357
Or visit the Van Eaton Gallery
at 13613 Ventura Bl. Sherman Oaks, CA
For more information, see the... Little Mermaid Reunion Calendar Entry.
Van Eaton Galleries and ASIFA-Hollywood present a reunion of the creators of THE LITTLE MERMAID. There will be a panel discussion and sale of artwork to benefit the ASIFA-Hollywood Animation Archive (www.animationarchive.org). Seating is EXTREMELY LIMITED, so buy your ticket early.
Friday, November 3rd, 7pm
Tickets $8 in advance ($10 at the door if not sold out)
To purchase a ticket, phone 818 788-2357
Or visit the Van Eaton Gallery
at 13613 Ventura Bl. Sherman Oaks, CA
For more information, see the... Little Mermaid Reunion Calendar Entry.
Monday, October 30, 2006
Sunday, October 29, 2006
I Killed Dick Shawn:
I liked Dick Shawn. I thought he was one the funniest and smartest comics of his age. But my actions/words were pretty much responsible for his demise.
Why the big confession? What does this have to do with animation? Yesterday I unknowingly fought 2 1/2 hours of traffic hell to get to Jerry Beck`s Smokin` Toons screening at AFI.
The screening was great but a little short so Jerry ended with the last reel of a 1977 Buffalo Bob failed comeback feature (just acquired by Mark Kausler) made up of lots of Magoo cartoons and B.B. in the same awful shirt singing 30s songs. Very sad. And there he is, Dick Shawn the man I killed, on a psychedelic flashing lighted stage being goofy for the aging second banana of a puppet that is sadly MIA for this film.
I first met Dick Shawn in 1975 or 1976 when he was putting together his one-man show, the Second Greatest Entertainer in the Whole Wide World. Steve Rothman, my best friend from 8th grade and my college roommate, brought Dick to Florida State so Dick could put his show together far from the Great White Sharks of the Great White Way.
I next met Dick when his play was running off Broadway. Steve and I went out to eat with Dick after his successful performance. Dick stood in the drizzle and signed autographics they pay the bills before going out for food.
Dick was a Southern Gentleman. In the middle of Steve`s dinner show biz speal Dick looked over and saw that I was being left out of the conversation. He stopped in mid sentence and went into a hippy crazed stream of consciences verbal give-and-take with me that left Steve in the dust. When we were finished crossing the stream of consciences Dick picked up his conversation with Steve at the mid sentence where he had left off. I was impressed.
In early April 1987 my wife and I went to the Pasadena Playhouse, that Steve Rothman had just restored, to see Dick headline back-to-back one-man shows with another, lesser comic. Ruth and I had the best seats in the house and Dick was in great from trying to lead an audience sing along of Gilbert and Sullivan.
After the first show we all went back stage. Ruth and I were taking Steve and his then wife Alma Martinez (Under Fire, Born in East LA) out to celebrate Alma`s birthday. Dick said maybe he would come along but backed out went we told him where we were going. Never`d get back in time for the second show, maybe next time?
I told Dick that he did a great job of answering my question. At the end of his performance (the one just finished) Dick had done something that no stand up in his right mind would dare to do. Are there any questions from the audience?
What is the meaning of life I boomed out across the theatre. Dick responded I know that one, just a minute. I`ve got the answer and I`m not even going to charge you for it. The meaning of life is . . . . (and Dick fakes a heart attack and falls down dead on the stage)
April 17th 1987, two weeks later, Dick Shawn was performing at the University of California at San Diego with the same stage crew and stage manager when he had a massive heart attack on stage and fell over again seeming to be dead. There was a Doctor in the second row who thought it was part of the act as did the stage manager who came out on stage and then left and then came back. Dick lay there and died while people laughed which is somehow fitting. And my words and his response to my words killed him. Maybe next time?
I liked Dick Shawn. I thought he was one the funniest and smartest comics of his age. But my actions/words were pretty much responsible for his demise.
Why the big confession? What does this have to do with animation? Yesterday I unknowingly fought 2 1/2 hours of traffic hell to get to Jerry Beck`s Smokin` Toons screening at AFI.
The screening was great but a little short so Jerry ended with the last reel of a 1977 Buffalo Bob failed comeback feature (just acquired by Mark Kausler) made up of lots of Magoo cartoons and B.B. in the same awful shirt singing 30s songs. Very sad. And there he is, Dick Shawn the man I killed, on a psychedelic flashing lighted stage being goofy for the aging second banana of a puppet that is sadly MIA for this film.
I first met Dick Shawn in 1975 or 1976 when he was putting together his one-man show, the Second Greatest Entertainer in the Whole Wide World. Steve Rothman, my best friend from 8th grade and my college roommate, brought Dick to Florida State so Dick could put his show together far from the Great White Sharks of the Great White Way.
I next met Dick when his play was running off Broadway. Steve and I went out to eat with Dick after his successful performance. Dick stood in the drizzle and signed autographics they pay the bills before going out for food.
Dick was a Southern Gentleman. In the middle of Steve`s dinner show biz speal Dick looked over and saw that I was being left out of the conversation. He stopped in mid sentence and went into a hippy crazed stream of consciences verbal give-and-take with me that left Steve in the dust. When we were finished crossing the stream of consciences Dick picked up his conversation with Steve at the mid sentence where he had left off. I was impressed.
In early April 1987 my wife and I went to the Pasadena Playhouse, that Steve Rothman had just restored, to see Dick headline back-to-back one-man shows with another, lesser comic. Ruth and I had the best seats in the house and Dick was in great from trying to lead an audience sing along of Gilbert and Sullivan.
After the first show we all went back stage. Ruth and I were taking Steve and his then wife Alma Martinez (Under Fire, Born in East LA) out to celebrate Alma`s birthday. Dick said maybe he would come along but backed out went we told him where we were going. Never`d get back in time for the second show, maybe next time?
I told Dick that he did a great job of answering my question. At the end of his performance (the one just finished) Dick had done something that no stand up in his right mind would dare to do. Are there any questions from the audience?
