Tytla animation art for sale

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Bonhams & Butterfields next entertainment memorabilia auction, on Sunday December 9th, will contain animation art from the Estate of Bill Tytla, one of the greatest animators of all time. According to their press release:

The collection includes a cel, animation drawings and preliminary drawings including a celluloid of the character “Chernabog” from Fantasia. The 1940 gouache on celluloid, a close-up of Chernabog’s face (above) from the Night on Bald Mountain sequence, is matted and framed, the 10 x 12-inch work expected to bring $600-800 at auction.

Click on cel above for a larger image. All items for sale in this auction will be posted next month on this page.

Lost and Found

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Independent animator Jeff Scher (who won the New Media prize in Ottawa on Sunday for his TimesSelect piece L’eau Life) made another little film of note, Lost and Found, by tracing over several bits of Fleischer, Van Beuren and Felix animation. I love stuff like this. It’s fun, and takes nothing away from the original works (and may encourage artier types to take a closer look at classic cartoons).

Here’s a contest for the super-nerds in our readership (and I use the tern super-nerds in the most affectionate way – I’m one, too). Whoever is first to name all the clips rotoscoped in Lost and Found will win a brand new DVD collection: Felix the Cat: The Complete 1958-1959 Series. I will select the winner (at my discretion) from comments recieved today (9/25). Winner will be announced on Wednesday.

The Three Robbers

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For those who doubt it – Hand drawn animated features are alive and well in Europe. Case in point: Die Drei Rauber (The Three Robbers).

Unfortunetly, as stated here before, this is one of dozens of foreign animated films produced every year that don’t get distributed in North America. Our friend Sinem Sakaoglu writes:

I thought it might interest you to know we’ll soon be premiering (so far only in Germany and France) the feature version of The Three Robbers (based on the book by Tomi Ungerer; Gene Deitch produced a six minute short version for Weston Woods in 1972)

It was a relatively small crew that made it all happen and though I now have a few more gray hairs than when I started the project (I did production management and overseas supervision), it was a fun and rewarding time… Hope it gets over to the other side of the pond.

So do I. It looks cute. See the trailer here.

Report from Ottawa: Persepolis and Goofy

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From the sublime to the ridiculous…

My laryngitis on Wednesday developed into a full fledged cold on Thursday and Friday, forcing me to to miss many screenings and events at Ottawa this year. However, I did manage to sneak out each day to attend at least one screening or panel (and the picnic) and still had a great time. Of the Competition screenings and International Showcase I attended, I didn’t see any film unworthy of showing. Either it was a great year for short films, or the selection committee really did a great job (or probably, both).

I did catch two significant 2-D films worthy of special note—Marjane Satrapi and Vincent Paronnaud’s Persepolis and Disney Animation’s new Goofy short How To Hook Up Your Home Theater.

Persepolis – This is an important film. I’m not saying it’s a great film—or the best animated film of the year—but it’s a good film with a great story. More significantly, we in animation need it.

It’s a mostly black and white 2-D hand drawn cartoon—think Little Lulu, if Lulu grew up in Tehran during the overthrow of the Shah—and strictly for adults. It’s the antithesis of the Hollywood CG blockbuster mentality that is currently stifling creativity in animated feature films. This film’s success could help revive the idea that animated films could be drawn by hand.

It’s based on Satrapi’s own life story and her heartbreaking graphic novel, and it’s been faithfully adapted in such a way as to make palatable a tale which would perhaps be less compelling in live action. It’s both dramatic and comedic, and never dull for a moment. A must see for anyone interested in animation or current world events.

Compared to other recent foreign films, it doesn’t have the character animation and design of The Triplettes of Belleville, or the cutting edge graphics of anime, but it has something those other films don’t – a coherent storyline, told against a backdrop of contemporary life in the Middle East. France has qualified the film for an Academy Award, as its entry for Best Foreign Film. It also has a good shot as Best Animated Feature Film. I’m crossing my fingers for its nomination.


How To Hook Up Your Home Theater – They nailed it.

Unlike other recent tries at reviving Disney classic characters via new shorts (think The Prince and the Pauper or Runaway Brain), the goal of this new film was not to reivent Goofy but to recapture the spirit of the Disney shorts of the late 40s, particularly the Jack Kinney classics like Hockey Homicide or a Goofy Gymnastics. They did it. It all felt right to me.

Though the film boasts the cream of the crop of current Disney animators (Deja, Henn, Baer, Goldberg, etc.), this isn’t an animators film – it’s a director’s picture. Just as Tex Avery’s cartoons are masterfully skewed through his twisted vision, here directors Kevin Deters and Stevie Wermers-Skelton (the first woman to direct a Disney cartoon!) take control, weaving numerous contempory gag situations into a refreshingly old school cartoon structure.

The red burlap opening titles are back. Michael Giacchino provides a perfect Oliver Wallace-styled musical score, and Corey Burton narrates with intonations falling somewhere between John McLeish and Frank Graham. Certain layouts are direct lifts from Motor Mania (Goofy’s home) and How To Play Football (the football field). And there are literally dozens of gags – truly funny ones and several visual in-jokes for those looking extra hard – packed into the six and a half minute running time.

