Vol.Vol. 33 IssueIssue 44 July 1998 Adult Animation Late Nite With and Comics Space Ghost Anime Porn NYC: Underground Girl Comix Yellow Submarine Turns 30 Frank & Ollie on Pinocchio Reviews: Mulan, Bob & Margaret, Annecy, E3 TABLE OF CONTENTS

JULY 1998 VOL.3 NO.4 4 Editor’s Notebook Is it all that upsetting?

5 Letters: [email protected]

Dig This! SIGGRAPH is coming with a host of eye-opening films. Here’s a sneak peak. 6 ADULT ANIMATION

Late Nite With Space Ghost 10 Who is behind this spandex-clad leader of late night? Heather Kenyon investigates with help from Car- toon Network’s Michael Lazzo, Senior Vice President, Programming and Production.

The Beatles’Yellow Submarine Turns 30: John Coates and Norman Kauffman Look Back 15 On the 30th anniversary of The Beatles’ Yellow Submarine, Karl Cohen speaks with the two key TVC pro- duction figures behind the film.

The Creators of The Beatles’Yellow Submarine.Where Are They Now? 21 Yellow Submarine was the start of a new era of animation. Robert R. Hieronimus, Ph.D. tells us where some of the creative staff went after they left Pepperland.

The Mainstream Business of Adult Animation 25 Sean Maclennan Murch explains why animated shows targeted toward adults are becoming a more popular approach for some networks.

The Anime “Porn” Market 1998 The misunderstood world of anime “porn” in the U.S. market is explored by anime expert Fred Patten.

Animation Land:Adults Unwelcome 28 Cedric Littardi relates his experiences as he prepares to stand trial in France for his involvement with Ani- meLand, a magazine focused on animation for adults.

COMICS 32 The State of Visual Narrative In Film And Comics Peter Chung examines the flaws of today’s comics as he reveals the basic nature of visual narrative. ULY NYC Wonder Women 35 Samantha Berger takes us underground to discover the New York City female comic book artist scene.

J OTHER

So,You Want to Open An Animation Art Gallery? You’re Darn Tootin! Ron Merk’s heated rebuttal to Tim Stocoak’s article, “So You Want to Open an Animation Art Gallery!” pub- 38 lished in the November 1997 issue of Animation World Magazine.

THE STUDENT CORNER

49 Here’s A How de do Diary:April How is Barry Purves getting on with his Channel 4 production? Find out in this month’s installment.

© Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE July 1998 2 TABLE OF CONTENTS

JULY 1998 VOL.3 NO.4 4 FESTIVALS, EVENTS:

Annecy’s First Annual 5 Buzz Potamkin tells us how the much-awaited first annual Annecy International Animated Film Festival faired.

E3: It’s An Animated Year 6 What’s new in the gaming world? Joseph Szadkowski gives us the lowdown on the new animation relat- ed games from this year’s E3.

FILMS: 10 Disney’s Mulan:A More Modern Heroine Andy Klein reviews Disney’s latest masterpiece and finds some nice changes in the new Mulan.

Bob and Margaret:An Ordinary Couple Goes Prime Time Worldwide 15 Bob and Margaret, a new prime time animated show, is hitting the airwaves. Maureen Furniss takes a look.

BOOKS: 21 For The Love of Prague Adam Snyder reviews Gene Deitch’s new book and looks back at the role his father, William L. Snyder, played in relocating the director to Prague, thereby starting one of the greatest love stories in animation. 25 An Afternoon with Ollie Johnston, Frank Thomas and Pinocchio Charles Solomon speaks with Frank Thomas and Ollie Johnston about Pierre Lambert’s book Pinocchio, the film and, of course, Walt and his dreams. 1998 HIDDEN TREASURES

28 The Hollywood Animation Union (M.P.S.C. #839) What can the Union do for you? President Tom Sito explains. NEWS 32 Animation World News Microsoft Sells Softimage To Avid, Laybourne Launching New Company, Sony Launches Anime Channel and more.

ULY DESERT ISLAND: 35 On A Desert Island With....Some Consenting Adults and a Cartoon Talk Show Host Alison Snowden, David Fine, Denis Kitchen and Space Ghost reveal their top ten films. J

AWN COMICS

Dirdy Birdy by John Dilworth 38

Next Issue’s Highlights

49 This Month’s Contributors

Cover: Space Ghost Coast to Coast is launching into its fifth season on Cartoon Network. Animated character ™ and © Hanna-Barbera Productions. All Rights Reserved.

© Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE July 1998 3 by Heather Kenyon Editor’s Notebook events would appeal to a expanding of the Is it all that upsetting? wider audience. The stuff regularly demand to see these seen on main- ho knew that adult ani- films is out there. It is just stream television mation was so upsetting finding the proper chan- and at the local Wto so many people or nels to get these animat- cineplex? It would that the very idea is a difficult one ed pieces screened be exciting if an to grasp? Those of us that are where the general public appetite for the more familiar with animation than will notice them. Art gal- avant garde could just Saturday morning are so used leries and special screen- be cultivated. to the concept that animated films ings sometimes take I can see and can be directed toward adults. For place but one must be understand that instance most of the films diligent and seek them animated pornog- screened at the Annecy Interna- out. I salute people like raphy is not for tional Animated Film Festival are Cartoon Network’s Linda Simensky everyone. When doing research not for kids. They are serious who have brought short films by for the anime porn article (no, real- pieces of art, even though some independents to major networks. ly), we received boxes of tapes may be humorous, that show an Spike and Mike are taking a grand from the distributors and I took artist’s unique take on the human step up by presenting Spike and them home to see what all the experience. Of all the visual media Mike’s Classic Festival of Animation fuss was about. Well, let’s just say, I have seen in my life some of the which is currently touring, and I don’t think I’ll be signing up any- most moving are from animated includes T.R.A.N.S.I.T. I hope that time soon to get on the company’s films. In the realm of animation, as the popularity of animation mailing lists. But you know what? Saturday morning is a sliver of grows, as everyone says it is, a That’s my opinion and if there are what is out there and yet the gen- more diverse and interesting folks out there that want to buy eral public is unaware of this. range of animation will reach the every single release — good for There is an amazing world out mainstream audience. The people them. I hope they are happy. As there for them to discover! But reading this magazine are the peo- long as adult material is distributed how? ple who have this power. through the proper channels so it Way back in November, How can it be that Mr. cannot get into the hands of Piet Kroon offered us a real treat in Tibor Clerdouet, Mr. Yvan West minors, I have no problem with its Los Angeles. With the help of the Laurence and Mr. Cedric Littardi distribution, and neither should Consulate-General of The Nether- are on trial for presenting a maga- anyone else. No one is forcing lands and Warner Bros. Feature zine about adult animation, not anyone to watch if they don’t Animation, Piet screened his new porn mind you but animation want to. film, T.R.A.N.S.I.T., to a nearly filled made for an adult audience, to Adult animation really does auditorium. It was quite a collec- adults in France? This is not a run the gamut. From The Simp- tion of the animation industry and country run by a strict religious or sons to South Park to Bob and proved to be a great night of see- totalitarian government. This is Margaret, to animated pornogra- ing old friends and acquaintances. France—known for it’s laissez-faire phy to adaptations of classic liter- It was like a mini-festival with a attitude. We must actively seek to ary tales to the latest special effects screening of other works, includ- expand animation knowledge to and festival winners—animation is ing TVC’s When the Wind Blows, the public to protect our own, not anything but kid stuff and while which was produced by just from legal action, but also we may know that, a lot of folks T.R.A.N.S.I.T.’s Iain Harvey. People artistically. A wider range of don’t. enjoyed the screening; everyone demand will protect the health, agreed that such events should depth and vitality of our industry. Until next time... happen more often and, while this Is animation really going through Heather was a private affair, thought such a renaissance or is it just an

ANIMATION WORLD MAGAZINE July 1998 4 [email protected]

