Please Say Something is a visually and narratively intriguing series of CG micro-shorts by David O’Reilly, creator of RGBXYZ. O’Reilly tells me that the series of five dramatic pieces is designed to be seen on the Web and is influenced by the “amazing comics” of Jason. The shorts speak for themselves but should you require additional explanation, there’s always this blog entry.
Places I’d like to visit (number 1 in a series):
Tony Medeiros from Sandbox World sent in this photo:
I thought I would share with you a fine establishment called the “Donald Duck Taverne” in Montreal. I personally find this place to be out of place and character in our fair city.
If you find yourself in this quaint Canadian neighborhood, check out Taverne Donald Duck at 3223 rue Beaubien Est. And don’t order the orange juice.
(click on the image above to see more of this model sheet)
With so much attention being paid nowadays to film gimmickry like stereoscopic 3D, it may be only a matter of time before Hollywood begins resurrecting other outlandish ideas from the past, like Smell-O-Vision. As far as I’m aware, there’s only one piece of animation ever produced using the Smell-O-Vision process, in which audiences were exposed to aromas that accompanied the visuals onscreen. The cartoon is called A Tale of Old Whiff. I’ve never seen the short, but I can offer the model sheet above which allows us to see what the characters looked like.
A reviewer named F. Gwynplaine MacIntyre has written extensive commentary about the short on IMDB that includes the following synopsis:
Bert Lahr does hilarious work as the voice of Old Whiff, a cartoon bloodhound searching for a museum’s lost dinosaur bone worth $100,000 … but whose search is hampered by the fact that he has lost his sense of smell. While the bloodhound meanders through this cartoon, muttering to himself in Bert Lahr’s distinctive voice, we see various items which Old Whiff encounters … including a hot dog, mustard, soap, soup, chocolate, violets, pine trees, a field of clover and a horse. We also SMELL those objects; at least we smell them if the Smell-O-Vision process is working properly. But poor Old Whiff can’t smell anything.
I found the faded and many-times photocopied model sheet in the collection of Alan Zaslove, who is credited with directing the film. The film was originally being directed by John Hubley in New York but, for reasons that are unclear, he abandoned the project midway. The most likely scenario is that he had a financial or creative conflict with the bankroller of the Smell-O-Vision process, the notorious Hollywood producer Mike Todd.
Zaslove remembers that all of the artwork, including much of the completed animation, was shipped by Hubley to to Format Films in LA, where it was photographed and completed. Story artist Leo Salkin, who was working at Format at the time, is credited with storywork on the film, which perhaps implies that the story of the film wasn’t completely figured out when Hubley stopped working on the film. I’m not sure if the model sheet above was drawn entirely by Hubley, but the designs are certainly his, and a lot of the drawings look like they could be from his hand.
We’re going to begin doing a regular roundup that indexes some of the more noteworthy items on Cartoon Brew. Here are some of the news items that created the most buzz and generated the most discussion during the past couple months. Any that we missed?
• The Little Island by Richard Williams
• Superjail
• Hatti Noel as Hyacinth Hippo: Part 1 and Part 2
• 1930s Wartime Japanese cartoon
• The Rocky and Bullwinkle statue: Part 1 and Part 2
• Spongebob Rectal Thermometer and Spongebob Voice-overs
• Kung Fu Panda Trailer
• In by Philipp Hirsch and Heiko Tippelt
• Why Don Hertzfeldt Probably Won’t Win An Annie
• Marcell Jankovics’s Fehérlófia
• Lili Chin and Eddie Mort Abandon Flash Animation
• Diznee’s Aladin and Ratatouille Knock-off
• Studio 4°C’s Genius Party
• The Hard Lessons of Kwicky Koala
• Academy Ignores Animation for Best Foreign Film
• Usavich
• Who Writes Cartoons?
In the video below, Disney’s version of Winnie the Pooh teaches kids that, “There are certain private places on your body that nobody is supposed to touch except you.” Let’s hope Pooh isn’t speaking from personal experience.
(Thanks, Christian Larocque)
I found this original TV spot for Richard Williams’ Raggedy Ann & Andy (1977) in my collection, and thought it was a hoot. Note the “rolling eyes” reaction of the adult at the 32-second mark. With all the great respect Williams showed for – and credited to – his master animators, it saddened me back then that this film was simply marketed by distributor 20th Century-Fox as a typical kiddy film; pure Saturday matinee fodder. Obviously is was a children’s film – but it was also a rare challenge to Disney’s cartoon dominance (The Rescuers was released two months later) in a what was debatably the worst decade ever for animated features (Bakshi’s work excepted).
To commemorate Friday’s release of Fox’s Horton Hears A Who!, I thought this comparison in how an animated film was sold back then, versus today’s massive marketing campaigns, was worth noting.
Comic book writer Fred Van Lente and cartoonist Ryan Dunlavey have teamed up to create Comic Book Comics, a concise illustrated history of comic strips, comic books and yes, animated cartoons. I just picked up a copy at my local comics shop this week and all things considered, it’s pretty good. Jack Kirby and Max Fleischer seems to get extra attention in the first issue. Among the names who will be profiled in forthcoming editions are Stan Lee, Walt Disney, Roy Lichtenstein, R. Crumb, Winsor McCay, Will Eisner, Osamu Tezuka, Harvey Kurtzman, Art Spiegelman, Steve Ditko and Bob Kane.
