Showing posts with label Animation. Show all posts
Showing posts with label Animation. Show all posts
Mangled
I came across this poster image earlier today for the upcoming Disney release, Tangled. Now, having seen both this and the recent theatrical trailer for the film, I have to say that I am not too impressed with what it's shaping up to be. As most of you know, Tangled is the new title for the film formerly known as Rapunzel. Why the silly title change? Well, it seems that the Disney brass are nervous about putting out another animated film with a girl's name as the title out of fear that it will turn off the boys in their targeted demographic. Personally, I think their decision is ill-advised.
When the trailer came out about a month or so ago, I was not very happy with what I saw (and heard). Overall, there seems to be a jokiness to the film - particularly a "cool and hip" sarcastic quality to the dialogue and expressions of the hero, Flynn Rider. Also, the trailer includes an inane pop/rock song playing over the action, which really has me worried about the mindset of this film. Interestingly, in the comments I've read on sites like Cartoon Brew and The Animation Guild blog, several commenters who claim to have worked on the film are doing their utmost to assure us all that the pop/rock song is not in the soundtrack, and that all of the music score is provided by Disney stalwart, Alan Menken. They also claim that the scene where Rapunzel traps Flynn limb by limb in her long golden locks is not actually in the film either, just animated for this "teaser" trailer. Fair enough, I suppose, although I wonder why they would spend all that time and effort to animate something exclusively for the trailer when I'm sure all of the artists are working long hours just to get the film completed on schedule. Doesn't make much sense to me, I'm afraid.
They go on to say that Tangled will be sincere in its storytelling, just as previous Disney fairy tales have been. If what these commenters say is true, then why is Disney's Marketing department so hell-bent on promoting this film as what it is not, instead of what it is? Because judging from both the trailer and this poster, the film seems more cynical than sincere, with all of the hip attitude that many of us have come to loathe in today's "entertainment". I'd like to believe that the film will be more in keeping with its classic hand-drawn predecessors in tone rather than emulating the schlocky Shrek saga. But frankly, I'm not convinced, and I suspect many others aren't either. And that's a real problem that the Studio is going to have to address head on.
I make no claim to know anything about the pecking order at Disney, but I'd assumed that, as head of Disney Animation, John Lasseter was the man in charge, answering only to Disney CEO, Bob Iger. If this is so, then John needs to get tough with Disney's merry Marketeers because, due to their misguided marketing they are undermining the integrity of this film and putting at risk all of the hard work of the animation staff in trying to create something of worth. John should be fighting them tooth and nail, using whatever professional clout he has (and I have to believe that's a formidable amount). And Bob Iger needs to support him on that, and not just go along with Marketing's efforts to promote this like a stupid teen comedy. Honestly, I really wonder about Disney these days.
"They just can't get my 'tude right!"The 100 Greatest Looney Tunes
The other day I received a copy of Jerry Beck's new book, The 100 Greatest Looney Tunes Cartoons and was asked by the publisher if I might offer up a review. The book presents a sampling of 100 cartoons that Jerry believes are among the studio's best work, although he himself admits there are so many more that are equally as worthy in various ways. All 100 cartoons are pictured and titled alphabetically in little frame grabs at the beginning of the book for easy reference when searching. As I scanned these 100 titles, I estimated that I'm quite familiar with about 50% of the cartoons, and have seen about another 25% at least once, though am less acquainted with them. But there's certainly a number of cartoons that I don't believe I've ever seen at all. I mention this because I make no claim to know the Looney Tunes library anywhere near as well as Jerry Beck does, therefore I will not attempt to compete with his more informed opinion on the films themselves.
The book is interesting both for what it is and what it is not. Let me address the latter part of that statement first. The book is not an authoritative, in-depth analysis of the cartoons, and those expecting as much may be disappointed. If that is what you seek, then you'd be far better off reading Leonard Maltin's Of Mice and Magic or Mike Barrier's Hollywood Cartoons, both of which go into great detail on select notable cartoons from all of the studios of that Golden Era, Warners included. If you want to limit your reading to just the Looney Tunes cartoons, I'd also recommend Steve Schneider's That's All Folks! and Joe Adamson's Fifty Years and Only One Grey Hare (Bugs' films only). But this new book by Jerry Beck is really not attempting to be such an authoritative tome as any of those titles.