Rankin/Bass Rehash exact type of work I will be expect- will become. Knowing where to I’m really glad I read your ed to perform in a “real world” set up your key-points to get the review of the Rankin/Bass book post-production environment. It is precisely moving curves to create (Maiko 2.12) before plunking exactly the type of information that “perfect” matte is still an art in down some cash for it. (tips/specific techniques) I need to and of itself. I was really hoping that it learn/hear and I commend Mr. I can tell you this though: would contain some behind the Rudnyk on his article. I hope more for most software you will use, scenes material, as well as infor- articles of this nature are con- such as Matador, it is better, when mation on the puppet fabrication, tributed to AWM. doing complex fine detail, to use etc. I can’t believe that these pup- B-Splines rather than Bezier curves pets were thrown out! I love Thank you, because the “handles” get in the Rankin/Bass stop-motion anima- A Future Roto Artist way and clutter your work. Also, tion, and the very thought is the B-Splines offer better control if revolting! P.S. Does he have any tips you set up your points in clusters Where the heck would for rotoscoping hair extremely around key areas. Take the time to someone get more information on accurately against a not-so perfect get the feel of working with them, Rankin/Bass animation? There isn’t bluescreen? at first they may seem slower to any significant information about work with, but in time you will “fly” their shows on the web, at least Marian responds: with them! For large simple mattes not that I’ve found. I know that Thank you for the kind however, go with Bezier. For me, their productions were done in comments. AWM has indeed run this has worked best. Japan for the most part, but there’s some fine articles on a variety of got to be somebody out there interesting aspects of the anima- Good luck to you! with the information. tion industry. I was pleased to add All of the elements which my article on the often neglected Marian Rudnyk you indicated are missing from the and/or forgotten field of rotoscop- Digital Artist book are the exact ones I was hop- ing. Also, I wish you well in your (Titanic, Armageddon) ing this book would have. Again, new rotoscoping career. It’s a very thanks for the review, it saved me tough market out there with so Vacuums Anyone? some money. much of the new 3-D software I am working on a project I still can’t believe they encroaching on our “turf.” that requires knowledge of classic threw those puppets out! As for rotoing fine details of gags in animation. One area in hair against a not so perfect blue- particular that has risen to the top Thank you, screen... I have to tell you: you’re of my list is Vacuum Gags. I cur- Travis Cutbirth lucky to have even that. More rently know of a few old Warner often than not, in my experience, Bros. treatments, the Roger Rabbit More Roto Info Please you are rotoing a matte within a gag, and a gag used in a classic Today I received my update semi-finished shot so you have all Tom & Jerry episode. on the contents of the May issue manner of background and fore- Could you please help me and immediately went to the ground clutter, and even blurring with any information that you may “Rotoscoping in the Modern Age” of the to-be-matted subject, con- have or point me in a direction article by Marian Rudnyk (Rudnyk fusing and challenging you. My that could help me? I appreciate 3.2). As a future roto artist, it was advice is practice makes perfect. all of your time. particularly helpful to me as to the The more you do it the easier it ANIMATION WORLD MAGAZINE July 1998 5 Thanks, ting edge, not so much because it Whose Golden Age?: Canadian Christopher Malnar is on the forefront technologically Animation In The 1990s but because it walks that edge In response to Robinson 3.3. Editorial assistant Katie Mason did between what you’ve seen and some research and responds: are familiar with and what is fresh. Dear Mr. Robinson, Good luck on your cartoon I’m sure that you could site Thank you for your excel- gag searches. Some cartoon vacu- many projects, from Toy Story to lent article. I wanted to comment um gags that occurred to me South Park, that use the art form that I recently graduated from were in Compressed Hare, Mouse of computers in a new way, but I Vancouver Film School, Classical Placed Kitten, and It’s Nice to Have found your questions to be a defi- Animation, and I certainly agree a Mouse Around the House, all nite and celebratory yes and with what you said about such classic Warner Brothers cartoons. would prompt you to think of industrially-oriented programs. I For summaries of these and other some additional queries. did survive however, and to my Warner Brothers cartoons, see As to where the medium’s knowledge, I am the only person Jerry Beck and Will Friedwald’s breakthroughs may go, Modern who has come out of Vancouver Looney Tunes & Merrie Melodies: Cartoons is currently following a Film School to have made, or is in A Complete Illustrated Guide to path towards TV — not exactly the process of making, another the Warner Bros. Cartoons. one that leads “below the radar.” film independently. I have been joined by another woman from Under the Digital Radar Regards, my particular course and we have In response to Laybourne 3.3. Conor Libby set up “Pigpen Pictures” in a Creative Producer garage here in darkest Wiltshire, Dear Mr. Laybourne, Modern Cartoons Ltd. U.K. We are really doing this for Although you bring up the love of it and we have much many fine and thought provoking Kit responds: to learn and relearn. So, I just points, I wish to respond to your You’re dead-on that motion wanted to say that these intense question, “But aren’t computers control techniques are clearly vocational courses don’t beat the their own art form?” Here at Mod- emerging as a form that goes well art out of everybody, though they ern Cartoons we specialize in real- beyond the technique’s roots in 3- sure give it a try, and for me it was time animation driven with motion D, puppetry and stop-motion. The also a beginning. capture from body suits and face alchemy of digital form always trackers. Everyday we create ani- seems to breathe fresh life and Yours, mation that is truly the art form of startling new dimensions into its Maita Robinson the computer. It has its roots in own source materials. In that rotoscoping and therefore tradi- process what you guys at Modern Jared Doesn’t JUST Sing! tional animation and a bit of pup- Cartoons are doing will, in due In response to Jackson 3.3.: petry and plain old human perfor- course, become the source materi- If you let the “about” box in mance, but the animation we pro- als for a next wave of innovators. Macromedia Director 6 go on long duce takes a rather unique form Editorial note: To find out enough, Jared eventually appears, and is enough unlike its ancestors more about Modern Cartoons bouncing around the screen, to be its own. read “A Conversation With....Chris singing away...... During a taping session, Walker and Corky Quakenbush,” we get impromptu performances, in our February 1998 issue, where Brian Nicolucci directorial spontaneity and espe- Chris Walker, President of Modern cially hilarious outtakes — things Cartoons spends an afternoon Thanks Brian. This editorial that the computer affords. The with outrageous animator Corky staff is sure to try it out soon! imagery that we create is truly cut- Quakenbush.

