I’ve praised this blog before, but the Chuck Jones blog, run by Chuck’s grandson Craig, continues to be a treasure trove of artwork and new information about the director.

My favorite recent post is this letter that Chuck wrote to his daughter Linda following his brief stint working at the Disney studio in 1953. In it, Jones gives his perspective of working at the studio, and it sounds not so different from a lot of contemporary feature animation studios:

At Disney’s it was always necessary to be certain places at certain times. God knows why, nothing ever happened, so it was nearly impossible to work there without a timepiece. You could get along without talent, but not a watch…. Ah..I think this was a good mood—I mean move to return here [to Warner Bros.], I had not realized how much I missed the sweetness of my own solitude. At Disney’s aloneness or desire to be alone generates suspicion, you are always surrounded by people, drifting in and out, exchanging hackneyed pleasantries or just sitting, staring with baleful intensity at one’s own navel. What a waste! What a waste of wonderful talent!

Jones also offered an unflattering opinion of Disney director Ham Luske:

I went to Disney’s with respect for H… L…., I could not fathom him but I felt that there must be some pretty strong talent there, not evident on the surface perhaps but still waters run deep etc. etc. If I still think this then I am the only one who has recently worked there who does. Walt adjudges him a work horse, stolid, unimaginative, but able to get things done if someone else has injected the life and the spark into the material. Many others think of him as simply and purely a dolt and a dull dolt at that. I saw too little of him to make any judgment, but I can no longer assume that he has talent. Isn’t that a pity?

It’s particularly interesting to read this letter in context of Chuck’s later opinions of working at Disney, which can be found in this terrific article by Wade Sampson.

The Paley Center for Media on 52nd Street will be hosting a screening and panel discussion celebrating The First Christmas Special: Revisiting Mister Magoo’s Christmas Carol on Tuesday, December 1, 2009 at 6:00 pm. Following a screening of the show, a panel including animator/author Darrell Van Citters; Judy Levitow, daughter of Magoo’s director Abe Levitow; and Marie Matthews, Voice of “Young Scrooge”, will examine the making of the program and its place in television history. Reserve tickets here.

Here’s the way it should be: the stop motion sequence from Flintstones: On the Rocks (2001), by the gang at Screen Novelties.

P.S. Grab a higher quality download off the Screen Novelties 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!

Ahhh… the things you’ll find on Craigslist.

According to the seller, “Felix the Cat (comic, strip AND animation) was created on this very table (I have no actual proof of this, though times/dates/people involved would point this towards the truth). This table was also used by Famous artists Joseph “Joe” Oriolo and Otto Messmer (as evidenced by notes on the animation disc’s backside.)”

Hmmm… maybe Casper the Friendly Ghost was created on this desk too. The seller certainly sounds “friendly”. Bid on it here.

(Thanks, Bob Foster)

Another purchase I made at Cinecon this past Labor Day, was an entire stack of Films In Review magazines, the entire run from 1956 through 1959. I’ve been going through them slowly and enjoying them throughly, finding many great insights and articles about the history of film. There was so little written about animation in these pages that I was surprised to find this piece on pioneer stop motion animator Ladislas Starevich in the April 1958 issue. It’s a nice overview of his career, written while Starevitch was still alive and working. Since I couldn’t find it posted anywhere else on the web, I figured it was my duty - in the interests of history - to add it here myself. (Click thumbnails below to enlarge)

For those who need to brush up on their Starevich I highly recommend the DVD collection, Cameraman’s Revenge & Other Fantastic Tales. In the meantime, here is the one of his classics, from 1933, The Mascot:

Steve Worth over at the Asifa-Hollywood Animation Archive has posted a plethora of Alvin and The Chipmunks memorabilia to tell the story behind this eternal pop-culture phenomenon. Steve has posted much rare material from the Format Films era Alvin Show including several storyboards (including the rare pilot) and Jules Engel color keys. Go there now! Here’s the direct link.

Here’s some show-and-tell. I found these odds and ends of UPA publicity at Cinecon, the classic movie convention held in Hollywood over Labor day weekend. None of these miscellaneous tid-bits are very important, but they are all part of the great jigsaw puzzle of film history — and can be telling on how the UPA cartoons were marketed and perceived by the public at the time. The first row is a four page spread from a pocket-sized movie magazine called Prevue (July 1953). I posted the cover below left (click on thumbnails to see full size image). You never know what you’ll find in oddball (and odd-sized) fan magazines such as these. In addition to the UPA pages, there were three pages promoting Disney’s live action feature The Sword and The Rose.

Next we have several clippings from Motion Picture Herald, a weekly trade magazine aimed at theatre owners. A dealer was selling a whole years run of 52 issues from 1952. I went through them all and found these items of interest: Columbia Pictures took out several back cover ads touting there current releases, done in a “newspaper” style, with press-style blurbs. At left, a bit about producer Steve Bosustow and his Academy Award; in the center, Columbia highlights a Bethesda Maryland theatre who billed Rooty Toot Toot and a bunch of Magoo cartoons over the main feature (Return of the Texan, a 20th Century Fox film); and at right, proving the incredible popularity of Mr. Magoo, the Herald ran this photo of a theatre in London who made a whole show of Mr. Magoo cartoons: “The First Mr. Magoo Show”. I wonder if there were ever a second or third?

And finally, a double-page ad in February 10th 1951 edition of Motion Picture Herald hyping the popularity and press (NY Times, Life Magazine, comparisions to Disney’s Three Little Pigs) of UPA’s Gerald McBoing Boing. It’s rare for any individual short to rate a full page ad - more so a two page spread.