keyleedaud (REAL ESTATE)

Today is Ray Harryhausen's 90th birthday. In his honor, let's all duel with skeletons.

In case you haven't noticed, Kevin Schreck's proposed documentary on Richard Williams The Thief and the Cobbler is now fully funded .

Another frustrating entry, due to the lack of credits in the second half. While Woolie Reitherman and Fred Moore have long been credited for their work on Timothy, here we have Milt Neil doing an excellent job. His Timothy is more flexible than Reitherman's and also is timed more quickly. Is Neil responsible for Timothy whispering into the ringmaster's ear? The animation does not suffer compared to either Reitherman or Moore, so if it is Neil it is evidence of another great performer brushed under the carpet. In particular, I'd love to know who animated Timothy in shot 30. The shape of the character under the sheet doesn't resemble Timothy at all; the body shape is different and the muzzle has disappeared. It's only at the end of the shot, when Timothy's rump and tail are visible, that the character's model is taken into account. And what about Walt Kelly? Kelly, in his post-Disney comic book and comic strip work ( Pogo being the most famous) was one

I've read a fair number of business books about the film industry and this is a good one. Author Nicole Laporte does an excellent job of portraying the three partners, Steven Spielberg, Jeffrey Katzenberg and David Geffen, who formed DreamWorks. What's clear from the book is that the company and partnership were always tenuously held together. The partners each had very different personalities and more important than that, very different goals. It's this area where the structural flaws in the company eventually caused problems. Most companies start small and if they're lucky and well-managed, grow larger. The two words that best define DreamWorks are grandiose and hubris. DreamWorks started out large with large expectations and then systematically shrank over time. The expectations of the partners, the investment community and the public were too large and the partners, for all their money and skills, failed to live up to them. Those interested in the animation si

Two interesting posts from animator Matt Williames. The first is a collection of his pencil tests from The Princess and the Frog . The second contains his thoughts on working at Disney. (Link via On Animation .)

I exchanged email with a former student who told me about two other former students who were interning at an animation studio. The two interns, in combination with other interns, did a test film that impressed the studio management, including people in other divisions who thought that the project had potential to generate some profits for the company. The two interns were then moved into regular production. On the face of it, this is a success story, right? A couple of interns impress the higher-ups and get to work on a real film, getting a resume credit and if they're lucky, a screen credit. However, there's another way to look at this. Google tells its employees to spend 20% of their work time on personal projects. Google is not doing this because it is generous; this is a pragmatic move. Google knows that it hires smart, clever people and that left alone, these people are likely to come up with ideas with profit potential. Not all of the ideas will pan out, but enough

Oscar Grillo is posting photos of himself with various people from animation. Unfortunately, he's not captioning many of the photos, leaving the viewer to figure out who he is with. I see photos with Børge Ring (above), Marc Davis, Eric Goldberg, Chuck Jones, Bill Plympton, Dick Williams, Pete Docter and Peter Lord. Here's a link to many of the photo entries.

Kevin Schreck is a film student who is working on a documentary about Dick Williams' The Thief and the Cobbler . I have to admit being very ambivalent about Williams. He's a brilliant draftsman and technician, but I have serious doubts about him as a screenwriter and director. Considering the film a "lost animated masterpiece" is, in my opinion, going too far. However, I think that a documentary on the film is a worthy project and so I'm doing my bit to publicize Schreck's attempt to raise money. You can read more about the project and see a promotional trailer for the documentary here . (For the record, I pledged $25.)

Cartoon Brew is reporting that today is Michael Barrier 's 70th birthday. I have no idea if this is the case. I would not have guessed that Mike is that old. However, Mike is certainly deserving of Amid's praise and I'd like to add some of my own. I first discovered Funnyworld , the magazine Mike edited devoted to animation and comics, at a Phil Seuling comic convention in New York in the early '70s. I must admit that I bought issue #13 because it printed several model sheets by Chuck Jones. When I got home and read through it, I was flabbergasted. The issue included interviews with Jones and Carl Stalling and a two page article "Chuck Jones: From Night Watchman to Phantom Tollbooth" that was a critical survey of Jones' career that also talked intelligently about what animation directors did and how their styles differed as a result. Funnyworld treated animation with the same seriousness that the film magazines I was beginning to read treated live