ANIMATION WORLD MAGAZINE July 1998 6 Dig This! SIGGRAPH’s Electronic Theater Celebrates 25 Years of Discovery by Wendy Jackson IGGRAPH ‘98 is coming up, Debevec (creator of last year’s and that means the Comput- eye-popping FACADE), and Ser Animation Festival will Underwater Sunbeams by Hen- once again be the showcase for rik Wann Jensen, and sound, as the past year’s best computer explored in Music for Unpre- graphics work. This year, in addi- pared Piano by Robin Bargar and tion to the festival’s Electronic The- SIGGRAPH 98’s colorful logo characters Maríenkirche by Tapio Takala. ater and Animation Theater, SIG- are brought to life in 20 short films called Firsts for this year are a live GRAPH has expanded the festival “in-betweens.” Internet demonstration of impro- to include two new programs. through 650 submissions to select visational animation in The Mak- SigKIDS Theater includes films such 134 films for screening. An addi- ing of Sid and the Penguins, and as Antics, a 90-second short for tional 20 “in-betweens” — short Hand-Drawn Spaces, a dual Nickelodeon, and Dick and Jane i.d. films incorporating the colorful screen motion-capture perfor- Do Math, animated sequences for SIGGRAPH logo characters, creat- mance piece choreographed by a PBS series called Life By the ed especially for this event — will Merce Cunningham, who will be Numbers . In honor of the 25th be shown throughout the festival present with his collaborators to conference, organizers have also programs, which will run every present a special demonstration of programmed Film Show Classics, a day of the conference, July 19-24. the multimedia exhibit/film. selection of important milestones in computer graphics history. Light and Sound Are This Year’s CGI Categorized “Finally computer graphics Smoke Interested in what light is where we knew it could be, The festival has grown to transport in a nonhomogeneaous beyond the mechanics,” said Ines be an annual milestone, and to medium with isotropic reflection Hardtke, chair of this year’s festival have one’s film selected for screen- looks like? The festival includes sev- and head of digital imaging at the ing in the program is a great eral scientific, mathematic and ACI East and Animation Youth East honor. Every year there are a few visualization animations like the divisions at the National Film pieces which are talked about well described The Cornell Box - Up in Board of Canada (NFBC) in Mon- after the conference is over. Last Smoke. Others include Chaco: A treal. She and a jury of four others, year, one of those films was Digi- Sacred Center, a visualization of whose names will be revealed the tal Smoke, a simple yet hyper-real- ancient dwellings in New Mexico first day of the conference, sorted istic CG visualization of rising and the self-explanatory titles smoke, created by News From Hubble Space Tele- John R. Anderson at scope and Southeastern United University of Wiscon- sin-Madison. Asked what this year’s “smoke” will be, Hardtke cited films which break new ground in the visual- ization of two ele- ments: natural light, as depicted in Ren- dering With Natural Rendering With Natural Light by Paul Debevec. Image Hand Drawn Spaces choreographed by Merce courtesy of SIGGRAPH. Light by Paul Cunningham. Image courtesy of SIGGRAPH. ANIMATION WORLD MAGAZINE July 1998 7 Game, produced at Pixar; The Physics of Cartoons , a character animation by Steph Greenberg; Ellipsoid, a geometric metaphor for the busy lifestyle of Tokyo; Pings, a pilot for a future series by Exmachina, Zai- jan, Nobuto Ochiai’s pilot for a CG feature, The Sitter, Liang-Yuan Wang’s exami- News From Hubble Space Telescope. Image cour- nation of the ironic rela- tesy of SIGGRAPH. tionship between humans States Fly-By. Motion-capture and technology, and 1001 demonstrations include Spacetime Nights, a musical film with com- Jakata by Jeff Baker. Image courtesy of Swing by Autodesk, made with a puter animation by Noriaki SIGGRAPH. new technique for retargeting Kaneko and Tim Miller of Blur August, with articles covering vari- motion data to characters of differ- Studio, which was featured in last ous aspects of the CGI scene. ent sizes, and Advancing Cap- month’s Dig This... tured Motion by LambSoft, made Student films include with a technology which applies Jakata by Ringling student Jeff motion capture data to a charac- Baker, which recently won the Wendy Jackson is associate editor ter’s proportions and structures gold student Academy Award. A of Animation World Magazine. that are different from the per- selection of student and graduate former’s. research projects created at MIT, Other types of animation in New York University, University of Note: Readers may contact any the festival include visual effects Washington, and other schools Animation World Magazine con- sequences from movies such as are also included. tributor by sending an e-mail to Deep Impact, The Truman Show, The Computer Animation [email protected]. Event Horizon, Flubber, George of Festival will end with the anticipat- the Jungle, Mouse Hunt, Quest for ed premiere of Bingo, the first ani- Camelot, Small Soldiers and Star- mation short fully produced with What else should we dig? Every ship Troopers; location-based Alias/Wavefront’s new, next-gener- month, Animation World Maga- entertainment films such as ation animation software, Maya. zine will highlight the most inter- Race For Atlantis, an IMAX 3-D film Directed by Academy Award nom- esting, exciting happenings in ani- by Rhythm & Hues, and Wild River inee Chris Landreth (his 1995 film, mation, in “Dig This!” Send us your by Sega Enterprises; television The End was also created at Alias), ideas, suggestions, videos, prod- commercials by Rhythm & Hues, Bingo is based on a neo-futurist ucts or works-in-progress today. Medialab, Glass- play called, “Dis- You dig? works and Buf regard This Play.” Compagnie and For complete Editor game animation film listings and Animation World Magazine sequences such as conference high- 6525 Sunset Blvd. Garden Suite Grim Fandango by lights, visit 10 LucasArts Enter- www.sig- Hollywood, CA 90028 U.S.A. tainment. graph.org. Ani- E-mail: [email protected]. Animation mation World shorts featured in Magazine will the festival include publish a SIG- the latest Oscar GRAPH ‘98 spe- Bingo by Chris Landreth. © Alias/Wave- winner Geri’s front. cial report in ANIMATION WORLD MAGAZINE July 1998 8 Late Nite With Space Ghost by Heather Kenyon t isn’t everyday that we see a talk Space Ghost,” explained Lazzo, show host suddenly ask a sur- so he said that the next time Iprised guest what they think of they got together, they would his “massive bulk” or declare in have to discuss a Space Ghost Spanish that he is wearing a white stunt. However, all that night spandex body suit and a cape — Lazzo kept turning the idea of but then not every show is being doing something with Space broadcast from the Ghost Planet Ghost over and over in his mind. and hosted by an interplanetary At the same time the talk show superhero named Space Ghost. wars between David Letterman This is the case with Space Ghost and Jay Leno were at an all-time Coast to Coast and probably fever pitch. The next day he explains why it is the most came in and mentioned in an demented late night talk show on off-hand way, “‘Wouldn’t it be the air today. funny to introduce Space Ghost Entering its fifth season, it is as a talk show host?’ We clear that the unique Cartoon Net- laughed and thought it was work show, starring the black- funny, but that it wouldn’t go hooded crime-fighter of Hanna- anywhere.” However, the Barbera fame and sidekicks Zorak thought continued to linger in and Moltar, has found a niche and the Programming offices and a strong, almost cultish, following. Lazzo admits, “I was adamant because it was one of my © Cartoon Network. Wouldn’t it be funny to intro- favorite cartoons, so I asked that takes place in Outer Space. It duce Space Ghost as a talk Andy to go in and edit a Space should be different,” says Lazzo. So show host? - Mike Lazzo Ghost pilot.” the programming department Splicing clips from the vin- decided to keep the production tage 1966 series, The Space Ghost close to home in Atlanta, Cartoon The Humble Beginnings and Dino Boy, with footage from Network headquarters. Crawford It was way back in the a pre-packaged press interview Communications, an Atlanta- spring of 1993 when Cartoon Net- with Denzel Washington, pro- based production company, was work’s Senior Vice President, Pro- gramming coordinator Merrill edit- selected. Crawford Communica- gramming and Production, Mike ed the footage together in a tape tions and Turner Broadcasting, Lazzo was holding a meeting in storage closet and added a boom- Cartoon Network’s parent compa- his office with fellow program- ing Space Ghost voice-over using ny until last year’s Time-Warner ming staffers Khaki Jones and a Radio Shack microphone. “We merger, have grown hand-in-hand Andy Merrill. They were ponder- howled with laughter,” states and Lazzo really credits the Craw- ing a new way to make the Wacky Lazzo at questions like, “What is ford team. “We think they are Races cartoon fresh and interest- your secret identity?” and “Do you great. We couldn’t have done this ing, and thought of taking the have enough oxygen?” This two- without them,” he says. As Turner episodes and piecing them minute “pilot” was enough to earn grew and gave more work to together so it was like they were them the money to do five shows. Crawford, Crawford expanded, driving across the country. “Coast Although funny, Merrill’s keeping pace with the cable giant, to Coast,” said Merrill. Meanwhile, tape was too rough and they and soon doing most of their the television in Lazzo’s office was sought a slick Hollywood produc- work. playing the afternoon episode of tion company. However their test Space Ghost. “I’ve always loved was too slick. “This is a talk show ANIMATION WORLD MAGAZINE July 1998 9 the mouth around this appeals to something in this the words.” post modernistic society in which Interestingly we live. I mean, how many times enough, all these have you looked at Ed McMahon shows start as radio and thought, ‘Are you really plays. “We don’t have laughing?’“ Two other characters, a show until we are Brak and Lokar, have appeared in satisfied with how it several episodes and Brak now co- sounds, which is just stars on Cartoon Planet, a Space like animation. You Ghost Coast to Coast spin-off that record the track, cut debuted in July 1995 on TBS it from an audio Superstation and later on Cartoon standpoint and then Network. Space Ghost with his co-hosts Zorak and Moltar. place the footage © Cartoon Network. that makes sense Capturing the Guests The Production Facts around that audio,” says Lazzo. Space Ghost became a To keep production costs legitimate project but still didn’t down, animation from the original have a dedicated producer. “Keith Space Ghost series is reconfigured This is a talk show that takes Crofford had always been a friend onto a new set. Lazzo describes place in Outer Space. It should of mine, the best line producer in the process: “Basically, what we be different. - Mike Lazzo Atlanta,” says Lazzo. Searching for did was we went in and roto- in-town recommendations, Lazzo scoped out from the original car- The Show’s Personalities called Crofford for a name. Crof- toons—the `60s cartoons, not the It was a Crawford Commu- ford, who had just wrapped the `80s version—quite a few key nications’ animator named C. Mar- award-winning Ruby in Paradise, shots where we had lip move- tin Croker who actually added one found the project intriguing and ment. We could then remove that of the show’s most popular ele- agreed to sign on temporarily. “I image from the original cartoon ments in an initial meeting. In a liked the dichotomy of going from and place it into any background discussion about Cartoon Net- the self-important world of inde- we wanted. Once we did that we work’s desire to incorporate some pendent filmmaking to the surreal were able to go to Crawford and of the original show’s villains into world of cartoons,” says Crofford. ask them to create a background.” the cast as musicians or sidekicks, A few months later, he accepted a Once a 3-D looking set was decid- Croker suggested using Zorak and full-time post. “Keith came in and ed on, “Crawford filmed the set proceeded to mimic the charac- made sure we got what we want- from several angles and then the ter’s voice. Lazzo immediately ed,” says Lazzo. “If it weren’t for rotoscoped Space Ghost is loved his Zorak. Croker soon Keith, it wouldn’t have happened. dropped into that new environ- proved to pass muster as Moltar as He is the first full-time Space Ghost ment. Each shot of Space Ghost well, and would later become staff member.” has lip movement, ‘lip flap.’ We even more invaluable by providing The first 15 shows were then go in and take the Avid [a all the new animation commis- written by the programming non-linear editing system] and sioned by the show. department. “Our day jobs were make the lips match the words we From straight man Moltar scheduling cartoons and then are putting in his mouth. This tech- to the ever-plotting Zorak, the every evening we would go into nology is not that old. Seven or sidekicks have become just as our conference room and say, eight years ago we probably important as Space Ghost and add ‘Okay, let’s try and be funny with couldn’t have done the show. We much of the show’s humor. “Peo- this,’“ Lazzo recalls. Merrill and would have had to make the ple really respond to a band leader Jones had a hand in scripting the words match the existing lip flap that isn’t a toadie who is in agree- first episodes, a task that requires a but because we are able to edit ment with everything, but rather transcript of a pre-taped celebrity digitally, we can actually synch up who is out to destroy the host! He interview. This document contains the dialogue. We simply freeze it, is like the anti-sidekick,” says Lazzo the only unalterable element of hold it, start it and stop it to form who then adds jokingly, “I think the entire production—the celebri-

