Animation historian and cartoon archeologist Steve Stanchfield is back with another double header of rare 1930s cartoons from the long-forgotten Fleischer-rival, Van Beuren Studios. His latest Thunderbean DVDs are The Complete Animated Adventures of Van Beuren’s Tom and Jerry and Aesop’s Fables Vol. 2 - and again, I recommend these highly to anyone - especially those who love 1930s-style rubber-hose animation.

The Tom & Jerry set (with gorgeous Milton Knight cover art) is particularly amazing. These hilarious cartoons are obscure to begin with, so a real treat is the fabulous film prints Stanchfield digs up and lovingly restores. Many of the cartoons look really great, especially A Swiss Trick (1931) from a 35mm nitrate sepia-tinted, spliceless print, with its original titles intact. This is as close as we’ll ever get to experiencing one of these cartoons the way audiences saw them in the early 30s. It really makes a difference.

Also on the T&J set, galleries of original trade ads, posters, home movie boxes, picture books, and four additional cartoons starring Tom & Jerry precursors, Waffles and Don. Stanchfield goes an extra five miles here, with the inclusion of a comparison reel of Tom & Jerry animation against a rare Egyptian knock-off by the Frenkel Brothers. Priceless stuff.

For more information on Thunderbean’s complete line of animation rarities, click here.

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.

My friend Philippe Videcoq is selling 25 Disney items in an upcoming Christie’s movie memorabilia auction. Among many drawings and layouts, he’s selling three extremely rare items : a three page synopsis from Alice the Beach Nut (the penultimate in the series), typed in 1927; a United Artists Mickey Mouse and Silly Symphonies Press book; and a 191 page folder entitled Future Fantasias compiled by studio researcher Bob Carr at Walt’s request before Fantasia’s premiere, detailing all possible musical choices for sequence replacements or sequels to Fantasia.

Phillppe sent me some details on the Future Fantasias folder:

During the making of the film, he asked Robert Spencer Carr to keep track of all ideas and projects discussed at the studio for quick reference and further discussion. Carr (March 26, 1909 – April 28, 1994) was Director of Educational Research for Walt Disney Studios. After he left the studio, he became Special Advisor to NICAP. He also served with the Army Orientation Service, produced educational films for the State Department and teached communication at the University of south Florida. He was also an American writer of science fiction and fantasy (selling his first story to Weird Tales at age 15) .

As stated in the opening memo to Walt, this was given to him on October 23, 1940 as a “field manual” for his trip east. This trip was Walt’s trip to New York for the world Premiere of Fantasia, 23 days later (Nov. 13, 1940). Of course, in view of the film’s disappointing box-office returns, the cost of the revolutionary Fantasound system in the theatres, and a closing foreign market due to World War 2, Walt put all these projects aside, but many ideas would eventually turn out as sequences in the package features: Peter and the Wolf in Make Mine Music (1946), Flight of the Bumble Bee (renamed Bumble Boogie) in Melody Time (1948), Rhapsody in Blue and The Firebird in the long-awaited sequel Fantasia 2000. Debussy’s Clair de Lune was even animated, ending up as the Blue Bayou sequence in Make Mine Music. Finally, two suggestions (Valse Triste and Afternoon of a Faun) were eventually used by Italian animator Bruno Bozzetto in his Fantasia spoof Allegro non Troppo (1977).

The folder lists all musical studio properties (and titles advised for copyright), story numbers assigned to pieces, detailed story research, development and production notes, as well as the Deems Taylor dialog written for many pieces (and often recorded, with recording dates). It also includes complete proposed programs for eventual sequels, and a nine page transcript of a story meeting held at the studio on may 14, 1940, with the participation of Walt, Leopold Stokowski, Joe Grant, Ben Sharpsteen and Ed Plumb.

The photograph (above, right) of Walt Disney in his office shows the Future Fantasias folder right behind him, on a shelf.

The auction will take place on November 24th in London. For more information click here.

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)

Dr. Sketchy’s is an alternative life drawing salon and traveling artists social club - and it’s coming to California.

It started as a one-time Brooklyn art event and is now a nationwide movement. Founded in 2005 by artist Molly Crabapple, Dr. Sketchy’s Roadshow inaugural tour will take place throughout California between November 2nd and 14th, with stops in Anaheim, Costa Mesa, Long Beach, Sherman Oaks, Santa Barbara, San Luis Obispo, Bakersfield, Fresno, Monterey, San Jose, Sacramento and Alhambra. To quote their blog:

Artist and art voyeurs need only bring a $10 donation and their favorite drawing supplies. Dr. Sketchy’s and the Roadshow’s art-centric host venues will provide everything else (top notch models, refreshments, casual networking opportunities, and an all around good time).

No RSVP necessary, but space at each venue is limited. The L.A. date is Thursday November 5th at Van Eaton Galleries in Sherman Oaks. Gallery Nucleus in Alhambra will host the show on November 14th. Check the full list of locations and dates here.

More John Canemaker news! John will present his do-not-miss lecture/screening on the art and life of animation pioneer Winsor McCay (1867–1934) at the Wexner Center for the Arts at Ohio State University, Columbus, Ohio, next Tuesday November 3rd.

As part of the lecture, Canemaker presents Gertie the Dinosaur (1914) the way it was meant to be shown – as a vaudeville act with live musical accompaniment (photo above is from Canemaker’s recent screening in Annecy). The program starts at 7:00 pm at the Wexner Center Film/Video Theater, 1871 North High Street in Columbus, Ohio. The event is part of the current Winsor McCay: Legendary Cartoonist exhibit at the OSU Cartoon Library and Museum. For tickets and information, please visit the Cartoon Museum website.

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.