What is the meaning of life I boomed out across the theatre. Dick responded I know that one, just a minute. I`ve got the answer and I`m not even going to charge you for it. The meaning of life is . . . . (and Dick fakes a heart attack and falls down dead on the stage)
April 17th 1987, two weeks later, Dick Shawn was performing at the University of California at San Diego with the same stage crew and stage manager when he had a massive heart attack on stage and fell over again seeming to be dead. There was a Doctor in the second row who thought it was part of the act as did the stage manager who came out on stage and then left and then came back. Dick lay there and died while people laughed which is somehow fitting. And my words and his response to my words killed him. Maybe next time?
Saturday, October 28, 2006
Archive: Happy Halloween!
In honor of Halloween, today we digitized Harman and Ising's "Hitting the Trail for Hallelujah Land"...
Filmography: Happy Halloween!
Check out our other tricks and treats too!
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Filmography: Happy Halloween!
Check out our other tricks and treats too!
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
I sold my New X-Men to eat while I was at Cartoon College but I still have my Kirbys. I have always had a thing for mutants because I felt like one growing up. I have just been asked to plug a book by a friend on a subject I love and I won`t have to think of anything to write this morning. Let me see, win, win, win and win!
Hi, Larry:
I contacted Antran and he said that I could give information regarding an upcoming book signing to post on the blog (this may be a new term...blogplug). It is for my book "X-Men: The Character and Their Universe" (see cover image attached), which traces the characters through the comics and into animation, television and film. It contains writeups of all of the animated series, along with interviews with the creators, and a lot of animation artwork, most of which has never been published. The info for the signing is as follows...
Michael Mallory talks about and signs "X-Men: The Characters and Their Universe" on Saturday, November 4, 2006, at 4:00 p.m.
at:Barnes & Noble at the Grove
189 The Grove Drive (by Farmers Market)
Los Angeles, CA 90036
(323) 525-0366
Thanks!
Anything for a guy that wears cooler hat them mine
Friday, October 27, 2006
Ad: Skeleton Dance Limited Edition
The Skeleton Dance #1
Halloween Edition 2006
Acme Archives is proud to announce the release of Disney's "The Skeleton Dance #1". Orders will be taken from today through midnight on Halloween, which will determine the edition size.
This limited edition release features two cel layers, hand painted by Disney's Ink & Paint Department, and is taken directly from 1929's "The Skeleton Dance". Additionally, every detail is true to the original production thanks to the involvement of Disney's Animation Research Library.
"Acme Archives has done an incredible job recreating this iconic image from Walt Disney's first Silly Symphony, "The Skeleton Dance". Ub Iwerks' incredible animation and Carl Stallings' spooky humourous score set the stage for the great Disney classics to come." --Jerry Beck, Animation Historian www.cartoonbrew.com
Image size approx. 9" x 7"
Edition size TBD
Price $695 (retail)
www.acmearchives.com
The Skeleton Dance #1
Halloween Edition 2006
Acme Archives is proud to announce the release of Disney's "The Skeleton Dance #1". Orders will be taken from today through midnight on Halloween, which will determine the edition size.
This limited edition release features two cel layers, hand painted by Disney's Ink & Paint Department, and is taken directly from 1929's "The Skeleton Dance". Additionally, every detail is true to the original production thanks to the involvement of Disney's Animation Research Library.
"Acme Archives has done an incredible job recreating this iconic image from Walt Disney's first Silly Symphony, "The Skeleton Dance". Ub Iwerks' incredible animation and Carl Stallings' spooky humourous score set the stage for the great Disney classics to come." --Jerry Beck, Animation Historian www.cartoonbrew.com
Image size approx. 9" x 7"
Edition size TBD
Price $695 (retail)
www.acmearchives.com
What and Who, Ya know!
Approximately 25 students and professionals gathered in room 104 of the Woodbury University Design Center last night to talk about the upcoming Annie Award judging that will be taking place the beginning of November.
Also under discussion was the Stop Mo Expo that is scheduled for April 21st on Woodbury campus. A fun time was ha by all and we squared away the Annie judging event.
The name of the game in networking, people. Last night I lined up volunteers to spend the day with about 100 of the top people in the LA animation community. Why would anyone that that wants a job in animation want to do such a thing? Who will help me eat the bread?
Approximately 25 students and professionals gathered in room 104 of the Woodbury University Design Center last night to talk about the upcoming Annie Award judging that will be taking place the beginning of November.
Also under discussion was the Stop Mo Expo that is scheduled for April 21st on Woodbury campus. A fun time was ha by all and we squared away the Annie judging event.
The name of the game in networking, people. Last night I lined up volunteers to spend the day with about 100 of the top people in the LA animation community. Why would anyone that that wants a job in animation want to do such a thing? Who will help me eat the bread?
Thursday, October 26, 2006
Archive: Natwick on WHO INVENTED THE THREE FINGERED HAND?
Today at the ASIFA-Hollywood Animation Archive, we present an article by master animator, Grim Natwick...
WHO INVENTED THE THREE FINGERED HAND?
Enjoy!
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
WHO INVENTED THE THREE FINGERED HAND?
Enjoy!
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
With Sito You Get Stories:
Tom Sito has a deep love of animation and of history, and therefore the history of animation. He is always going around collecting pieces of the big picture, always checking one story against another trying to re-create a model in his head of the early animation world that we have inherited.
Setting down with Tom and Aubry Mintz and my son Tobias over branch Wednesday was were the real fun was. These were the stoies not ready for prime time, raw and funny and not yet authenticated for publication. But the students of Laguna College of Art & Design got their fair share too. And the senior animation students also got a review of their senior projects.
reviewing senior work before the rest of the students come in for the Drawing the Line presentation
I got a preview of Tom`s presentation. When he comes in for my Monday night Cal State Fullerton class I will be ready for him. Sounds like I am going to be laying in wait, it is not like that at all (okay maybe just a little).
Tom Sito has a deep love of animation and of history, and therefore the history of animation. He is always going around collecting pieces of the big picture, always checking one story against another trying to re-create a model in his head of the early animation world that we have inherited.
Setting down with Tom and Aubry Mintz and my son Tobias over branch Wednesday was were the real fun was. These were the stoies not ready for prime time, raw and funny and not yet authenticated for publication. But the students of Laguna College of Art & Design got their fair share too. And the senior animation students also got a review of their senior projects.
reviewing senior work before the rest of the students come in for the Drawing the Line presentation
I got a preview of Tom`s presentation. When he comes in for my Monday night Cal State Fullerton class I will be ready for him. Sounds like I am going to be laying in wait, it is not like that at all (okay maybe just a little).