ANIMATION WORLD MAGAZINE July 1998 10 ty’s verbal responses to Space Since then, interview questions proceeded, and soon over the Ghost’s questions. The rest is open are asked through a phone-patch small speakers of the program- to comedic interpretation, includ- directly in the guest’s ear, who is ming department stereo came ing the questions themselves, instructed only to imagine speak- George Lowe’s booming baritone, asked variously by producers, the ing to a superhero. “To talk to peo- sealing his future. “I play him a lit- disembodied voice of Space Ghost ple who have done this, this is the tle more whacked out, a little more and even, for a time, young actors strangest, most bizarre interview acerbic than the original,” says bedecked in an ill-fitting Space experience they have ever had. Lowe. Ghost costume. They can’t see the interviewer and Lazzo gives much of the Crofford explains that in the they are just looking basically at credit for the shaping of the show beginning he and Lazzo were bright lights and a camera and to Andy Merrill and Khaki Jones. finding it difficult to present the hearing a voice in their head ask “Without Andy and Khaki the show’s concept to guests, owing all these insane questions,” laughs show would have been very dif- to the fact that there wasn’t any Lazzo. About 20-25 questions are ferent,” says Lazzo. “The program- footage to show and that Space written for each guest; some are ming department created Space Ghost was a somewhat forgotten standard and others are specific Ghost Coast To Coast and I think superhero. “We felt it would add for the guest. that’s born out by the pilot, which an element of fun to the interview Crofford agrees, “Occasion- is far closer to the what the show if the guest was actually talking to ally we like it when a guest seems became than the first episode, a ‘real’ superhero,” says Crofford. like a deer caught in the head- ‘Elevator.’ Andy gave Space Ghost Acting students from New York lights, but good interviews are his personality to a large degree— and Los Angeles were hired to important too.” Lazzo adds, there’s a tonality there that’s all wear the white-and-yellow Space “Sometimes we will get just unus- him. And Khaki brought in this Ghost suit and ask questions from able footage because it is so absurdity or whimsy aspect.” a position just out of camera strange to people, but some peo- range. Lazzo recalls one such ple love it and have fun with it and We felt it would add an ele- actor. “I didn’t see the guy, but we actually like both.” To add to ment of fun to the interview if apparently he was not possessed the unconventionality of the situa- the guest was actually talking with a superhero physique,” he tion, interviews are almost always to a ‘real’ superhero. remembers. “In addition, he done at CNN Bureaus. Crofford - Keith Crofford thought he was Shakespeare. So acknowledges the debt Space we had a guy sitting directly in Ghost Coast To Coast owes to Many of the early scripts front of the guests saying in a CNN, whose executives granted were shaped in part by a young Shakespearean voice, ‘DO YOU permission to tape celebrity inter- freelance writer named Matthew HAVE ENOUGH OXYGEN?’ They views in their studios, a process Maiellaro, a talent brought in by were laughing in his face.” The that continues to this day. “We Crofford to assist with the show. Bee Gees, for instance, having just could never have gotten this show Editor Michael Cahill is responsible arrived from a Howard Stern tap- off the ground without their coop- for the unique Space Ghost edit- ing, got so tickled producers could eration,” says Crofford. ing style first evidenced in “CHIPs,” only use about 19 seconds of their “We soon became adept at an episode in which two fairly appearance. grabbing celebrities passing obscure guests, Joe Franklin and through town promoting their Bill Carter, are made more interest- People really respond to a books,” says Crofford. “Susan ing by the insertion of odd pauses band leader that isn’t a toadie Powter, Bob Denver and Dawn and strange moments. “We made who is in agreement with Wells were all booked in this fash- it a practice to just keep the tape everything, but rather who is ion.” rolling when George was in the out to destroy the host! booth,” says Crofford. “Cahill was a - Mike Lazzo The Show’s Staff master at snatching George’s Lazzo and Crofford soon comic ad libs, general crankiness “I think we did it four or five realized that an Atlanta-based pro- and random questions to the pro- times until it was like, ‘We can’t do duction would require an Atlanta- ducer, then spinning them into this anymore,’” concludes Lazzo. based voice talent. A casting call comic gold.”

ANIMATION WORLD MAGAZINE July 1998 11 show’s fifth talent coordinator to seen anything like Coast to Coast New Faces pluck stars for the show, after before,” promises Lazzo. “It is clear- After the second season Tanya Bergan, Robin Agranoff, ly a parody but it seems so ridicu- around 15 new faces were Keith Crofford and Isabel Gonza- lous that it almost becomes a com- brought onto the show. As Lazzo lez. Gus Jordan, meanwhile, pletely different thing. It is the tells it, “We had to program the assists with production and freshness of a concept that hasn’t network, so we actually had to answers the volumes of e-mail, let- been seen before.” hire professionals for the show!” ters and faxes that arrive at Ghost What’s next on the Ghost People involved with the Planet each day. Pete Smith is Planet horizon? How long will early productions, like Merrill and another writer/producer for the these odd transmissions filter Jones, moved on to other pro- show. Smith and Merrill wrote the down to the television homes of jects. Khaki Jones is now a senior songs for the infamous Space our planet? Time will tell, but it’s program executive who helps Ghost’s Musical Barbeque CD. This nice to think that bouncing develop such projects as Cartoon August Rhino Records will release around the satellites beyond our Network’s preschool programming another Cartoon Planet, Space skies is a show about an interplan- venture with Children’s Television Ghost CD titled, Surf and Turf, etary crime fighter, packing magi- Workshop, Big Bag. While Merrill is which will include about 20 new cal gizmos and a short temper, just still involved with the show such songs. trying to talk to some celebrities. It as lending his voice, he is now might not be the embodiment of very involved with Cartoon Net- It is clearly a parody but it anyone’s dreams for technology, work Online. Matthew Maiellaro seems so ridiculous that it but it sure causes a ruckus when and editor Michael Cahill, have left almost becomes a completely you stumble upon it with the the Ghost Planet to pursue other different thing. - Mike Lazzo remote. Space Ghost Coast To interests. To replace them people Coast will continue to be enter- like Evan Dorkin, creator of the tainingly erratic and dizzyingly off Milk and Cheese comic book The Success kilter. It is a show for the impas- series, and a second team of out- “We were surprised by the sioned few who dare to entertain side writers, consisting of Spike reaction people had to the show the absurd, hanging on Zorak’s Feresten, who netted an Emmy and thought, ‘Hey, we should do every embittered utterance and nomination for the infamous more of these,’“ Lazzo explains. howling with glee whenever “Soup Nazi” episode of Seinfeld, Today there are 56, 15-minute Moltar conjures up an image of and Steve O’Donnell —both writ- episodes or roughly 20 half-hours. “CHIPs.” This sixties’ superhero has ers for Late Show With David Let- “Several of the shows, we consid- come full circle into a nineties phe- terman at the time—were brought er to be the shows we learned on nomenon. in by Crofford. Joel Hodgson, cre- and we don’t air those. We figured Space Ghost Coast to Coast ator of the television series Mystery it out around show five.” Lazzo can be seen on the Cartoon Net- Science Theater 3000, is another goes on to explain that, “Last year work Friday nights at 11:30 p.m. notable talent who, along with it averaged a 1.1 which is 20% EST/PST. writing partner Nell Scovell, wrote above the network average so we an episode of Space Ghost Coast are very happy with it.” To Coast in Summer 1995. Space Ghost has definitely Currently, Space Ghost developed a huge following, Heather Kenyon is editor-in-chief Coast To Coast’s production crew especially in colleges. “It has been of Animation World Magazine. consists of Lazzo, Crofford, Merrill phenonmenal to see the kind of and several others. Dave Willis, grassroots response we got, based supervising producer, was named on a 15-minute show that airs in producer in August 1996. Vishal late night. Particularly in the early Note: Readers may contact any Roney, production coordinator, days when we were only in 15-20 Animation World Magazine con- spends long hours coordinating million households.” The success is tributor by sending an e-mail to work between Space Ghost in- chalked-up to the fact that the [email protected]. house staff and outside produc- show is so unique and different. “I tion companies. Nina Bishop is the don’t think you can say you’ve

ANIMATION WORLD MAGAZINE July 1998 12 The Beatles’ Yellow Submarine Turns 30: John Coates and Norman Kauffman Look Back