This really is Woolie Reitherman's section. He animates practically everything. Ed Brophy, the voice of Timothy, gives an excellent reading, alternating between coaxing, thinking out loud, cheerleading and puzzlement. Reitherman catches all those emotions in his animation. Between Brophy and Reitherman, we get a good understanding of Timothy, a character who is warm-hearted, considerate and intelligent. Reitherman's posing is broad and has a strong line of action, though he's fairly conservative when it comes to changing the character's shapes. As I mentioned in the last section, Reitherman's Timothy is more structural than Fred Moore's. The sound effects in shot 10, when Dumbo vacuums the peanut away from Timothy and spits out the shells, is very funny. The pan in shot 24.1 is on twos, another indication of the corner cutting in this low budget film. Generally, pan backgrounds are shot on ones, as twos work less well for moving backgrounds than for charac

This sequence begins with Mrs. Jumbo and Dumbo both sadly swaying to the music. Though separated by space, their mirror actions show that their feelings are the same; they are depressed due to their separation. While Bill Tytla is justifiably celebrated for certain scenes in this film, particularly Dumbo's bath and the "Baby Mine" section, he doesn't receive enough attention for the other elephants. Within this film, he shows an enormous range of acting, portraying both heroes and villains, innocence and repulsiveness. The four antagonist elephants are self-righteous, insensitive and cruel. Tytla works both sides of the street, so to speak, stressing Dumbo's appeal while also showing how repellent the other elephants are. It's this combination that creates the film's emotional impact. Because Dumbo is unjustly vilified, we immediately like Timothy for sticking up for him. His scaring the elephants is emotionally satisfying as it deflates their pride

Thad Komorowski has posted a version of " Blame It On the Samba " (from Melody Time ) that identifies the animators. The identifications come from JB Kaufman's book South of the Border With Disney . This has always been a favorite film of mine and it's great to learn that the most spirited animation in it was done by Hal King and Les Clark. Now that so many animator drafts are surfacing, the history of Disney animation needs to be rewritten with much less emphasis on the Thomas-Johnston-Kahl contingent.

"I hate the term “2D.” That’s bullshit. They put us in that category. They say they’re making 3D. They’re not 3D. What Pixar does is not 3D because it’s shaded. The screen is flat. It’s a flat picture. It’s just an illusion. There’s only one 3D, Brian, and that’s what you’re looking at with your two eyes. You are seeing real space. It’s all around you. And you can touch the objects and see that they’re really there." The four part Gene Deitch interview is now complete. Go here for links to all four parts.

The new issue of Flip (#34) is out. As always, it's an interesting read. For me, the highlights of this issue are a round table of professionals giving their views on art tests for employment and a feature on Dean Yeagle.

Once again, the principle of contrast is front and center here. The first half of the sequence is relaxed and heartwarming while the later half is tense and frightening. The bath section is really a musical sequence, though there are no lyrics. The animation has been tied tightly to the beat and melody of the music. Certainly that was a specialty of sequence director Wilfred Jackson. Animator Bill Tytla, himself the parent of a young son at the time, perfectly captures how a parent and child tease each other and play games, both secure in their loving relationship. One thing that makes their relationship obvious to the audience is the use of touch. Touch is a powerful way of communicating in life and on film. A caress, a pat on the back or a punch in the nose all communicate clearly. Mrs. Jumbo's trunk is there to wash her child, lift her child or caress it. Dumbo pulls on his mother's tail. The willing physical connection between the two makes their feelings for each

As I watch this film in chunks, I am struck by how much the film relies on contrast. Each sequence seems to contrast with the last and there is contrast within sequences as well. This sequence follows the raising of the big top during a thunderstorm. Where the previous sequence was dark and grey, this one is bright and colorful. The music here also contrasts with the roustabout song. Within this sequence, there is the contrast between the excitement of the parade itself and the boredom of the animals. Those open-mouthed animals in shots 4.1 and 8 are yawning, not roaring. There's also contrast between the gorilla's seemingly ferocious demeanor in shot 7 and his embarrassment when one of the bars comes loose. Van Kaufman animated the shot. While he not well-known, he certainly gives a good performance here. Hicks Lokey's animation of the band in shot 3 is broad, energetic and full of stretch and squash. Similarly, his animation of the clowns in shot 11 introduces th