This book is more like a book version of a sampler record album. I used to buy a number of such records (and later, CDs) back when I was trying to gain more knowledge of both the jazz and classical music worlds. These albums offered up a sampling of various jazz musicians or classical composers' works that served as a good primer for the newbie listener. Once introduced to various artists through the popular selections of their work, you could then go forth and explore in greater depth that which appealed to you by purchasing complete albums of their music. For a novice cartoon buff, I believe that this book of Jerry's would serve a similar role as a simple and colourful introduction to these brilliant cartoons.
But that's not to say that its appeal should be limited to the novice, by any means. I believe the ideal use for this book is as a companion guide in conjunction with the six volumes of Looney Tunes Golden Collection DVD boxed sets that are currently available to the cartoon buff (which of course, Jerry Beck was also instrumental in bringing to us). As one who has all six sets but admittedly has only watched a few discs and individual titles scattered throughout the whole series, this book makes me want to search out some of these cartoons I've never seen before, most of which are included among the six volumes. Each entry in Jerry's book contains a few stills from the particular cartoon, which is enough to whet one's appetite to seek out individual titles to watch.
As I said, the book is not meant to be an in-depth look at the 100 Looney Tunes cartoons that it profiles. Each title receives just a double page spread consisting of a few stills, a short synopsis, and a brief commentary provided by Jerry or one of his 30 associates within the animation community, including Mike Barrier, Eric Goldberg, John Canemaker, to mention a few. (Even my friend and Sheridan colleague, Mark Mayerson is featured). If I have one criticism, I'd have suggested dispensing with the synopsis, as much of the cartoon plot is repeated in the commentary. It would have been better to have allowed a bit more room for personal thoughts on each title instead.
As I perused all of the titles that Jerry has judged to be among the top 100, I must admit that all of my favourites were included, such as The Rabbit of Seville, One Froggy Evening, High Diving Hare and the rest of the usual suspects. I was also glad to see the inclusion of such unique cartoons as The Three Little Bops and the giddily disturbing Chow Hound. I might question the inclusion of Page Miss Glory, which, aside from the interesting art deco approach, is a cartoon that I suspect is an acquired taste for most viewers. Likewise, I would definitely not consider Hollywood Steps Out to be even a good cartoon, let alone a great one, as all it has going for it is the caricatured movie stars of the time, many of whom would not be recognized today. That novelty aside, the cartoon is poorly scripted and largely unfunny. While the Roadrunner cartoons only rate a couple of entries, and rightfully so, I am perplexed as to why there are no titles featuring Pépe Le Pew and just one with Foghorn Leghorn, as several of the Foghorns in particular are brilliant.
Still, taken as a whole, I'd have to say that Jerry Beck has done an admirable job of distilling the entire library of Warners' shorts into this collection of just 100 titles. The 100 Greatest Looney Tunes Cartoons is available for just $24.95 U.S. and, while a bit more than the four bits to see Fearless Freep, is certainly a bargain at that price. A fun and nostalgic read, if not an overly informative one.
Finally, Something I Like!
I saw this over on Cartoon Brew yesterday and was so impressed with it that I felt compelled to comment on it here. It's just a short promo for the Palm Springs International Short Fest, yet somehow it has excited me more than any animated feature has in recent years. It was created by a studio called MAKE in Minneapolis, and the director/lead animator was Andrew Chesworth. Interestingly, all of the comments over at Cartoon Brew have been enthusiastically positive in their praise of the film - which is an unusual situation at The Brew, where there is generally mixed feelings on most animated clips posted. Anyway, watch it first, then I'll discuss it:
Here's why I like it so much. First of all, it's a spoof of that oh so familiar scene in 40's film noir where the damsel in distress shows up at the office of the hardboiled private detective begging him to take the case. Strangely, film noir has never been done in a full animated feature, the closest thing being the animation/live action hybrid, Who Framed Roger Rabbit, so I think it's a genre that would be ripe for an animated feature. And like this short, I'd want to see that feature animated in glorious, traditional, hand-drawn animation, not CG! Take a look at the overall style of this short - it's so unabashedly a cartoon. The characters are all highly caricatured and stylized: the hero in bold angular outlines and blocky shapes, the femme fatale all in sexy curves. The animated movement is equally cartoony in it's timing.