Throughout the history of the animation art form, there have been a select group of innovators who have pushed the medium to its limits and explored the potential of animation to its fullest. These artists include Winsor McCay, Walt Disney, Max Flesicher, Tex Avery, John Hubley…and now, I’m pleased to announce, Fred and Sharon.
Fred and Sharon, hailing from Kelowna, Canada are redefining the possibilities of filmmaking and animation by producing movies for any type of occasion. You can learn about their skills by watching this introductory piece below, entitled “Who Needs a Movie.”
Of course, Cartoon Brew is an animation website and thankfully for us, Fred and Sharon are specialists in the art of animation. They work in a dizzying array of styles, including hi-end computer animation that is seamlessly integrated into live-action settings…
to a traditional hand-drawn look…
to more painterly and experimental styles of animation…
For more of their filmmaking magic, visit FredandSharonsMovies.com or their YouTube page. And when you see them accepting an Oscar, just remember that you read about them on Cartoon Brew first.
There’s an intriguing story in yesterday’s news wires about how Disney is producing a new TV version of Lilo and Stitch specifically targeted towards Japanese audiences. The new series, titled Stitch!, which will be produced by Japanese animation studio Madhouse (Ninja Scroll, Cardcaptor Sakura), replaces the orphan Lilo with a Japanese girl named Hanako, and transplants the setting from Hawaii to a tropical island in Okinawa, Japan. The series will premiere on Japan’s Disney channel in October.
For Popeye completists only: To be released the same day (June 17th) as Popeye The Sailor Vol. 2, 1938-1940, Warner Home Video will be appealing to kids and families with a special one-disc release containing eight color episodes from the 1978 CBS Saturday morning series, The All-New Popeye Hour. The eight cartoons include: Abject Flying Object, Ship Ahoy, I Wouldn’t Take That Mare to The Fair on a Dare, Popeye Goes Sightseeing, Chips Off The Old Ice Block, Popeye The Plumber, Swee-Pea Plagues
A Parade and Polly Wants Some Spinach.
This music video, by Latin American group Kumbia All-Stars, has been around for several months but I just got around to watching it. Anyone know who did the character animation?
(Thanks to Jake Friedman for pointing me toward it and a nod to Misce-looney-ous for beating me to it)
Below is an excerpt from a new documentary Thou Shalt Not: Sex, Sin and Censorship in Pre-Code Hollywood which aired the other night on TCM. I appear briefly (the clip below is my entire appearence) to point out a line of dialogue from one of my favorite cartoons, Bosko’s Picture Show (1933).
This mystery has been dogging me since Will Friedwald and I first pointed it out in our 1981 Scarecrow Press book, The Warner Brothers Cartoons. To this day I still can’t quite make what word Bosko is using. “The dirty Thug?” “The dirty Fox”? “The dirty F-ck”?
Thou Shalt Not is the best documentary on pre-code Hollywood films I’ve ever seen. It’s available on DVD as bonus feature on Warner Home Video’s Forbidden Hollywood Collection Vol. 2.
If you haven’t been a regular reader of Leonard Maltin’s website or his quarterly newsletter – both named Movie Crazy – you should be. Leonard has now collected the best articles from the newsletter into a 410-page trade paperback also named, you guessed it: Movie Crazy.
It’s loaded with incredible interviews with, and articles about, the people in front and behind the cameras during the golden age of Hollywood. It also contains many pieces of particular interest to animation fans. These include an interview with Janet Waldo (voice of Judy Jetson and Penelope Pittstop), a bio of Arthur Q. Bryan (voice of Elmer Fudd), an interview with Betty Kimball (Ward’s wife) and Marie Johnston (Ollie’s better half) on their careers as ink-and-paint girls at Disney, rare Hollywood caricatures by Disney Legend Joe Grant and an amazing publicity photo of Spanky McFarland and Mickey Mouse.
It’s published by Mike (Dark Horse) Richardson’s M Press imprint and available on amazon.com for $13.57 – and worth every penny.
Mike Kazaleh sent in this photo and asks, “I’ve been seeing this truck around my neighborhood for years, and I finally snapped a picture of it. Can anybody explain it to me?” Click here for larger image.
Whatever your opinion of It’s A Small World (and its unforgettable – no matter how hard your try – theme song) there’s no doubt it’s a work of art and a tribute to its designer Mary Blair.
The Re-Imagineering blog has posted details on the “updating” currently underway at the Disneyland attraction. These “improvements” include adding Disney characters to foreign locales and an expansion of an American presence to the piece -an expansion the blog points out was “…never intended for American audiences from the show’s very inception.
In consciously excluding a large scale U.S.A.-land from It’s a Small World (a lone cowboy and indian in the finale was just enough), the original show writers were asking American audiences to step away from their own national consciousness and take stock in the wider world around them. It’s a Small World was never about nationalistic fervor. It was about finding our common humanity outside our own borders.”
Read more at Re-Imagineering.
