The 1971 X-rated feature The Telephone Book screens Thursday evening, November 5, at the Egyptian Theatre. The film, described as a “biting satire on sexual morality about a girl who falls in love with the world’s greatest obscene phone caller,” probably isn’t for everybody. But it has developed a cult reputation over the years and was considered a source of inspiration for Bernardo Bertolucci’s Last Tango In Paris while Steve Martin labeled it one of his favorite films of the Seventies.

The reason it’s on the Brew is because the climax of the film is an outlandish and humorously erotic piece of animation directed by my pal, animation legend Len Glasser. Len has an illustrious history in the field. A student of Franz Kline and S. Neil Fujita, he worked at Terrytoons on Tom Terrific and designed films and commercials for Ernie Pintoff before starting his own commercial studio Stars and Stripes Productions Forever, which produced some of the craziest and most creative TV spots of the 1960s. Here’s one of his well-known spots:

The Egyptian screening will be followed by a Q&A with Len, along with the film’s director/writer Nelson Lyon and producer Merv Bloch. The film was also recently released on dvd in Europe. Ordering details can be found on the film’s official website.

Todd Hemker and Soyeon Kim of Yellowshed recently directed the end title sequence for Cloudy with a Chance of Meatballs. Hemker discusses the process and shares an animatic in this interview with Art of the Title.

UPDATE: Designer Chris Mitchell, who wasn’t mentioned in the interview above, has written a blog post about his role on the end titles and more details about how the production happened. It’s a good complement to the interview.

I saw Tim Beckhardt’s Pellet Gun in Ottawa a couple weeks ago. It’s a student film from RISD. I liked the crisp linear style and it made me chuckle even though I didn’t get it. Tim explained it to me afterward, and the explanation was quite reasonable, which made me wonder why I didn’t get it in the first place.

Wow, how quickly times change. A few years ago, while I was researching my book Cartoon Modern, I traveled all the way to Montreal to see the NFB short The Romance of Transportation. Today, it’s available instantaneously and free-of-charge on my iPhone.

If you have an iPhone, be sure to check out the newly released NFB iPhone app. Dozens of great and classic NFB animated shorts are available on it including Richard Condie’s The Big Snit, Norman McLaren’s Begone Dull Care, Caroline Leaf’s The Street, Ryan Larkin’s Street Musique, Gerald Potterton’s My Financial Career, Peter Foldes’s Hunger, and, of course, Colin Low’s The Romance of Transportation. More recent films like Chris Landreth’s Ryan and Theo Ushev’s Tower Bawher are also on there.

The app is a bit rough around the edges, but it is well-intentioned, offers terrific content, and did I mention, FREE! One of its nicest features is a “Watch Later” option that allows you to pre-download films and watch them off-line for up to 24 hours, which is perfect for subway and plane trips.

This is what they did for Halloween at Pixar yesterday. (PS: “Michael” is none other than Alex Woo.)

UPDATE: Mike Frederickson and Nick Pitera were impressive yesterday too:

UPDATE 2: Here’s a photo gallery of different costumes worn by Pixarians at the studio’s Halloween show.

A little creative treat for Halloween: Ivan Guerrero has been taking crappy Marvel TV cartoons from the Sixties and re-editing them into Marvel Zombies, based on the limited-run comic series from a few years back. He told me that Arthur Suydam’s covers for that series inspired his approach to the animated tribute. See also his zombiefication of Thor and The Fantastic Four.

The book cover illustration above by Rachell Sumpter is responsible for one of the more intriguing animated feature announcements I’ve heard in a while. Director/producer Jonathan Demme has optioned the rights to the Dave Eggers novel Zeitoun, and inspired by its cover, he’s decided to make it as an animated film. Demme told The New York Times:

“I was staring at the book and there’s this wonderful line drawing on the cover, the character of Zeitoun in his canoe, paddling through a submerged neighborhood. And I suddenly imagined, What if we could do an animated film and visualize the experiences of the Zeitoun family and all of New Orleans?”

Eggers’s story is in the thoughtful vein of recent features like $9.99, Perspepolis and Waltz with Bashir, and has little to do with the conventional animated fare being churned out by the major studios. It is a true-life account of an Arab-American man, Abdulrahman Zeitoun, and his harrowing experiences in New Orleans immediately following Hurricane Katrina. Demme says that he is currently “deep, deep, deep into researching” how he’s going to produce the animation for the film, and that he wants to stick with a hand-drawn style.

And now a personal note to Jonathan Demme: Mr. Demme, if you’re reading this, I beg you not to use cheap Flash/AfterEffects-style animation. Don’t Waltz with Bashir this film, and compromise the personal impact of the story with mechanical movement. Maintain the integrity and vitality of the graphic illustration that initially drew you to the project, and bring it to life with the nuance and lushness that only traditional hand-drawn animation can provide. Look at the works of Koji Yamamura, Frédéric Back, and Sylvain Chomet to understand the unique storytelling possibilities of the animation medium. Prove to the world that not every live-action director has a clumsy, heavy-footed, Bob Zemeckis-like approach to the art form.

(Thanks, TStevens, for the story link)

Yowp: Stuff about Early Hanna-Barbera Cartoons is a blog that’ll tell you more about Hanna-Barbera cartoons than you probably cared to know. The blog creator, who is anonymous, knows his stuff, and gives us insidery opinions of this sort: “Here’s where you wish someone like Foster or Maltese was guiding the dialogue because Shows’ lines come off as trite and obvious.” His obsessiveness (I can only assume a guy does this blog because no girl would ever obsess over early H-B like this) is not entirely without merit. He also highlights pieces of animation that serve as fine lessons for anybody creating limited animation, such as this lovely two-drawing cycle of Doggie Daddy driving a car.