Also, look at how distinct all of the character designs are and how they communicate immediately to the viewer what those characters are all about. The hero is reminiscent of tough guy actors with chiseled features like George C. Scott or Richard Conte. He's not one of those pretty boy metrosexuals that have been dominating animated features for the last 20 years. Neither is the girl generic in any way. Her features are exaggerated to show her sexiness and her deceptive personality - look at that imposing jawline that shows her to be a tough cookie. I also love the highly designed curly hair, as it shows what drawn animation can do so much better than CG, which is a slave to literal form. I hope that my Sheridan students are taking note, as this short film is a great example of what I'm always stressing to see in your Character Design assignments.As far as I'm concerned, this short is a breath of fresh air, so different from the stagnation of semi-realistic character design that we've been seeing in so many hand-drawn features of the last 15 to 20 years. Interestingly, John Kricfalusi has been taking a stab at the generic male leads that are all looking too similar, culminating in the latest attempt in the upcoming Tangled, with the hero, Flynn Rider. I happen to agree with much of what John says in this regard, as I'm getting damn tired of what I've come to call the "Rock Star" look of all male leads in the latter-day films of Disney, Dreamworks, and a few other studios. Disney artists should check out some classic Hollywood films of the past and start studying real men like Gregory Peck, Gary Cooper, Cary Grant, Gene Kelly, etc. etc, so as to get away from this current trend of designing longhaired metrosexuals. This short film with the film noir detective hopefully will inspire some more satisfying heroes in future animated features. My sincere congratulations to Andrew Chesworth and his talented crew for creating a small gem of animated brilliance!
Animated Cartoon Pictures
Rad Sechrist's "How To" blog
Rad's How To
Rad Sechrist is a storyboard artist , currently working at Dreamworks Animation. His blog has some terrific tips on drawing for animation.
Rad also has combined his talents with several other animation artists on another how-to blog :
The Art Center - Sharing Ideas & Tips from Artist to Artist
Waking Sleeping Beauty trailer
Even better , go watch the high-quality Quicktime version of the trailer here:
http://www.apple.com/trailers/disney/wakingsleepingbeauty/
"Waking Sleeping Beauty is no fairytale. It is a story of clashing egos, out of control budgets, escalating tensions… and one of the most extraordinary creative periods in animation history. Director Don Hahn and producer Peter Schneider, key players at Walt Disney Studios Feature Animation department during the mid1980s, offer a behind-the-magic glimpse of the turbulent times the Animation Studio was going through and the staggering output of hits that followed over the next ten years. Artists polarized between the hungry young innovators and the old guard who refused to relinquish control, mounting tensions due to a string of box office flops, and warring studio heads create the backdrop for this fascinating story told with a unique and candid perspective from those that were there. Through interviews, internal memos, home movies, and a cast of characters featuring Michael Eisner, Jeffrey Katzenberg, and Roy Disney, alongside an amazing array of talented artists that includes Don Bluth, John Lasseter, and Tim Burton, Waking Sleeping Beauty shines a light on Disney Animation’s darkest hours, greatest joys and its improbable renaissance."
Lip Sync - Gesture and Body Language speaks louder than words
http://www.speakingofanimation.com/2010/01/gesture-vs-lip-sync/
"Here’s evidence that proper acting and gestures are more important than lip-sync.
(It’s a clip Pete Docter showed in a lecture a couple years ago.) It works really well and makes me laugh every time.
So make sure your character’s body sells the line before you go crazy trying to get the lip-sync right."
Pups of Liberty - a new animated film by Bert & Jennifer Klein
Directed by Bert and Jennifer Klein, copyright Picnic Productions 2009.
This new animated film looks absolutely charming. "Pups of Liberty" is a 15 min. animated film directed by Bert and Jennifer Klein. The story of the 'Boston Teabone Party' told with cats and dogs. Beautiful 2D hand drawn animation.
(and check out the full crew list : http://www.pupsofliberty.com/FullCrewCredits.html . Quite the impressive pedigree this film has !)
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*UPDATE: There is now an interview about the making-of "Pups of Liberty" with the directors Jennifer & Bert Klein on Michael Sporn's blog. Check it out :
http://www.michaelspornanimation.com/splog/?p=2018
Many nice stills from the film are posted and Michael mentioned that in his next blog post tomorrow he will be posting some pre-production artwork from the film that the Klein's sent to him for the interview.
Thoughts from Brad Bird
"It’s also worth noting that (Wall Street) analysts are always bullish about any studios whose production slates are loaded with sequels, remakes, and “re-boots”.This particular poverty of imagination is absolutely mainstream thinking when it comes to businessmen, who are all about recognizing patterns of success that they assume are repeatable… no matter how often that very approach fails.They always try to copy the original THING rather than the CONDITIONS that allowed the original thing to come into being."– Brad Bird
He totally nails it. They try to copy the original thing rather than the conditions that allowed the original thing to come into being. Exactly.