The bottom line: How To Hook Up Your Home Theater feels exactly like a contemporary 1949 Goofy cartoon – and I can’t pay it any higher compliment than that. It’s the perfect film to start the new shorts program with. A nod to the past as the studio looks to the future. I just hope the studio will promote it properly when it decides to release it later this fall.


Despite the haze I was in due to the cold medicines I was on, I understand our blogging panel went pretty well. We had a full house at the venue selected and great questions from our lovely moderator, Maral Mohammadian (Associate Producer at the NFB). Don’t let the drowsy group in the photo below fool you… it was quite a lively panel. (left to right, yours truly Jerry Beck, Jeff Hasulo, Mike Barrier and Mark Mayerson).
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(a photo of four bored bloggers by Alan Cook)

More Backgrounds

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We’ve plugged the blogs of both Hans Bacher and Rob Richards numerous times recently. Both are putting a spotlight on the unsung work of background painters in animated cartoons. Today, Richards posts a composite of the pan shot showing the three dimensional cave (actually an intricate miniature live action set) in Popeye the Sailor Meets Sindbad The Sailor. Fleischer artisans clearly put a lot of thought, hard work and artistic know how into these Stereo-Optical “set-backs”. Considering how some of these elaborate shots only appear on screen for several seconds, I encourage Rob to create more composites of these. They certainly deserve a closer look.

Get Well, Mel?

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Above and below are two parts of one interesting piece of WB ephemera that that one of our readers (who wishes to remain anonymous) acquired recently. We believe it may have been a first, more informal get well card to Mel Blanc very shortly after his catastrophic auto wreck on Jan. 24, 1961. This would have been before Chuck Jones did his Magnum Opus card – almost 4 feet long that showed all 14 WB characters lying side-by-side in bed with thermometers in their mouths being attended by a doctor and a nurse with the Doc saying “I don’t know what is wrong with them, they have all lost their voice.” The names seem roughly right for 1961. But were Maltese and Scribner there at that point? Perhaps it was created for another?

Can any of our readers, researchers and historians attribute who it was done for, and who drew it???

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Looney ‘tudes

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Brew reader Steve Flack sends this report from midtown Manhattan:

I was at Midtown Comics in New York City yesterday, buying my weekly comics, and they had a countertop display of pop culture refrigerator magnets. I was shocked when I saw this one (below), with the classic Looney Tunes Henery Hawk character.

Am I right in being confused as to how this passed the licensing department?

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Tom & Jerry Metal

Heavy metal gutairist Sammi Shredd of Atlanta Georgia, recently tried his hand at rescoring Hanna Barbera’s 1945 MGM cartoon Tee For Two. Shredd writes:

I learned the score to a Tom & Jerry cartoon and then performed it entirely on guitar includng most of the sound effects, including a drum track that does not appear in the original cartoon. It took me six months. I play heavy metal, so without purposefully trying to “metal-ize” the music, it nonetheless took on a slightly more aggressive tone.

I don’t want to give the Cartoon Network any encouragement…but if you’re into heavy metal, this isn’t half bad.

Colormation

This just in! Another candidate for my Comic Con program,Worst Cartoons Ever!

Talk about motion capture! It takes the Clutch Cargo/Syncho Vox concept to a whole new level. Director Peter Avanzino (Futurama) found this test clip (circa 1962) posted by Something Weird Video on YouTube. Pete thinks this technique might be good for a Beowulf remake.

The clip is credited to Leon H. Maurer, who has quite an impressive resume, and is apparently related to Norman Maurer (comic book artist, film director, Moe Howard’s son-in-law), who used a similar process (called “Cinemagic”) in his 1960 feature film, The Angry Red Planet. In 1955 Leon started Illustrated Films, Inc. (with Norman) and they co-invented Artiscope, a “full animation-by-automation” system (per Leon’s resume, “Realistic character animation without artists – world’s first practical “real-time motion capture” system”). If anyone can shed any further light on this technique, please let us know.

Tuesday Night: Pat Smith’s Art Show

jerryrosexeth.jpgIt’s me (above left) – with animators Xeth Feinberg (Queer Duck) and Joey Ahlbum (Sesame Street, etc.) at Patrick Smith’s packed gallery opening on Tuesday night in SoHo. I did so much talking on Monday and Tuesday I completely lost my voice on Wednesday. That was okay, as all I had to do was fly to Ottawa and go to two screenings… (I’ll report on those later). Pat’s art is amazing. If you are in New York this month, check it out at the CVZ Gallery (through Oct. 16th).

In New York

jerryny916.jpgI’m in New York today and having a blast with barely any time to read email or blog. The weather is really beautiful this week and that may have something to do with how much I’m enjoying the city. Had a great screening last night at ASIFA-East, and thanks to all the Brew readers—and all my big city buddies—who showed up to razz the Worst Cartoons Ever.

Right before the screening I tried checking in with Fred Seibert. He was in L.A., so Lee Rubinstein and Jeaux Janovsky (pictured below right) showed me around the Frederator/Next New Networks offices – we sat in Fred’s office and looked at all his DVDs. I stole one of those Frederator awards, but I traded it back to Jeaux for a can of ginger ale. Tonight I’ll try to crash the Pat Smith opening, then off to Ottawa for the animation festival tomorrow.

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