Wednesday, October 25, 2006
Tuesday, October 24, 2006
Wire Dreams:
I hit the I5 early this morning heading North to Burbank. I prefer easy traffic and getting there early to the stress of prime time commute. I got onto campus by 8 for a 10 o`clock appointment with Nancy Nichols, my stop motion student.
I buy decaf and a croissant in Woodys, the Woodbury cafeteria, and spend an hour 15 working on the Stop Mo Expo web site (should have it up this week).
Today`s assignment, when I get to the Senior Animation Lab, is to help Nancy create a down and dirty low cost wire armature.
It is not going to be elegant and does not even exist in the same universe as the work of Ian Mackinnon and Pete Saunders but it is a start down the road. And all with no welding or no machining, just wire and plumber`s epoxy.
I do not take time to take a finished photo with face and feet but you get the idea
The time goes far too quickly. Nancy handles tools well, kudos to her father for teaching her how to work on cars. I am going to have to schedule a longer chunk of time next time around but we get a lot done. Not bad for our second meeting. And when we are done she has 2 armatures and can start doing animation tests.
I am back on the I5 heading South by noon. The traffic is very light. I listen to a book on tape (Rockford files) and I get into Orange County by 1:07 PM. My son Tobias is home doing math homework.
I eat a little lunch, (left over stir-fry that I cooked 2 nights ago). I am at my daughter`s school for her 2 PM pick up 15 minutes early. I come home and take a nap until 5 and leave Raven to make pizza.
Tomorrow morning is Tom Sito at Laguna College of Art & Design. Then Thursday, the dreaded 16 hour Thursday. The nap is not a luxury it is a preemptive strike.
I hit the I5 early this morning heading North to Burbank. I prefer easy traffic and getting there early to the stress of prime time commute. I got onto campus by 8 for a 10 o`clock appointment with Nancy Nichols, my stop motion student.
I buy decaf and a croissant in Woodys, the Woodbury cafeteria, and spend an hour 15 working on the Stop Mo Expo web site (should have it up this week).
Today`s assignment, when I get to the Senior Animation Lab, is to help Nancy create a down and dirty low cost wire armature.
It is not going to be elegant and does not even exist in the same universe as the work of Ian Mackinnon and Pete Saunders but it is a start down the road. And all with no welding or no machining, just wire and plumber`s epoxy.
I do not take time to take a finished photo with face and feet but you get the idea
The time goes far too quickly. Nancy handles tools well, kudos to her father for teaching her how to work on cars. I am going to have to schedule a longer chunk of time next time around but we get a lot done. Not bad for our second meeting. And when we are done she has 2 armatures and can start doing animation tests.
I am back on the I5 heading South by noon. The traffic is very light. I listen to a book on tape (Rockford files) and I get into Orange County by 1:07 PM. My son Tobias is home doing math homework.
I eat a little lunch, (left over stir-fry that I cooked 2 nights ago). I am at my daughter`s school for her 2 PM pick up 15 minutes early. I come home and take a nap until 5 and leave Raven to make pizza.
Tomorrow morning is Tom Sito at Laguna College of Art & Design. Then Thursday, the dreaded 16 hour Thursday. The nap is not a luxury it is a preemptive strike.
Archive: Rackham's Grimm Part Two
Today, the ASIFA-Hollywood Animation Archive Blog features the second half of images from Arthur Rackham's Grimm's Fairy Tales...
Media: Arthur Rackham's Grimm's Fairy Tales Part Two
(If you missed it, see Part One.)
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Media: Arthur Rackham's Grimm's Fairy Tales Part Two
(If you missed it, see Part One.)
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Monday, October 23, 2006
Sunday, October 22, 2006
My Week and Welcome to It:
The Annie session is upon us, or me. My schedule is crammed with trips to Burbank and Hollywood. The events are flying fast and furiously; too many to attend.
MONDAY:
Monday night is the big presentation and signing for Drawing the Line, Tom Sito`s animation labor book. I am going to be teaching a class Monday night at Cal State Fullerton (Cartoons at War) . I also have to try and meet with someone in the Theatre Department about voice over for the Animation Jam. I have to miss this event but here is your chance to see and hear the story no one ever thought would be told.
DRAWING THE LINE
Monday, Oct. 23, 2006, 7pm
Bridges Auditorium, Melnitz Hall
UCLA Campus. Admission is free.
TUESDAY:
Tuesday morning I am in Burbank on the campus of Woodbury University to meet with Nancy, my stop motion student. We are building wire armatures. This is the highlight of my week. I have been getting stuff ready for weeks.
While on campus I need to meet with people about tech support, student volunteers and runners for the upcoming Annie Judging in November. Also have to talk to personnel about the details on my mentorship (parking and the like) and I need to see the event planner about the Stop Mo Expo in April. All of this must be done before 12 noon because I have to be back in Orange County by 2 PM.
Which means I am going to miss David Levy`s Your Career in Animation presentastion. Sorry David, it looks like a good one.
YOUR CAREER IN ANIMATION
Tuesday, October 24th, 2006 - 7 pm
How To Survive And Thrive - Panel Discussion and Book Signing event!
Panel: Asifa-East President David Levy (animation director Blues Clues)
Sue Perrotto (Animation director: Beavis and Butthead, Billy and Mandy, Megas XLR, etc.)
David Steinberg (Producer: Bluth & Disney)
Craig Bartlett (Creator: Hey Arnold!)
Mr. Levy will be signing copies of his new book as well. Join us for this unique event.
Tuesday, Oct. 24th, 2006, 7pm
Glendale Public Library
222 East Harvard Street
Glendale CA
General Public $10. Admission is free for Asifa Hollywood members.
WEDNESDAY:
Wednesday I am at Laguna College of Art & Design with Tom Sito and the road show of Drawing the Line. (I couldn`t get to the UCLA event so I scheduled one for my neck of the woods, okay two)
THURSDAY:
Thursday is a killer day for me. I am on the road at 6:30 AM and then I am at Brooks College until 5:00 PM and then it is the 605 to the 5 and straight on until Burbank.
ASIFA-Hollywood Volunteer Meeting
Thursday, October 26th 7 P.M.