by Karl Cohen Editor’s note: Due to Apple scene from the film on Corp’s decision not to promote the front of her house. the 30th anniversary of The Beat- More impor- les’ Yellow Submarine, and subse- tantly, the direction by quent legal restrictions about pub- George Dunning and lishing art on the Internet, this arti- the brilliant design cle does not contain any images work by Heinz Edel- from the film. mann influenced the look of advertising art. Suddenly 7 Up, Gen- any people are too young eral Electric and other to remember the impact corporations were Mthe feature The Beatles’ promoting themselves Yellow Submarine had on the ani- with animated TV mation industry and American commercials and print society when it was released in campaigns inspired by 1968. At the time it was produced, the feature. Most stu- Disney dominated the animated dios producing ani- feature market with traditional- mated TV commercials looking products that were were barely surviving released once every three or four before Yellow Subma- years (Jungle Book, 1967). With rine was released. the release of Yellow Submarine After it came out the world actually changed. everybody who worked with the new Despite the critical acclaim of look was busy well his design work for the film, Edelmann never worked on into the next decade another animated feature. making a good living creating ads full of Yellow Submarine’s director George Dunning looks over artwork with one of the film’s artists. Photo courtesy of The film contained music, a rainbows, butterflies, John Coates. spirit and an amazing look that flowers and other people who actually created this delighted and charmed the West- motifs. Some of the mixed-media classic. At the time of the film’s ern world. This simple fable techniques introduced in the film release a lot of credit was given to helped people regain a more pos- inspired the “blendo” style still seen producer Al Brodax who turned itive attitude about life and on TV. The feature also showed out to be an executive producer reminded them it was okay to Ralph Bakshi and other non-Dis- with King Features, the company smile and have fun. Some people ney directors that they might be that paid for the production. He who had dressed conservatively able to create successful animated shared writing credit with Lee before they saw it were suddenly features as well. Minoff, Jack Mendelsohn and wearing bright colors, costumes Erich Segal. The Beatles got music and the latest in mod fashions. The Creatives Behind the Film credit of course, and Heinz Edel- Hippies painted Yellow Sub- Although Yellow Subma- mann, a German-speaking Czech marines on their vans and in San rine is a milestone in animation, lit- graphic artist, was recognized as Francisco a Beatles fan painted a tle has been written about the ANIMATION WORLD MAGAZINE July 1998 13 the idea that Erich Segal, The TV program featured prere- then a Yale Greek and Latin corded songs by the group. Each professor, worked on the segment was built around one script. When the film was song. Professional voice actors did made the contract with TVC the spoken voices of the Fab Four. didn’t go into details about Paul Frees did the voices of John publicity and name place- and George and Lance Percival ment in the credits. It proba- did Paul and Ringo. The show pre- bly didn’t dawn on anybody miered in September, 1965, and to demand that the distribu- grossed $3 million the first year. It tor’s press agents educate ran as a weekly show on ABC until the media about the people 1969. John Coates, who was the real producer of the film who worked on the film was simply listed as “Production Supervisor.” behind-the-scenes. John and Yoko came by to see Things were different in 1968.This photo of Coates John Coates said at the Cre- rushes, and Paul would drop by was taken recently at the World Animation Cele- bration in Los Angeles. Photo by Wendy Jackson. © ative Filmmaking Confer- to see their progress and to AWN. ence ‘97 (Tel Aviv, Israel), say hi to friends who worked the film’s talented designer. that he and George Dun- there. Director George Dunning’s ning were so inexperienced that name was on the screen in big let- when it came to contract negotia- Dunning, who directed the ters as was TVC (TV Cartoons), the tions they didn’t even know they feature, was a Canadian who animation company in London could own a percentage of a film’s moved to London in the late that created the film. Unfortunate- gross or profits. They simply made 1950s to head UPA’s overseas stu- ly, the press wasn’t familiar with the film for a fixed amount of dio. Just after the studio folded he their names so not much was writ- money. Unfortunately, Yellow Sub- held a meeting in a pub and invit- ten about them. The staff of TVC marine went over-budget and ed John Coates, Richard Williams was relegated to the fine print in they lost money making it. Their and Denis Rich to attend. Coates, the screen credits and press releas- participation in the feature ended who began his career in the film es, even though their involvement when they previewed the answer industry after WWII with the Rank was essential in the production of print for King Features. It was Organization was invited to run the film. Without TVC’s esteemed approved and they were given the new studio being formed. TVC opinions concerning creativity and their final payment for their work. is still in business 40 years later imagination, Yellow Submarine King Features never made contact and is still headed by Coates (Dun- might have never received finan- with them again. ning died in 1979). cial backing. TVC, in 1967, was When Coates and Dunning simply a very young and inexperi- When [the Beatles] first saw got the contract to do the feature enced production company. John the boards they expressed sur- they had a difficult time finding Coates, who was the actual pro- prise as they had been led to the right art director for the pro- ducer of the film was simply listed believe the film was going to duction. Eventually they saw the as “Production Supervisor.” If the be Disneyesque. work of Heinz Edelman in Twen, a film had been made recently, Bro- German magazine, and flew him dax would have been listed as to London for an interview. He did Executive Producer and Coates as The Collaboration Begins a few sample drawings and was Producer, but things were different Before making Yellow Sub- hired. Coates said, “We loved his in 1968. marine, TVC had produced The work.” One reason there was little Beatles, a 39 episode TV series While planning the produc- recognition for the people who “produced” by Al Brodax and King tion it was realized the script didn’t created the visuals was the atten- Features. It turns out that King have a well-defined enemy. Edel- tion the media gave to the music. Features owned exclusive rights to mann is given credit for inventing The media was also fascinated by the Beatles’ cartoon characters. the Blue Meanies to serve that ANIMATION WORLD MAGAZINE July 1998 14 role. In an interview, Edelmann photo shoot. Members of the the ink and paint department. added yet another name to those group did visit the studio as indi- Today, once work on the anima- who contributed to the film’s viduals from time to time. John tion has begun, it takes TVC nine script. He said, “There was never and Yoko came by to see rushes, months to do a half-hour TV one script. We had about 20. and Paul would drop by to see show. Roger McGough was responsible their progress and to say hi to Kauffman first met the Bea- for much of it.” McGough was a friends who worked there. tles when TVC was about to begin Liverpool poet who was brought There had been discussions work on the TV series. There was a in to add a Liverpool flavor to the about using the Beatles to do the party at the original TVC studio on soundtrack. He was paid U.K. voice track, but since it was impos- Dean Street. Kauffman was told to £500 for his work, but was not sible to get all four together for give John Lennon a bottle of given screen credit. recording sessions, professional wine. They met, talked and drank When the film was in pro- voice artists were used instead. together for the first time when duction Edelmann worked closely Coates says none of the Beatles Kauffman found Lennon drinking with Dunning. Edelmann were pleased with the voices cho- out-of-sight under a table in watched over everything and sen to represent them, but they all George Dunning’s office. would often go around at night loved the rest of the film. Appar- It turns out that Lennon and correct animators’ drawings ently the press wasn’t told that had enough of the public that when they went off-model. voice artists had been used to do evening and didn’t want any more Despite the critical acclaim of his the Beatles’ voices as Variety (July fans coming up to him. The Beat- design work for the film, he never 24, 1968) announced to the les had been to the theatre and worked on another animated fea- world that, “The Beatles’ voices are left early for the party after they ture. instantly recognizable as their were discovered by the public. own.” The film’s credits simply list Lennon’s reaction to guests at the Apparently the press wasn’t Paul Angels, John Clive, Dick party doing the same thing was to told that voice artists had been Emery, Geoff Hughes and Lance find a place where he could hide. used to do the Beatles’ voices Percival as “voices” without saying Kauffman has a photo of himself as Variety (July 24, 1968) which parts each person per- under the table with Lennon! announced to the world that, formed. A published report says “The Beatles’ voices are Clive did the voice of John, Hugh- The production had barely instantly recognizable as their es did Paul, Peter Batten did begun and they had less than a own.” George and Angels voiced Ringo. year to finish. Norman Kauffman, who Interaction with the Beatles joined TVC in 1963 as an appren- Coates is often asked about tice, was also present at the con- Innovation at Every Turn the Beatles’ involvement in the ference in Tel Aviv. He is now the Kauffman says Dunning production. He explains that they company’s secretary, financial con- decided the graphic look of the didn’t have any real input in the troller and production accountant, film would be built around the 12 visuals. Everything had already and has recently been appointed Beatles songs to be used in the been planned out when the Beat- a director of the company. Kauff- production (four new songs were les first saw the storyboards. How- man says that they were told in written for the feature). The film ever, he does add that when they August, 1967, that the film had to was released in England with 12 first saw the boards they expressed premiere in London in July, 1968. songs, but in the US the song surprise as they had been led to The production had barely begun “Hey Bulldog,” featuring a three- believe the film was going to be and they had less than a year to headed animal, was cut. The Disneyesque. finish. He says having to create the British print ran 89 minutes and During the production, the film in a short period of time “was the American version was 85 min- four celebrities visited the studio a nightmare, but a lot of fun!” utes long. Each song was given a four or five times as a group. At They got used to working long special graphic look incorporating least one visit was a publicity hours and had to run two shifts in some of the latest graphic tech-

