While browsing iTunes yesterday, I noticed that they’ve licensed many of the independent shorts produced by Japanese cartooning legend and Astro Boy creator Osamu Tezuka. These include some difficult-to-find efforts such as Tales of the Street Corner (1962) and Pictures At an Exhibition (1966, image above), both of which are more notable for their rarity than their quality as shorts, though they do each offer some cool design work. The films can be purchased on the Tezuka Productions page (link goes to iTunes) while more info about the shorts can be found on this website.

Wall•E director Andrew Stanton talks with Christianity Today about some of the Genesis-related themes he incorporated into the film. The interview also offers a good explanation for why all of the film’s humans are depicted as fat babies.

There seem to be some biblical themes in this film. WALL•E is sort of like Adam, the only “guy” on earth, lonely, longing for a companion …

Andrew Stanton: Yes, and that’s certainly why I picked EVE as an appropriate title for the female robot. But “Adam” just didn’t have the underdog ring to it as the main character. WALL•E was a little bit more sad sack—and I could find an acronym that could work for that. But definitely it had that first man, first female theme. But I wasn’t trying to replace man in the bigger story. I just loved the poetic-ness that these two machines held more care for living and loving than humanity had anymore.

There’s also a bit of Noah’s Ark story here, with the humans on the space station, waiting for a chance to repopulate the earth—but having to wait till EVE comes back with plant life to indicate it’s okay.

Stanton: I wasn’t using the Noah’s Ark story as a guide, but through circumstances, I loved the parallels of EVE almost being like this dove, of going down for proof that it’s time to come back. It just worked in that allegory, so I ran with it.

Heads-up, Pixar’s latest short Presto is now available on iTunes for $1.99. It’s currently the #1 selling short film download on Apple’s site.

(Disclosure: I am working with Pixar on a coffeetable book about their early animated shorts.)

Below is a short but insightful interview with JibJab co-founder Gregg Spiridellis about some of the recent business plans for their website JibJab.com. Unlike so many other online animation startups, JibJab has managed to balance its artistic ambitions with business savvy and a willingness to experiment with new ways of earning income from online animation. I found the link on Scott Kirsner’s CinemaTech blog, and as Scott says, “The guys at JibJab have been experimenting longer than anyone else with new business models for Web content.”

It’s also worth noting that their new Sendables e-cards are allowing the studio to branch out beyond their established photo-collage animation style and play with techniques like stop-motion (Crankballs), puppetry (Motor Mouth Malone) and hand drawn-looking Flash animation (like this birthday greeting).

This Wednesday, July 2nd, Stuart Shostack will broadcast a rare, new, interview with Max Fleischer’s nephew, Bernie Fleischer. Joined by Fleischer Studios historian Ray Pointer, Stu promises that the interview will cover everything from the invention of the Rotoscope and the Helen Kane lawsuit, to the 1937 strike, the move to Miami and the eventual Paramount takeover. Plus, Bernie will talk about visiting the studio during the 1930s and recording his voice tracks for the Fleischer’s 1940 two-reeler, Raggedy Ann and Andy (he was Andy). The show will be broadcast over internet radio live (which means no downloads), beginning Wednesday July 2 at 7pm Eastern, 4 pm Pacific. It’ll be rebroadcast each day for the next six days at the the same time. Listen to it here.