Woodbury University
7500 Glenoaks Blvd.
Burbank, CA 91510
Room D104
This is a big one. This is the last volunteer meeting before the Annie Judging on Woodbury campus in November. We will be going over the details for the volunteers who will be working as support staff for this event. Other events on the agenda are the AFI Screening and the Stop Mo Expo.
This will put me back in Orange County at about 10:30 or 11. Gods, I am getting tired just reading this. Maybe it is a mistake to write this stuff down?
FRIDAY:
Friday I have to be on the road again by 6:30 for an internship class I am running at Brooks. This is the week that I have them doing cold calls so I won`t have to talk that much. But I will have to do pep talks and hand holding because this can be very scary for some of the students.
Friday, October 27th, 2006 is also the ANNIE AWARDS DEADLINE
Deadline to Receive Materials for Nomination Judging. For more information, please visit http://www.annieawards.org/
SATURDAY:
Saturday is another trip into Burbank (glad the gas prices have come down a little). After my week what in the world could be good enough to get me back on the 5 heading North?
SMOKIN' TOONS
Cigarette Smoking In Hollywood Cartoons
Saturday October 28th at 3pm
Forget TOM & JERRY! Cigarette smoking was widespread in the United States during the golden age of animation - and that was heavily reflected in the animated cartoons of the era. Don't miss this exclusive free ASIFA screening which explores the various ways big tobacco invaded our favorite cartoon characters.
Saturday, October 28th, 2006 - 3pm
American Film Instutute
Ted Ashley Screening Room
2021 N. Western Ave.
Hollywood, CA
SUNDAY:
Sunday I am sleeping in. Next Monday I have Tom Sito at Fullerton for Drawing the Line, etc., etc.
The Annie session is upon us, or me. My schedule is crammed with trips to Burbank and Hollywood. The events are flying fast and furiously; too many to attend.
MONDAY:
Monday night is the big presentation and signing for Drawing the Line, Tom Sito`s animation labor book. I am going to be teaching a class Monday night at Cal State Fullerton (Cartoons at War) . I also have to try and meet with someone in the Theatre Department about voice over for the Animation Jam. I have to miss this event but here is your chance to see and hear the story no one ever thought would be told.
DRAWING THE LINE
Monday, Oct. 23, 2006, 7pm
Bridges Auditorium, Melnitz Hall
UCLA Campus. Admission is free.
TUESDAY:
Tuesday morning I am in Burbank on the campus of Woodbury University to meet with Nancy, my stop motion student. We are building wire armatures. This is the highlight of my week. I have been getting stuff ready for weeks.
While on campus I need to meet with people about tech support, student volunteers and runners for the upcoming Annie Judging in November. Also have to talk to personnel about the details on my mentorship (parking and the like) and I need to see the event planner about the Stop Mo Expo in April. All of this must be done before 12 noon because I have to be back in Orange County by 2 PM.
Which means I am going to miss David Levy`s Your Career in Animation presentastion. Sorry David, it looks like a good one.
YOUR CAREER IN ANIMATION
Tuesday, October 24th, 2006 - 7 pm
How To Survive And Thrive - Panel Discussion and Book Signing event!
Panel: Asifa-East President David Levy (animation director Blues Clues)
Sue Perrotto (Animation director: Beavis and Butthead, Billy and Mandy, Megas XLR, etc.)
David Steinberg (Producer: Bluth & Disney)
Craig Bartlett (Creator: Hey Arnold!)
Mr. Levy will be signing copies of his new book as well. Join us for this unique event.
Tuesday, Oct. 24th, 2006, 7pm
Glendale Public Library
222 East Harvard Street
Glendale CA
General Public $10. Admission is free for Asifa Hollywood members.
WEDNESDAY:
Wednesday I am at Laguna College of Art & Design with Tom Sito and the road show of Drawing the Line. (I couldn`t get to the UCLA event so I scheduled one for my neck of the woods, okay two)
THURSDAY:
Thursday is a killer day for me. I am on the road at 6:30 AM and then I am at Brooks College until 5:00 PM and then it is the 605 to the 5 and straight on until Burbank.
ASIFA-Hollywood Volunteer Meeting
Thursday, October 26th 7 P.M.
Woodbury University
7500 Glenoaks Blvd.
Burbank, CA 91510
Room D104
This is a big one. This is the last volunteer meeting before the Annie Judging on Woodbury campus in November. We will be going over the details for the volunteers who will be working as support staff for this event. Other events on the agenda are the AFI Screening and the Stop Mo Expo.
This will put me back in Orange County at about 10:30 or 11. Gods, I am getting tired just reading this. Maybe it is a mistake to write this stuff down?
FRIDAY:
Friday I have to be on the road again by 6:30 for an internship class I am running at Brooks. This is the week that I have them doing cold calls so I won`t have to talk that much. But I will have to do pep talks and hand holding because this can be very scary for some of the students.
Friday, October 27th, 2006 is also the ANNIE AWARDS DEADLINE
Deadline to Receive Materials for Nomination Judging. For more information, please visit http://www.annieawards.org/
SATURDAY:
Saturday is another trip into Burbank (glad the gas prices have come down a little). After my week what in the world could be good enough to get me back on the 5 heading North?
SMOKIN' TOONS
Cigarette Smoking In Hollywood Cartoons
Saturday October 28th at 3pm
Forget TOM & JERRY! Cigarette smoking was widespread in the United States during the golden age of animation - and that was heavily reflected in the animated cartoons of the era. Don't miss this exclusive free ASIFA screening which explores the various ways big tobacco invaded our favorite cartoon characters.
Saturday, October 28th, 2006 - 3pm
American Film Instutute
Ted Ashley Screening Room
2021 N. Western Ave.
Hollywood, CA
SUNDAY:
Sunday I am sleeping in. Next Monday I have Tom Sito at Fullerton for Drawing the Line, etc., etc.
Saturday, October 21, 2006
Archive: More Disney Model Sheets
Today, we digitized more Disney model sheets loaned to us by Van Eaton Galleries...
Media: More Disney Model Sheets
Those of you participating in the $100,000 Animation Drawing Course will find these useful for practicing your exercises.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Media: More Disney Model Sheets
Those of you participating in the $100,000 Animation Drawing Course will find these useful for practicing your exercises.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Thursday, October 19, 2006
Archive: Louise Zingarelli (Cool World)
Today, we digitized a section of board from Ralph Bakshi's Cool World...
