Filmmaker Michael Sporn interviews Jennifer and Bert Klein about their ambitious new animated short Pups of Liberty and the lengths they to to finish it:

Jennifer: It is hard to sit down and work after you have worked a full day, but I always remembered something Bert would say, “Even if you just get one drawing done you are one drawing ahead.” So I’d try and get one scene’s worth of layouts done a night, or read a track, or just something, and we’d inch forward until we were done.

The Venture Bros. creator Jackson Publick and voice actor James Urbaniak recently appeared on “The Best Show on WFMU with Tom Scharpling.” The interview lasts a couple hours and there’s a lot of goofiness, but there’s also a lot of good discussion because the host, Scharpling, is a TV writer and producer (Monk, Tom Goes to the Mayor). The interview begins a little after an hour into the September 29 program, which can be listened to at the WFMU website.

Speaking of Ninja Turtles… My next screening at the Cinefamily/Silent Movie Theatre in Hollywood is a tribute to animator Fred Wolf.

Wolf collaborated with Harry Nilsson to create The Point!, with Frank Zappa to produce 200 Motels, and with Peter Yarrow to make Puff The Magic Dragon. He’s the man behind the original Teenage Mutant Ninja Turtles TV series, Marlo Thomas’ TV special Free To Be You And Me, the animated feature The Mouse And His Child, the classic “How many licks does it take to get to the Tootsie Roll center of a Tootsie Pop?” commercial (see below) and won an Oscar for his short The Box. He even animated the iconic opening sequence to The Flintstones! Yours truly (Jerry Beck) will present rare clips from his movies, TV shows, vintage TV commercials, his award winning shorts and will conduct a live on-stage interview with Wolf himself, discussing his career in film and his relationships with his world famous collaborators.

Join me on Tuesday November 3rd at 8pm. Advance tickets available now… the first 100 admissions will receive a free DVD of The Point!, and every admission will receive a free Tootsie Pop! Buy Tickets Here!

Above, that’s an actual pencil from the Fleischer studio in Miami. It’s one of the many marvelous fun artifacts animator J.J. Sedelmaier is beginning to post on his Facebook page. Below is a pegbar and J.J. has been challenging his friends to guess what studio it’s from (Click on the image for the answer).

Oregon Live is reporting that Henry Selick is leaving his home base at Laika. The studio did not explain the departure other than to say that Selick’s contract has expired. This follows Laika’s decision to focus primarily on stop-motion and lay off 63 CG animators.

You can read Laika’s official statement on Henry’s departure here.

We’ve posted often about Jules Engel, and now the iotaCenter has released a DVD of his later, rarely seen experimental works. Jules Engel: Selected Works, Volume I is a collection of fifteen animated films from the famed artist, animator and educator.

Engel, who started as a inbetweener on Columbia Krazy Kat and Scrappy cartoons, went on to become a major influence at Disney during it’s golden age, a key artist and designer at UPA in their heyday, a founder of Format Films, a beloved teacher at Cal Arts, an acclaimed abstract artist and experimental animator.

Check out the excerpts (below) from his 1963 personal film Carnival and see excerpts from others films contained on the DVD at iotacenter.org.

Chainsaw Maid has gotten a fair share of play this year, but I thought it deserved a bigger shout out here on Cartoon Brew. The idea to match up colorful plasticine with the zombie genre was a revelation for me—a perfect match. Show me a better use, or at least one that’s more fun, for plasticine.

The film is very well edited and shows a lot of directorial promise. The director, Takena Nagao, takes the zombie genre and replicates its idiosyncrasies flawlessly. The music is delightfully creepy, and works like a charm.  The candy-colored world is almost edible and had me wondering what purple brain blood tastes like. From a storytelling perspective, Chainsaw Maid mixes reaction shots, wide angles and close-ups better than some of the feature films I’ve seen recently.

Perhaps most impressive of all is Takena’s use of the moving camera: the quick zooms, the subtle pans and tilts, the lens recalibrating during a shot to find the action (e.g. 2:53-3:02). It takes confidence to move a camera like this, and even more confidence when you’re doing it in-camera without the aid of rigs/motion control. Takena uses it to add tension, believability, and dynamism to the film at just the right points—in other words, not just for the sake of moving a camera, as so many directors (amateur and professional alike) tend to do.

All in all, I find it super-refreshing to see a talented young filmmaker having so much fun and I can’t wait to see his future work.

PS. This is a link to Takena Nagao’s YouTube channel. And if you like Chainsaw Maid, check out Takena’s latest film, Pussycat.

Auctioneers Profiles In History are currently having an incredible entertainment memorabilia sale which is including a Lot of 100 puppets and pieces-of-puppets from the George Pal’s Jasper Puppetoons. The bids start at $8000. Here’s the link. There are also separate lots for puppets from individual non-Jasper films such as The Gay Knighties, Rhythm In The Ranks, Two-Gun Rusty, John Henry, Tubby The Tuba and on and on! This lot was part of the estate of William Nassour who, with his brother, produced several Hollywood movies and experimented in stop motion animation. Apparently they took over the Puppetoon shop when Pal moved on into feature production - and held onto these puppets until now!

If those prices are too steep, you can own one of Pal’s most iconic movie models for a more modest $35. Pegasus Hobbies, under license from Paramount Pictures, is exclusively selling reproductions of the Martian War Machines from War Of The Worlds. They sell them as either plastic model kits or pre-built and plated. I actually have one of the pre-built ones and it’s quite beautiful.

Mark Evanier also points out that the Hollywood auction above is also selling an astonishing collection of Walker Edminston’s Time For Beany Beany & Cecil puppets and memorabilia. Lot’s of jaw-dropping Clampett puppets and ephemera here.

Is anybody following the official Chuck Jones blog? Because fans of Chuck should be! Chuck’s daughter, Linda, has been posting a fascinating series of letters that he wrote to her when she went off to boarding school in 1952. Even though a lot of the details are mundane, the value of sharing these letters is immense. They offer a totally new personal perspective on how Jones handled being a father at a time when he was also at the top of his game. There are also some great animation-related bits sprinkled throughout the letters, like his thoughts about working on the Roadrunner/Coyote shorts:

Been slamming through another Coyote and Roadrunner, as I may have mentioned. These are sort of money-in-the-bank type pictures. We don’t have to worry about establishing a premise or continuity or character development much or trick backgrounds. Everything’s pretty open. Just sit down and start drawing and when all the gags are roughed out, arrange them according to pace, so’s the picture will build in tempo, find myself a strong gag to end on and I’m in business. Timing is a snap because no dialogue and there’s no worry about making it too long, because I can time the gags as I go along and use just as many as I need. All in all, life could be very simple and maybe a little bit dull if all I had to do was direct coyote and r.r.s.

Read Linda’s intro to the series and then check out all of the letters. Start at the back with the first post if you want to keep proper chronology.