ANIMATION WORLD MAGAZINE July 1998 15 niques being used in TV commer- changes its shape and color and ble enough to take you along on cials, fine art and by illustrators. at times glowing stars or dia- this adventure to save Pepperland. John Halas in his book Masters of monds are seen. The visuals of the Only a sour old cynic would want Animation calls the film “a cata- song constantly change, becom- to see the Blue Meanies win. If you logue of the graphic styles of the ing more wild and overwhelming love the music of the Beatles, you late sixties.” with the changes in the music. will probably have their tunes Several technical innova- Op and Pop Art inspired dancing around your mind for tions were tried out in the film. some of the sequences as did art days after you rent the film at your Special effects supervisor Charles forms that defy classification. The local video store. It would be won- Jenkins used polarized light, cello- work goes far beyond the psyche- derful if King Features and United phane and a rotating filter to cre- delic poster art of Peter Max, an Artists would release the 89 ate the unusual cycle of color at artist popular in the late 1960s. minute directors cut in honor of the end of the sequence where The “Sea of Holes” backgrounds the film’s 30th year. we first meet George and in the capture the visual excitement of Norman Kauffman says visual finale near the end of the the Op Art of the European master that when they made the film they film. The visual finale also incorpo- Victor Vaserely. The “When I’m knew it would influence the art of rates back-lit special effects that Sixty-Four” number features so their times. Today, he wonders if produce glowing forms of light. many different kinds of design the film would still have had the work (each group of ten numbers same impact on the art world and It is still a fresh and exciting is in a different style), that it is public if it hadn’t featured music film with brilliant and innova- impossible to classify the look of by the Beatles. tive visuals. the sequence. It is now rumored that Fans of traditional Disney Apple Corp. and MGM might re- In “Eleanor Rigby,” features sometimes have a difficult release the film next year and pub- sequences of still photographs time with the film. They are used licize the film’s 30-year anniversary, were used to form cycles of action. to strong narrative plots with well- however, nothing is confirmed at The images were Xeroxed copies developed characters that adhere this time. It would be nice to see of photos to form high contrast to the designs laid down on the this film be re-released in at least images. For example, we see an model sheets. They have trouble the festival circuit and art theatres old brick building with ten win- accepting the aesthetic approach if not in a wider, general release, dows and in each window we see of Yellow Submarine which stress- so that an entirely new generation the same woman petting the es creative imagination and allows can enjoy and be influenced by same cat over and over. In anoth- the visuals to constantly change. the magical art of Yellow Subma- er sequence we see two women The film takes many risks with its rine. at a table lifting food to their playful use of colors and forms. mouths over and over. Xeroxed Karl Cohen is President of ASIFA- photos are still used in some TV Still an Inspiration San Francisco. His first book, For- commercials. Seeing Yellow Submarine bidden Animation: Censored Car- When the New York Times again in Israel, almost 30 years toons and Blacklisted Animators, reviewed the film (Nov. 14, 1968) after it premiered, was a wonder- has recently been published by they called it a “truly nice” work ful rewarding experience. It is still a McFarland Publishers. He also and said “there are completely fresh and exciting film with brilliant teaches animation history at San lovely visual ideas” in it. One excit- and innovative visuals. The surreal Francisco State University. ing visual moment is the woman animals, mechanical inventions, riding a horse in the sky in “Lucy in use of words and numbers on the the Sky with Diamonds.” The art screen, and other playful touches was done using loose brush remain wonderful whimsical cre- Note: Readers may contact any strokes rather than having the ations. The awful puns and non- Animation World Magazine con- paint fit neatly within carefully sequitur jokes remain delightfully tributor by sending an e-mail to inked lines. The paint continuously corny. The simple plot is still plausi- [email protected].

ANIMATION WORLD MAGAZINE July 1998 16 The Creators of The Beatles’ Yellow Submarine: Where Are They Now? by Robert R. Hieronimus, Ph.D. n order to be truly appreciated, take long to realize there was no marine sparked a new spirit in ani- The Beatles’ Yellow Submarine is one great genius who created The mation, and a whole new genera- Ia film that has to be experienced Yellow Submarine from start-to- tion of artists were turned on. rather than just watched. In 1968 finish as a mythical “Hero’s Jour- July 17, 1998 is the 30th when I experienced The Beatles ney” imbued with hidden mean- anniversary of the debut of The Yellow Submarine, it was common ings. Instead I learned The Yellow Yellow Submarine at Piccadilly Cir- to sit through several showings of Submarine is more like what its art cus in London. Photos of this mob the picture, watching it over and designer Heinz Edelmann calls, scene are always featured in good over. I sat through it alone, with “the ultimate piece of white noise,” Beatles retrospectives, and it will groups of friends and fellow seek- meaning it was truly a composite be forever remembered by all the ers, and watched a whole genera- of contributions of dozens of dif- three dozen Yellow Submarine tion fall in love with the Yellow ferent talents. There were many contributors I’ve interviewed. In Submarine’s bursts of color, its visu- times that they were literally mak- honor of this event, let’s take a al and Liverpudlian puns, and ing it up as they went along. look at where many of these cre- montage of mythic images that But if you had to single out ators went after that day, and sweep over you to the tune of the one person for credit, it would where they are today. most magical music The Beatles have to be art designer Heinz ever created. It was a grizzled Edelmann, definitely the leader of It was a grizzled human who human who didn’t leave the the- the parade. Edelmann was didn’t leave the theater after ater after the Yellow Submarine responsible for every piece of the the Yellow Submarine Experi- Experience feeling more positive design throughout the film, all the ence feeling more positive about the world and the power Pepperland characters, all the about the world and the power that Love has to overcome all Evil. monsters and Meanies, and most that Love has to overcome all Being an artist myself, spe- of the design of the other scenes. Evil. cializing in large city murals and Edelmann is also the one mostly commissioned watercolors, I was responsible for the storyline as it entranced with The Yellow Sub- grew from the original simple Bob Balser,Animation Director marine, and determined to one script in the vein of the ABC Beat- One of the few American day find out who was responsible les children’s cartoon series, to a artists on the team, Bob Balser for what I thought was a master- psychedelic experimental anima- directed and storyboarded all the piece of subliminal meaning and tion landmark reinforcing The Bea- scenes that were pre- and post- powerful symbology masked tles’ essential message that Love Pepperland: Liverpool, the travel behind the exquisite color and overcomes all. Thanks to Edel- sequences through the various ingenious design. mann’s knowledge of the classics, seas, and the return. Bob and his Although I began research- and to the writing direction of wife, Cima, fondly recall an ing the film in late 1968, it was not Erich Segal, a professor of Classics overnight “meeting” with Edel- until 1991 that I began to answer at Yale, The Yellow Submarine mann and his wife, and a bottle of most of my questions with a series seems to flow like the classic/myth- Scotland’s finest whiskey, when of interview specials with the pri- ic Hero’s Journey. The Beatles a la they hashed together one of the mary creators. Many of these inter- Odysseus. “final” scripts. After Yellow Subma- views were broadcast on my radio So with the contributions of rine, Balser opened his own pro- program, 21st Century Radio (cur- a dozen or so talented individuals duction company in Barcelona, rently heard on WCBM 680 AM, on the central crew, combined Spain where he produced TV Baltimore, 7-9 p.m. EST Sundays, with Edelmann’s avant garde series like The Jackson 5, The Lion and on their web site). It didn’t design, The Beatles’ Yellow Sub- The Witch and The Wardrobe,

ANIMATION WORLD MAGAZINE July 1998 17 Peanuts for CBS, Barney for BBC designs to its London premiere. sequence where Charlie Jenkins’ and many more. Recently his cred- Since Yellow Submarine, John has special effects mixed live its include The Triplets for HBO, continued to run TVC, working action/photography with anima- and currently he is in Turkey direct- with many of the animators who tion. After Yellow Submarine, Ali- ing a TV series called Bay Dogs, a worked on Yellow Submarine. son formed her own production take-off on Bay Watch. Balser has They produced several award win- company and to her credit has won many international awards ning pieces, including The Lion, several award-winning short fea- and is the member of many pro- The Witch And the Wardrobe tures including Cafe Bar (1975), fessional affiliations. which won a 1979 Emmy Award; Mr. Pascal (1979), Silas Marner The Snowman which won awards (1984), The Black Dog (1987), I learned The Yellow Subma- all over the world including an East of the Moon (1988), The rine is more like what its art Oscar nomination and a British Angel and the Soldier Boy (1989), designer Heinz Edelmann calls, Academy Award in 1983; from Psyche and Eros (1994), and “the ultimate piece of white 1986 through 1988, TVC pro- Mouse and Mole (1996). Her son, noise...” duced the full-length feature film, Ben, is also a designer, working When The Wind Blows from Ray- with her in her company. mond Briggs’ celebrated book; Al Brodax, Producer Granpa. followed in 1989; Father George Dunning, Director Al Brodax originally sug- Christmas in 1991; and in 1995 a Dunning was ill during gested the idea of a full-length ani- full-length feature length version much of Yellow Submarine’s 11- mated feature based on The Beat- of Kenneth Grahame’s The Wind month creation, but he is respon- les’ Yellow Submarine. He was the In the Willows and William Hor- sible for creating the dynamic head of the motion picture/televi- wood’s book The Willows in Win- “Lucy in the Sky” sequence, which sion department of King Features ter which won two prime time he did with the assistance of Bill Syndicate when he brought the Emmy Awards. Most recently in Sewell. Before Yellow Submarine, idea of an animated film to The 1996 they produced Famous Fred Dunning’s Canadian/British com- Beatles. After Yellow Submarine, which has won a British Academy pany, TVC, directed The Beatles Brodax went on to produce, write Award, the 1997 Grand Prix at television series for America and direct several Emmy award- Annecy and the Grand Award Tro- (1967), together with Jack Stokes, winning television series including phy for Best Children’s Program, one of Yellow Submarine’s anima- ABC’s Make A Wish, and Animals, the Gold Medal for Best Family tion directors. This Beatles series Animals, Animals starring Hal Lin- Special at the recent New York Fes- led to TVC being commissioned den. In the 1980s Brodax served tival and an Oscar nomination in for the production of Yellow Sub- as consultant to several firms March 1998. TVC’s current produc- marine. Dunning is credited with including Marvel Comics, Comput- tions are an adaptation of Ray- keeping the production on the er Graphics Laboratories and the mond Briggs’ The Bear and Oi! straight and narrow to ensure a New York Institute of Technology. Get Off Our Train!, both due to be quality artistic piece. He is the only He is currently writing an adven- screened at Christmas 1998. one wearing a suit in most of the ture/comedy novel entitled Jokka photographs of the artists working and plans to produce a live action Alison de Vere, Background in the studio on Yellow Subma- movie in the U.K. next year called Supervisor rine. In 1967 Dunning also pro- Fish Story. Alison de Vere is spoken of duced the only triple-screen car- fondly by all the creators of the Yel- toon, Canada Is My Piano. After John Coates, Line Producer low Submarine not only as the tal- Yellow Submarine in failing health, A partner with Dunning in ented background supervisor (“the in 1969 he did Memory, Moon TV Cartoons (TVC) when Yellow most luminous interpreter of Rock 10 (1970), Horses of Death Submarine was proposed, John Heinz’s illustration and artwork” (1972), Plant a Tree (1973),The Coates oversaw the production says Charlie Jenkins), but also as Maggot (1973), Damon the unit (that eventually grew to more “Eleanor Rigby.” Alison’s image Mower (1974) and Teamwork than 200 people) that produced was used as the lonely girl por- (1976). He was working on Shake- the film in less than a year from trayed in this opening musical speare’s “The Tempest” when he