Biography: Louise Zingarelli (Cool World)
Louise was an amazing person and a great friend. I share a few of my stories about her in the post.
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Biography: Louise Zingarelli (Cool World)
Louise was an amazing person and a great friend. I share a few of my stories about her in the post.
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Tuesday the 17th Mark Kausler and Cathy Hill made that long drive from the real world of LA to the hickville of Orange County. Okay Laguna Beach is upscale and Laguna College of Art & Design is a class environment.
Mark did a killer screening of 16 mm cartoons:
Sick Cylinder (Mintz Oswald 1929?)
Bosko`s Holiday (1931)
The Delivery Boy (Mickey 1931)
Funny Face (Flip the Frog 1932)
Swing Wedding (MGM 1937)
Coy Decoy (Robert Clampett 1941)
The Bandmaster (Andy Panda 1948)
After You've Gone (From Make Mine Music - Josh Meador 1946)
All the Cats Join In (From Make Mine Music 1946)
Then Mark did a review of advanced student work. But the high point of the day was Mark and Lennie Graves (The Iron Giant, Cats Don't Dance, Beauty and the Beast, Mickey's the Prince and the Pauper, The Plague Dogs) telling war stories from the world of animation.
Wednesday, October 18, 2006
Keeping the Quality in Fine Art:
Okay, I do rag on fine artist a bit, maybe too much but only the fine con artist, the soup can sellers, the posers and the comic copiers. I have the highest respect for all true artists both fine and commercial.
Yesterday I spent the afternoon at Laguna College of Art & Design with a fine artist of the first water. Catherine Hill and Mark Kausler were in for the day. Mark was doing a screening of killer 30s sound cartoons. (more on that later) I want to talk about the artwork of Ms. Hill.
Cathy is a fine artist turned cartoonist (Mad Raccoons) turned Plein Air painter. I have seen a lot of her Plein Air landscapes and they are top nock but my training is comic books and animation and therefore as a general rule I look for more story than a landscape can offer. (I know it is a failing on my part. Landscapes really aren`t just backgrounds for animations, I know that)
(just think of the animation you could do in front . . . okay)
Yesterday Cathy showed me copies of a series character study paintings she is doing and they knocked my socks off. Amazing! Why is it that the non-sell-out, non-gimmick fine artist don`t make the big bucks? Why is it all the hacks, posers and sell outs score big? I don`t know the answer but I do know where you can find some of Cathy`s artwork on the web http://home.earthlink.net/~c.hillart/
Okay, I do rag on fine artist a bit, maybe too much but only the fine con artist, the soup can sellers, the posers and the comic copiers. I have the highest respect for all true artists both fine and commercial.
Yesterday I spent the afternoon at Laguna College of Art & Design with a fine artist of the first water. Catherine Hill and Mark Kausler were in for the day. Mark was doing a screening of killer 30s sound cartoons. (more on that later) I want to talk about the artwork of Ms. Hill.
Cathy is a fine artist turned cartoonist (Mad Raccoons) turned Plein Air painter. I have seen a lot of her Plein Air landscapes and they are top nock but my training is comic books and animation and therefore as a general rule I look for more story than a landscape can offer. (I know it is a failing on my part. Landscapes really aren`t just backgrounds for animations, I know that)
(just think of the animation you could do in front . . . okay)
Yesterday Cathy showed me copies of a series character study paintings she is doing and they knocked my socks off. Amazing! Why is it that the non-sell-out, non-gimmick fine artist don`t make the big bucks? Why is it all the hacks, posers and sell outs score big? I don`t know the answer but I do know where you can find some of Cathy`s artwork on the web http://home.earthlink.net/~c.hillart/
Can a Copyright Thief Sue to Protect His Stolen Images?
Alex Beam of the Boston Globe has an article on Roy Lichtenstein, the man who made a fortune on the backs of real artist like Wally Wood and Joe Kubert. lichtenstein creator or copycat
I have had very little respect for the fine arts copyist and even less for his foundation that is trying to protect his stolen images. They make you click on a copyright disclaimer (almost like a porn site) before you can view the stolen comic book art. Here is the Joe Kubert dog they use as an image on their disclaimer.
The article deals with art teacher David Barsalou and his web site Deconstructing Roy Lichtenstein LICHTENSTEINPROJECT that catalogs the source materials from which Lichtenstein stole his images.
The Lichtenstein Foundation is still claiming that good ol Roy made major changes in his images. The only changes I see are due to poor draftsmanship on the part of Lichtenstein.
Look at the hand on the right. It sucks. It looks like a bad copy by someone that does not know the first thing about anatomy.
P.S. all the images in this article were under some kind of copy protection. I stole them under fair use.
Thanks to Jon Reeves for the link
Alex Beam of the Boston Globe has an article on Roy Lichtenstein, the man who made a fortune on the backs of real artist like Wally Wood and Joe Kubert. lichtenstein creator or copycat
I have had very little respect for the fine arts copyist and even less for his foundation that is trying to protect his stolen images. They make you click on a copyright disclaimer (almost like a porn site) before you can view the stolen comic book art. Here is the Joe Kubert dog they use as an image on their disclaimer.
The article deals with art teacher David Barsalou and his web site Deconstructing Roy Lichtenstein LICHTENSTEINPROJECT that catalogs the source materials from which Lichtenstein stole his images.
The Lichtenstein Foundation is still claiming that good ol Roy made major changes in his images. The only changes I see are due to poor draftsmanship on the part of Lichtenstein.
Look at the hand on the right. It sucks. It looks like a bad copy by someone that does not know the first thing about anatomy.
P.S. all the images in this article were under some kind of copy protection. I stole them under fair use.
Thanks to Jon Reeves for the link
Tuesday, October 17, 2006
Archive: Ren and Stimpy Big House Blues Storyboard Part 2
Today, we digitized the second section of the storyboard to Big House Blues:
Media: Ren & Stimpy Big House Blues Seq. 2
More great stuff on Thursday.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Media: Ren & Stimpy Big House Blues Seq. 2
More great stuff on Thursday.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Monday, October 16, 2006
Panel Discussion and Book Signing event!
Tuesday October 24th, 2006 - 7 pm
Asifa-East President David Levy (animation director Blues Clues) will lead a panel discussion on the state of the industry and how best to navigate your career path in animation.