"Hey, make me something like Bugs Bunny... yeah, that's it , give me the New Bugs Bunny" , they say , instead of considering "What were the conditions operating at the time of the Leon Schlesinger Studio that caused the artists working there to create characters like Bugs Bunny?" Why not try to replicate those creative conditions that gave rise to those classic cartoons and then see what happens ?
Also for more thoughts along those lines from Brad Bird, read this article from the McKinsey Quarterly on Fostering Innovation , which has been around for a couple of years, but is worth reading again if you've seen it before, or if you missed it the first time around take a look:
This link is to an excerpt from the full article. To read the full article you'll need to subscribe to The McKinsey Quarterly.
Among the gems from this interview with Brad Bird are :
Lesson Five: High Morale Makes Creativity CheapThe Quarterly: It sounds like you spend a fair amount of time thinking about the morale of your teams.Brad Bird: In my experience, the thing that has the most significant impact on a movie’s budget—but never shows up in a budget—is morale.If you have low morale, for every $1 you spend, you get about 25 cents of value. If you have high morale, for every $1 you spend, you get about $3 of value. Companies should pay much more attention to morale.
Again, he's talking about creating the conditions under which creativity can flourish.
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In a similar vein these thoughts from Frank Zappa about the demise of the music industry which can be applied directly to most of the animation industry today (in the first 2:10 of this interview) :
(from CartoonBrew.com)
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"Second Wind" by Ian Worrel
Click HD to watch in high-def. Or go to YouTube to watch it larger.
(via Alan Cook's blog)
Frank Thomas "Hook" pencil test
Animation by Frank Thomas.
This post has been updated. The original version of this pencil test that I uploaded had some of the drawings missing .
I've rescanned this from the xerox copies I had . I located the missing drawings and I think I've got the timing and lip-sync pretty close to the original. (although I'm still not 100% happy with the lip-sync ... it's off, although sometimes it looks right on , so I wonder if it's the Flash player showing it at differing frame rates, depending on bandwidth at the time ? I should try to post this as a Quicktime so it'd be more accurate. )
There were no peg holes or numbers on the xerox copies I have of these drawings so I had to do a lot of guess work and "nudging" to get the drawings to register correctly, but I finally got it to look pretty solid. The parts of the drawings to the right of the screen where the image gets lighter and drops out are artifacts from the photocopies I have. Unfortunately it will just have to stay that way for now because I don't have the time to go in to touch-up the lines which dropped out.
Abe Levitow Notes on Animating
Mark Mayerson has posted a set of Notes on Animating by the master Warner Bros. animator Abe Levitow.
Click through the link to read the notes:
Notes on Animating by Abe Levitow
The last paragraph of Levitow's notes resonates now more than ever given the current precarious position of hand-drawn animation:
Click through the link to read the notes:
Notes on Animating by Abe Levitow
The last paragraph of Levitow's notes resonates now more than ever given the current precarious position of hand-drawn animation:
"Even though the Disney animator Marc Davis has said: 'Animation is an anachronism; it is that rarity, a handmade product in a mechanized age', the satisfaction gained from doing it well is the kind of satisfaction that can only be gotten by creating something with your own hands that no one has ever done before. It's a sublime feeling ... you'll see !!"
Abe Levitow animation drawing :
(these great drawings are from the Abe Levitow webpage. Go there to see more of Abe's drawings.)
"Anniversary" by Ghostbot Studio
Embedded player should work ok in Firefox. Doesn't seem to be working in Safari for some reason. If the embedded player below does not work , try this direct link:
http://www.cartoonmojo.com/view_video.php?viewkey=20d2abefe558796b9958
R.O. Blechman's "Simple Gifts" - Prologue
Prologue to R.O. Blechman's animated television special "Simple Gifts" . This prologue piece is designed by Maurice Sendak, animated by Ed Smith , with watercolor by Sara Calogero. Music by Arnold Black. The entire special was directed by R.O. Blechman. The quality on this clip is not the greatest since it is from an old VHS tape recording of the show. As far as I know PBS has not aired this again in recent times. It's a beautiful Christmas special that really should be released on DVD.
Richard O'Connor has posted an original drawing from this sequence on his blog :
Original Art from "Simple Gifts" click HERE
O'Connor relates this about animator Ed Smith:
Once I asked Ed Smith (who animates in ink) what he does when he makes a mistake.
His response: "I'll let you know when that happens."
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Another Academy of Art animation blog - Spungella
Head over there for more animation art and inspiration.
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