ANIMATION WORLD MAGAZINE July 1998 18 passed away in 1978. used the Oxberry aerial image sys- tem. Jenkins originated the Heinz Edelmann,Art Designer method of loose painted rotoscop- Edelmann hates talking ing of live-action images, a tech- about Yellow Submarine, and calls nique used successfully through- it “the albatross around his neck”. out Yellow Submarine. Jenkins’ Rightly regarded as one of this contributions include the opening generation’s major contemporary scene of Liverpool to “Eleanor ANIMATION WORLD NETWORK graphic artists, Edelmann’s charac- Rigby” (in which the live-action 6525 Sunset Blvd., teristic visual language sets him images of many of the Yellow Sub- Garden Suite 10 above transient trends and fash- marine animators are featured as Hollywood, CA 90028 ions. After Yellow Submarine, Edel- extras), the journey of the Subma- Phone : 213.468.2554 mann teamed with special effects rine through time and space as it Fax : 213.464.5914 designer Charlie Jenkins and back- leaves Liverpool, as well as the Email : [email protected] ground supervisor Alison de Vere, “Northern Song” and the “All and formed a small studio in Lon- Together Now” end sequence. don where they produced “about After Yellow Submarine, he [email protected] a dozen commercials, a few film formed Trickfilm Workshop in Lon- PUBLISHER titles and almost--almost, almost-- don with Edelmann and De Vere, Ron Diamond, President sold three of the five feature pro- where his clients included Paul Dan Sarto, Chief Operating Officer jects I had written.” After 1970 McCartney (“Maybe I’m Amazed” EDITOR-IN-CHIEF Edelmann turned his talents to film), and Diana Vreeland, editor Heather Kenyon ASSOCIATE EDITOR book design and illustration, mag- of Vogue. Jenkins’ career took off Wendy Jackson azine illustration and numerous in photography, production, EDITORIAL INTERN posters for films, theatre, concerts, design and advertising and his Katie Mason animation and advertising. He is clients included Franco American CONTRIBUTORS : internationally renowned for his Films, Fanta International, Peter Samantha Berger posters, illustrations and typogra- Beard and the Kennedy family. His Peter Chung Karl Cohen phy, and has had several one- work took him all over the world. Maureen Furniss man-shows in Europe, the U.S. He’s worked or lived in Madrid, Dr. Robert R. Hieronimus and Japan. He has also been Africa, India, Brazil, the Caribbean, Wendy Jackson teaching for 30 years and recently the Pacific, the Far East, and Heather Kenyon retired as a Full Professor at the Miami. In the 1980s he moved to Andy Klein Stuttgart Academy of Fine Arts. His Argentina. Today he calls Buenos Cedric Littardi daughter, Valentin is also an Aires home and continues to “cast Sean Murch accomplished designer, currently and peruse the production logis- Ron Merk accumulating her own fame. tics of a territory yet to exist on the Fred Patten world production map.” Buzz Potamkin Charlie Jenkins, Director of Barry Purves Tom Sito Special Effects July 17, 1998 is the 30th Charlie Jenkins’ contribu- Adam Snyder anniversary of the debut of Charles Solomon tions to Yellow Submarine cannot The Yellow Submarine at Pic- Joseph Szadkowski be overstated, beginning with cadilly Circus in London. locating Heinz Edelmann and sug- OPERATIONS Annick Teninge, General Manager gesting him to King Features as WEBMASTER the artistic designer for the film. Antal Kovacs, Dubbing Editor Ged Bauer Before Yellow Submarine, Jenkins Hungarian Kovacs has DESIGN/LAYOUT : had worked with Richard Williams been active all over the film indus- Ged Bauer (Roger Rabbit) developing experi- try and all over the world for ADVERTISING SALES mental graphics, film titles and decades. He has directed, written, North America :Dan Sarto Germany :Thomas Basgier multi-exposure techniques, plus he edited and produced both anima- UK: Alan Smith

ANIMATION WORLD MAGAZINE July 1998 19 tion and live-action films, plus, he’s Awards and five Grammys. Martin ety, and an Honorable Professor of lectured, and written three novels. composed six original orchestral Thames Valley University. Recently Some of his titles include Blow Up, pieces for the Yellow Submarine McGough was awarded the OBE Interlude, The Great White Hope, sound track, which Producer Al (Order of the British Empire) from Dead Reckoning, and Waterba- Brodax compared to the creations Her Majesty’s government. bies. of J.S. Bach, and were released as David Livesey, Key Animator the B-side to The Beatles’ album Millicent McMillan, Assistant to David Livesey had his own The Yellow Submarine. Martin is Heinz Edelmann well-established Group Two Ani- recognized as one of music’s most Millicent McMillan was one mation Studio when he was sub- versatile and imaginative talents. of only two direct assistants to art contracted from TV C to do key He has produced no less than 30 director Heinz Edelmann, and he animation for Yellow Submarine. number-one singles in the U.K. credits her with making the Blue After Submarine, Livesey free- alone. Before and after The Beat- Meanies blue, when he wanted to lanced and worked for Cosgrove les, he has worked with some of make them red as an obvious ref- Hall Productions, TVC and others our generation’s finest talents erence to the Cold War. Since Yel- as key animator on such produc- including Peter Sellers, Dudley low Submarine, she has worked tions as Snowman, Waterbabies, Moore, Bob Dylan, Elton John, on and off for TVC for 30 years, Heavy Metal, Christmas Carol, The Sting, Carly Simon, Peter Gabriel, doing background and/or design Cobbler and the Thief, Sam Sinead O’Connor, Elvis Costello, for The Snowman, Granpa, Father Whiskers, Wind In the Willows, and more. He has recently pro- Christmas, and with Alison The Blockies, and many others. In duced his final album In My Life, DeVere’s production company the 1990s Livesey began teaching already gone Gold in Australia, a doing commercials, Mouse and at the British Animation Training successful representation of his Mole and The Angel and the Sol- Scheme at the Museum of the most treasured friends and heroes dier Boy. She also worked on Pink Moving Image and the National (like Goldie Hawn, Robin Williams, Floyd’s The Wall. One of Millicent’s Film and Television School. Recent- Bobby McFerrin, and Sean Con- three children was a Yellow Sub- ly he published a graphic novel, nery) giving their renditions of marine baby, born just after the The Buggane of St. Trinians, and is some of his favorite Beatles songs. film was finished. In fact, she was currently working as a key anima- so pregnant at the London Pavil- tor on The Bear for TVC (their last Thanks to Edelmann’s knowl- ion premiere, that she was unable film). edge of the classics, and to the to batter the crowds to get in and writing direction of Erich missed it! Geoff Loynes, Key Animator Segal,The Yellow Submarine Since Yellow Submarine, seems to flow like the clas- Jack Mendelsohn, Script Writer Geoff Loynes has worked as a free- sic/mythic Hero’s Journey. Mendelsohn’s contribution lance animator on many TVC pro- to the long stream of scripts ductions like The Beatrix Potter turned in for Yellow Submarine Series’, When The Wind Blows Roger McGough, Dialogue and was significant enough for him to and Wind In the Willows. He also Joke Writer be singled out (from 40-plus peo- worked on Heavy Metal, Water- A native of Liverpool Roger ple who made contributions) to ship Down, F.R.O., Digswell & McGough was brought into the receive, along with three others, Daisy, and Pond Life. project after Segal left with the “Written By” credit on the film. instruction to provide authentic Mendelsohn also came from the Sir George Martin, Music Direc- Liverpudlian-sounding dialogue earlier King Features production of tor and local color jokes. After Yellow The Beatles TV cartoon series, and Commonly nicknamed Submarine, McGough distin- after Yellow Submarine he contin- “The Fifth Beatle,” George Martin guished himself in the world of ued with a very busy and illustri- was knighted in 1988 for his ser- poetry and pop music, as a Fellow ous career writing for television vices to the music industry. During of Poetry at the University of and animation. He’s worked on the course of his career he has Loughborough, a member of the Laugh In, The Carol Burnett Show, been awarded two Ivor Novello Executive Council of Poetry Soci- Tony Orlando and Dawn, Three’s