Panelists include:
Sue Perrotto (Animation director: Beavis and Butthead, Billy and Mandy, Megas XLR, etc.)
David Steinberg (Producer: Bluth & Disney)
Craig Bartlett (Creator: Hey Arnold!)
and others to be announced!
Mr. Levy will be signing copies of his new book as well. Join us for this unique event.
Tuesday, Oct. 24th, 2006, 7 pm
Glendale Public Library
222 East Harvard Street
Glendale CA
General Public $10. Admission is free for Asifa Hollywood members.
I did manage to find something related to animation at the Silverado Fair. You really can not get away from the influences of animation. The images follow you everywhere.
I always get a kick out of Boris. I loved him as a kid and I love him even more now that I know that he was voiced by a gun toting Narcotics Enforcement Special Agent of the FBI.
On a completely unrelated subject (I couldn`t come up with a segue way) My good friend Aki Umemoto (Creative Director Mattel, Base Station) sent me an email of upcoming improve shows he is involved with at Second City.
Aki started his career as a stop motion animator (No, No Pickle) and has spent the last 25 years directing the shortest of short form animation (commercials). Animators are actors. Actor training is vital to the craft. Watching it is good too, and it is entertaining. And these shows are free. What more can you ask?
Hi all!
Tonight's show was a big hit! All our sketches went over well, especially my Driving While Asian sketch! So PLEASE come see my next shows at Second City, I'm performing every Sunday night at 7 or 7:30pm, except for Thanksgiving week. These shows are still half hour long and free!
All these shows will be trying out new sketches, so each show will be different! If you can come to more than one show, I'd love it! Second City is at 8156 Melrose, just one block West of Crescent Heights. I'm not sure what the time is, I'll send another email out later.
Please check it out, it'll be fun!!!!!
-aki-
Sunday, October 15, 2006
Artist Beware:
So here I am outside the Library in Silverado just down the street from the Silverado Country Fair. I wife and kids have a booth. There is all kinds of art about but not much animation.
There is this cool Native American flute player named Warpony who uses feedback like Jimi. What does that have to do with animation? Nothing! But it has a lot to do with copyright and how artist get ripped off.
He just paid $300 to a site on the Internet to copyright his music CD. That is $250 above the real cost. Not bad 10 minutes worth of work. Artist, get thee to a California Lawyers for the Arts event and stop the rip offs.
So here I am outside the Library in Silverado just down the street from the Silverado Country Fair. I wife and kids have a booth. There is all kinds of art about but not much animation.
There is this cool Native American flute player named Warpony who uses feedback like Jimi. What does that have to do with animation? Nothing! But it has a lot to do with copyright and how artist get ripped off.
He just paid $300 to a site on the Internet to copyright his music CD. That is $250 above the real cost. Not bad 10 minutes worth of work. Artist, get thee to a California Lawyers for the Arts event and stop the rip offs.
Thursday, October 12, 2006
Archive: Rackham's Grimm's Fairy Tales Pt 1
Today, we began digitizing one of the most influential illustrated books of the classic era, Arthur Rackham's Grimm's Fairy Tales...
Media: Arthur Rackham's Grimm's Fairy Tales Part One
I'll post more images from this book if folks find these useful.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Media: Arthur Rackham's Grimm's Fairy Tales Part One
I'll post more images from this book if folks find these useful.
Thanks
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Old Tricks, New Dog:
Another day, another new semester, the big problem with teaching at 3 or 4 different schools is that none of the semesters match up. I am on week 7 of 15 at Fullerton and week 1 of 11 at Brooks.
Taught a preproduction class this morning. Basically the students need to do all the preproduction work, storyboards, character designs, script, production and prop design needed to do a 1 minute, 1 and a half minute animation.
I had a student come up with a killer take on Peter Pan today. Brilliant idea, one of those ideas that you have to fight yourself not to steal. The next 10 weeks I get to follow this idea as this student takes it through every step of the development process.
If you really want to understand the process, teach it. The good teacher always learns more than the students. Just don`t tell on us or they will pay us even less.
Another day, another new semester, the big problem with teaching at 3 or 4 different schools is that none of the semesters match up. I am on week 7 of 15 at Fullerton and week 1 of 11 at Brooks.
Taught a preproduction class this morning. Basically the students need to do all the preproduction work, storyboards, character designs, script, production and prop design needed to do a 1 minute, 1 and a half minute animation.
I had a student come up with a killer take on Peter Pan today. Brilliant idea, one of those ideas that you have to fight yourself not to steal. The next 10 weeks I get to follow this idea as this student takes it through every step of the development process.
If you really want to understand the process, teach it. The good teacher always learns more than the students. Just don`t tell on us or they will pay us even less.
Wednesday, October 11, 2006
Archive: Rube Goldberg's Side Show Comics
Today at the ASIFA-Hollywood Animation Archive, we digitized a batch of mid-1930s Sunday pages by the Dean of Cartooning, Rube Goldberg...
Media: Rube Goldberg's Side Show Comics
You won't find great stuff like this anywhere else on the web!
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Media: Rube Goldberg's Side Show Comics
You won't find great stuff like this anywhere else on the web!
Stephen Worth
Director
ASIFA-Hollywood Animation Archive
Tuesday, October 10, 2006
Annie Tickets Go on Sate to Members:
The 34th Annual Annie Award tickets are now on sale for ASIFA-Hollywood members. Tickets are $75 each and can be purchased by phone (818.243.2539) or in person at the Alex Theatre box office.
Beginning Dec. 1, tickets will go on sale to everyone for $100 each. In addition to purchasing over the phone or in person, the public will be able to purchase tickets online.
The 34th Annual Annie Award tickets are now on sale for ASIFA-Hollywood members. Tickets are $75 each and can be purchased by phone (818.243.2539) or in person at the Alex Theatre box office.
Beginning Dec. 1, tickets will go on sale to everyone for $100 each. In addition to purchasing over the phone or in person, the public will be able to purchase tickets online.
Monday, October 09, 2006
Stop Mo News:
Spent the morning working the phones on the Annies and the Stop Mo Expo. Just got my first conformation of participation from Mark Caballero of Screen Novelties, the fine obsessive stop motion people that finished Ray Harryhausen`s Tortoise and the Hare a few years back.
Sunday, October 08, 2006
Commie B*&ard Artists:
I ran onto this picture while going through my stuff looking for some of my old stop motion reference books for my Woodbury stop motion student.
It is a cute picture of my son, age 2. I painted the background and left it to dry. Tobias picked up a dry paintbrush and did what his daddy did. I snapped a picture.
Some of are greatest animators are second generation artists, Glen Keane, John Lasseter. Why is that? Okay I will tell you why. It is Sputnik!
Sputnik goes up in 1957 and it is decided at the highest levels of education that we have to raise a generation of nothing but scientists. The plan to create this generation of von Brauns called for the immediate evisceration of all funding to the arts.
Music and Art took the hardest hits because it takes years to create a musician or an artist and you have to start training them young. The musicians got music back into the schools quickly but where are the grade school art programs?
Grade school art programs, all gone! Only be to replaced 30 years later by anti-art programs like Meet the Masters, a sick combination of art history and mindless robot/slave paste-up projects designed to kill off any true art aspirations in our young.
No one is getting real art training until high school. That is why it takes 2 generations to create an artist. It use to be that to be educated you had to be able to draw, paint, play a musical instrument, and speak at least one foreign language. Now students only get language and art offered to them in high school. This is way too late for either of these fields of endeavor.
That means that I get students in college who are more than weak in the fundamentals of art. Students that need another 10 years of training to come up to professional standards. And there is not a damn thing the finest drawing teacher in the universe can do about it. We can give them basics but when they leave the program many students still are lacking in proficiencies that they are going to have to make up under fire while trying to make a living.
The Hollywood blacklist ended in 1960. When the hell are we going to stop treating grade school art training as a communist conspiracy?
I ran onto this picture while going through my stuff looking for some of my old stop motion reference books for my Woodbury stop motion student.
It is a cute picture of my son, age 2. I painted the background and left it to dry. Tobias picked up a dry paintbrush and did what his daddy did. I snapped a picture.
Some of are greatest animators are second generation artists, Glen Keane, John Lasseter. Why is that? Okay I will tell you why. It is Sputnik!
Sputnik goes up in 1957 and it is decided at the highest levels of education that we have to raise a generation of nothing but scientists. The plan to create this generation of von Brauns called for the immediate evisceration of all funding to the arts.
Music and Art took the hardest hits because it takes years to create a musician or an artist and you have to start training them young. The musicians got music back into the schools quickly but where are the grade school art programs?
Grade school art programs, all gone! Only be to replaced 30 years later by anti-art programs like Meet the Masters, a sick combination of art history and mindless robot/slave paste-up projects designed to kill off any true art aspirations in our young.
No one is getting real art training until high school. That is why it takes 2 generations to create an artist. It use to be that to be educated you had to be able to draw, paint, play a musical instrument, and speak at least one foreign language. Now students only get language and art offered to them in high school. This is way too late for either of these fields of endeavor.
That means that I get students in college who are more than weak in the fundamentals of art. Students that need another 10 years of training to come up to professional standards. And there is not a damn thing the finest drawing teacher in the universe can do about it. We can give them basics but when they leave the program many students still are lacking in proficiencies that they are going to have to make up under fire while trying to make a living.
The Hollywood blacklist ended in 1960. When the hell are we going to stop treating grade school art training as a communist conspiracy?
Friday, October 06, 2006
Woodbury Daze:
Yesterday was a busy day for me. I made a speed run into Burbank and spent the day on the campus of Woodbury University. I love Woodbury. It is such a nice campus and Dori Littell-Herrick has a good solid animaiton program running.
I have a lot going on with Woodbury right now. ASIFA has 2 events planned for the campus. The first is the Annie Awards pre-judging in November. This year we are running all of the nominating committees at one place and one time. The second event, of course, is Stop Mo Expo mentioned below.
Speaking of Stop Motion and Woodbury, I have just started mentoring a Woodbury student (Nancy Nichols) in her senior film. Every senior has to finish an animated film to graduate from the Woodbury animation program, Nancy wants to do her senior film in stop motion clay animation.
I haven`t had a chance to teach stop motion since I closed my State Funded ROP animation program back in 2001. I am having a very good time with this. And it is nice to work one on one with an upper level student who is really into the subject. I set down with her yesterday in the Senior Studio and just answered technical questions for which she had no other source of information.
There just isn`t a place to learn stop motion. Nobody is passing on the information. I can`t think of a single animation program that teaches stop motion on a regular basis. (at least not here in LA) Hint, hint, I would love to start such a program.
Yesterday was a busy day for me. I made a speed run into Burbank and spent the day on the campus of Woodbury University. I love Woodbury. It is such a nice campus and Dori Littell-Herrick has a good solid animaiton program running.
I have a lot going on with Woodbury right now. ASIFA has 2 events planned for the campus. The first is the Annie Awards pre-judging in November. This year we are running all of the nominating committees at one place and one time. The second event, of course, is Stop Mo Expo mentioned below.
Speaking of Stop Motion and Woodbury, I have just started mentoring a Woodbury student (Nancy Nichols) in her senior film. Every senior has to finish an animated film to graduate from the Woodbury animation program, Nancy wants to do her senior film in stop motion clay animation.
I haven`t had a chance to teach stop motion since I closed my State Funded ROP animation program back in 2001. I am having a very good time with this. And it is nice to work one on one with an upper level student who is really into the subject. I set down with her yesterday in the Senior Studio and just answered technical questions for which she had no other source of information.
There just isn`t a place to learn stop motion. Nobody is passing on the information. I can`t think of a single animation program that teaches stop motion on a regular basis. (at least not here in LA) Hint, hint, I would love to start such a program.
I have been threatening this project for a long time and now I have set a date. The ASIFA-Hollywood Stop Mo Expo is a go (sorry for the alliteration). Dori and the good people over at Woodbury University have given a home to this event.
More info as it becomes available. For now let us just say that I am going to get as many stop motion people as I can and put them on stage. There will be screenings, a stop motion animation jam, vendors and an awful lot of clay.
Thursday, October 05, 2006
Once More Into the Breach:
When Disney got Oswald the Lucky Rabbit back in the sports trade of the century I was overjoyed. That is until Mark Kausler talked some sense into me.
What about the Mintz and Lantz Oswalds, now that they are orphans? Some films are being saved but just as many, if not more, are being put into limbo.
Mark always looks at the big picture, what is good for the most animations. I get all caught up in the history and the politics and do not always see what the outcome is to the actual films.
One of those orphan Oswald films moved a step closer to survival last night when the ASIFA-Hollywood Board of Directors voted to fund the preservation of the only serving print of Mars, the Walter Lantz / Bill Nolan Oswald the Lucky Rabbit from 1930.
The film currently survives only as a 16 mm cellulose based Safety Stock (sic) print. It was copied long ago from a 35 mm nitrate print that has since disintegrated.
The problem with the cellulose based (so-called) Safety Stock is Vinegar syndrome, a very unpleasant and virulent film decease that can turn health film into a plant fiber tossed salad literally overnight.
Why is this animation important? That is the wrong question. All animation is important. It is part of our history. Okay, maybe I wouldn`t fight quite as hard to preserve a Wacky and Packy print? But Mars is cool. It is a project that Bill Nolan was involved with and that means that at the very least it is very good. It is also the only time that Oswald sings his theme song. How cool is that? Cool, take my word for it. It is cool!
The print needs to be sent out for final cost quote and then it will be transferred to acetate based 35 mm film. That will give it a better chance at survival. Film preservation is a constant battle against time that we can never really win. All we can do is hold the enemy at bay for another day. But it still makes me feel a little better that I have helped hold the flank in this small way.
Monday, October 02, 2006
A Time for Timing:
So I was talking to Stephen Gwinn yesterday. Stephen is the composer on Right to Left, the ASIFA-Hollywood Comic Con Animation Jam that is currently in post.
I wanted a Carl Stalling feel for the music diring the Eric Goldberg cat and anvil animation and Stephen thought I was talking about a time period sound that didn`t go with what he was trying to do. When what I was talking about was action accents in the music.
It was the most natural thing in the world to say check out the Rudy Ising bar chart at the ASIFA Archives http://www.animationarchive.org/2006/08/media-musical-timing-rediscovered.html and Stephen got the point right away.
As fate would have it, I am coming to one of my favorite animation time periods with my Cal State Fullerton History of Animation class, the 30s. So I will be referring to the same postings tonight in my class. I will also be showing part of a Mark Kausler interview I did last year that is based on this concept.
I love the early sound cartoons that animate to the beat. Nobody is doing animation like that any more except for Mark Kausler. Maybe that is because the Ruby Ising bar chart is from Mark`s collection and he has had years to study this type of animation?
I first saw the Rudy Ising bar charts when I had Mark Kausler out to Laguna College of Art & Design to talk about animation timing. I got photos of the bar chart at that time but did not get a chance to scan them.
Now these treasures are part of the online resources at the ASIFA-Hollywood Archives where the cartoon and screen captures from the cartoon are also available to make the timing study materials complete. Thank you Mark Kausler, thank you Steve Worth, thank you ASIFA Archives.
So I was talking to Stephen Gwinn yesterday. Stephen is the composer on Right to Left, the ASIFA-Hollywood Comic Con Animation Jam that is currently in post.
I wanted a Carl Stalling feel for the music diring the Eric Goldberg cat and anvil animation and Stephen thought I was talking about a time period sound that didn`t go with what he was trying to do. When what I was talking about was action accents in the music.
It was the most natural thing in the world to say check out the Rudy Ising bar chart at the ASIFA Archives http://www.animationarchive.org/2006/08/media-musical-timing-rediscovered.html and Stephen got the point right away.
As fate would have it, I am coming to one of my favorite animation time periods with my Cal State Fullerton History of Animation class, the 30s. So I will be referring to the same postings tonight in my class. I will also be showing part of a Mark Kausler interview I did last year that is based on this concept.
I love the early sound cartoons that animate to the beat. Nobody is doing animation like that any more except for Mark Kausler. Maybe that is because the Ruby Ising bar chart is from Mark`s collection and he has had years to study this type of animation?
I first saw the Rudy Ising bar charts when I had Mark Kausler out to Laguna College of Art & Design to talk about animation timing. I got photos of the bar chart at that time but did not get a chance to scan them.
Now these treasures are part of the online resources at the ASIFA-Hollywood Archives where the cartoon and screen captures from the cartoon are also available to make the timing study materials complete. Thank you Mark Kausler, thank you Steve Worth, thank you ASIFA Archives.
Sunday, October 01, 2006
Email Back Online:
At long last I have got into my main email account last night. It has been about a month. I discovered a number of emails from the Tech Support people that were suppose to be fixing my email to the email account I couldn`t get into saying that there was nothing wrong with the account and that they were closing the ticket unless I responded to the email that I could not get. How do people get that stupid?
Let`s not go there. Anyway larry at agni-animation dot com is back on line. Sorry if I missed your email. I missed about 100 emails from real people and 4,900 spams.
From the Mail Bag:
Email from a former student now living in Mexico who has had his demo reel lifted by another person in the area. This person is trying to pass my student`s work off as their own. I don`t know Mexican copyright law so I am going to have to research this one.
Got an email from a former student that just started at Film Roman on the Simpsons movie.
Got another email from my friend Chris Kalnick, inker on Comico`s Robtech in the 80s. He is running a small winery and wanted to make sure his latest found their way to me. He does the coolest labels. An art education never goes to waste. Okay, my waste did suffer a little bit when he was brewing beer.
At long last I have got into my main email account last night. It has been about a month. I discovered a number of emails from the Tech Support people that were suppose to be fixing my email to the email account I couldn`t get into saying that there was nothing wrong with the account and that they were closing the ticket unless I responded to the email that I could not get. How do people get that stupid?
Let`s not go there. Anyway larry at agni-animation dot com is back on line. Sorry if I missed your email. I missed about 100 emails from real people and 4,900 spams.
From the Mail Bag:
Email from a former student now living in Mexico who has had his demo reel lifted by another person in the area. This person is trying to pass my student`s work off as their own. I don`t know Mexican copyright law so I am going to have to research this one.
Got an email from a former student that just started at Film Roman on the Simpsons movie.
Got another email from my friend Chris Kalnick, inker on Comico`s Robtech in the 80s. He is running a small winery and wanted to make sure his latest found their way to me. He does the coolest labels. An art education never goes to waste. Okay, my waste did suffer a little bit when he was brewing beer.