ANIMATION WORLD MAGAZINE July 1998 20 Company, The Return of Dennis seller list for the third time. Segal Gilliam. From 1983-1993 he the Menace, and in animation on has also published widely on formed Stuart Brooks Animation Yogi Bear’s Christmas Special, Greek and Latin literature, subjects Ltd. producing mainly commer- Archie, Sabrina, George of the he has taught at Harvard, Prince- cials, as well as two half-hour Jungle, Super Chicken, Hey, Hey, ton, and Yale. He is currently a fel- episodes of the Beatrix Potter Hey, It’s Fat Albert and Muppet low at Wolfson College, Oxford. series from script to screen, Samuel Babies. More recently he did Sin- Whiskers and The Pigling Bland. bad the Sailor and Donkey Kong. Jack Stokes, Animation Direc- Since then he’s worked on Bam- He is currently working on a semi- tor boo Bears, was animation director fictionalized memoir/novel about Jack Stokes was not new to on Wind in the Willows and story- his decade of living in Mexico City animating The Beatles when he board for Willows in Winter for during the 1950s. began to work directing and sto- TVC. He is currently working on ryboarding all the Pepperland two ten-minute series, Kipper and Erich Segal, Ph.D., Main Screen- scenes in Yellow Submarine. He Pookie. writer had directed the ABC Television During the 11 months of series for TVC, and also designed In the late 1960s Dr. Robert R. Yellow Submarine’s production, the titles for The Beatles’ Magical Hieronimus traveled with numer- over 40 writers and artists con- Mystery Tour. After Yellow Subma- ous rock and roll bands as spiritual tributed at one time or another in rine, Stokes kept busy with com- advisor and poster designer, as he an ultimately unsuccessful attempt mercials and several other full- began his long career as a mural- to create a finished script for the length feature films which he ist and painter. His highly animators and actors. The one directed, designed and/or story- acclaimed occult and symbolic writer who stands out as having boarded including Tiki Tiki (1969- murals include the 2,700 square contributed the most and having 70), Little Mermaid (1972), Water foot prophetic “Apocalypse” at the the greatest success at cobbling Babies (1977-78), Heavy Metal Johns Hopkins University. Togeth- together the many shreds and (1980-81), Castle for PBS (1981- er with his wife and partner, Zoh, pieces and contributions of the 1982), Asterix (1984-1985) and Bob operates a media research artists and other writers is Erich many more. Most recently he was service called Hieronimus & Co., Segal. Segal was a young assistant director and did layout storyboard Inc., providing story and guest professor of Classics at Yale Univer- for Tailor of Gloucester (1992- ideas and materials to television, sity at the time Al Brodax found 1993), Prince Valiant (1994) and newspapers and radio worldwide. him and flew him to London for Tales of Peter Rabbit and Friends Their work has been featured on several weeks of furious writing. (1994). Stokes is the recipient of ABC Radio, CNN, C-SPAN, PBS, Everything on Submarine was many international film and ani- and in dozens of leading publica- done hurriedly, under enormous mation awards. tions like The Wall Street Journal, deadline pressure, and Segal The Washington Post, The New remembers not being allowed to Mike Stuart, Key Animator York Times Magazine, The Chicago leave his hotel room except for his Mike Stuart also worked Tribune, The Boston Globe and daily jog. After Yellow Submarine, with TVC before Yellow Submarine The San Francisco Chronicle. Segal went on to immediate inter- as a trainee animator on The Bea- Dr. Robert R. Hieronimus is national fame with his best-selling tles series. After Submarine he presently at work completing his novel, Love Story, made into the worked on The Happy Prince for long-delayed history book on the blockbuster film starring Ryan Potterton Productions, and then turbulent journey of The Beatles’ O’Neal and Ali McGraw. Today he for Trickfilm Studios on commer- Yellow Submarine, and how it is the author of eight novels, cials. From 1977-1981 Stuart evolved from Liverpool to Pepper- including Oliver’s Story, and Man, worked with Pink Floyd and Ger- land. This book should see publi- Woman and Child, and two inter- ald Scarfe on the animation for cation by the summer of 1999. national bestsellers that became Wish You Were Here, Animals and Note: Readers may contact any major motion pictures. Doctors he did 90% of the animation for Animation World Magazine con- brought him to the number one The Wall, followed in 1981-1983 tributor by sending an e-mail to spot on the New York Times best- by The Meaning of Life with Terry [email protected].

ANIMATION WORLD MAGAZINE July 1998 21 The Mainstream Business of Adult Animation by Sean Maclennan Murch ’m sitting on a plane, headed for Animation Grows Up techniques and formats. Going the Banff Television Festival in From a creative standpoint, back to the early days, it started IAlberta, Canada. The topic of this is widely received as good with something as simple as adult animation weighs heavily on news. It’s no secret that the major- splashing paint on the MTV logo.” my mind. I have been asked to ity of animators and writers prefer moderate a panel regarding the to work on shows aimed at an Put more simply, adult anima- future of animation. The panel older audience. Abby Terkuhle, tion is emerging as the key to topic is admittedly a broad one president of MTV Animation and survival in an increasingly diffi- but the more I contemplate these creative director of MTV, was cult industry. two issues, the more I realize that North America’s first pioneer in the they are intrinsically linked. Put area of adult animation. His net- Looking at the line-up of more simply, adult animation is work continues to produce and successful animated programming emerging as the key to survival in showcase the kind of program- in North America this year, it is an increasingly difficult industry. ming that has made this genre apparent that the industry has Difficult, because the proliferation feasible both domestically and moved to a more sophisticated, of new cable and specialty chan- abroad. On the topic of creative edgier and decidedly older audi- nels has effectively spread out the process, Abby points out that, “For ence than that of three years ago. available revenue over a larger us, producing adult animation is in Even our children’s shows are market, thereby decreasing each some ways akin to the creative skewing older with shows like broadcaster’s buying power. From process experienced in music. It Rugrats, Sam & Max and Cow and a ratings standpoint, broadcasters gives our writers and animators an Chicken. There are also more ani- are being forced to define further opportunity to experiment with mated adult programs than ever their target audience in response their art and to come up with new before. As Terkuhle points out, to the multitude of new chan- “The success of shows like nels. Beavis and Butt-head, The How does this affect ani- Simpsons, and King of the mated children’s programming? Hill have allowed for a Specialty youth and children’s wider acceptance of adult channels are enjoying strong animation in the market- ratings in their age demograph- place. There was always a ic. Thus, broader-based network stigma attached to anima- and cable channels are being tion—that it was just for pushed to refocus their efforts kids. While we are still chal- on a different demographic. lenged by that perception, Rather than competing for the industry has come a young eyeballs in the traditional long way to accepting adult morning and after-school animation as viable pro- blocks, they look to older audi- gramming. As a result, we ences. The result: a decrease in currently have programs like shelf space for animated chil- Daria and Celebrity Death dren’s programming. This trend Match.” has, in part, paved the way for Bob and Margaret is MTV is once again pushing the envelope of prime animated adult programming. time animation with Celebrity Death Match., a clay an adult series due to air this animated show featuring caricatures of public per- fall on Comedy Central in the sonalities. Shown here: Rosie O’Donnell vs. Oprah US, Channel 4 in the U.K. Winfrey. © MTV. ANIMATION WORLD MAGAZINE July 1998 22 and Global Net- been making adult films. The big works in Cana- transition has been doing adult da. The series is series for prime time television, for based on Alison the general population. That has Snowden and happened because of The Simp- David Fine’s sons, in the first instance. It lead to Academy a whole renaissance of quality ani- Award-winning mation, for children as well as short, Bob’s adults, like Ren & Stimpy. The mar- Birthday. In a ketability and huge potential of recent discus- animation was re-realized because sion with Fine, of the Simpsons.” he pointed out that he has, There was always a stigma “always been attached to animation—that it inspired by films was just for kids. - Abby from the NFB Terkuhle and Britain that are adult films like The Big Snit Risk Taking May Pay Off [by Richard From a program develop- Condie] and ment and sales perspective, there Why Me by is a major challenge to be faced. Janet Perlman. How do we convince broadcast As Canada’s first ever prime time animated series, Bob and Mar- Alison and I programmers that an animated garet will, in many ways, set the tone in this country for how ani- have always half-hour sitcom can go head to mation will be perceived by the prime time viewing audience.

ANIMATION WORLD MAGAZINE July 1998 23 head with its live-action counter- blocks include an animated sit- technique and format have made parts? Certainly, the precedents com. These blocks will often hinge the animation industry as diverse are there. The Simpsons, King of on that show, putting more than as live-action. Today’s animated the Hill, Beavis and Butt-head, and just one half hour slot at stake. programming runs the gamut South Park to name a few. The from children’s to drama, sitcom to stigma remains though. Animation Character Makes the Differ- variety, and even reaches as far as is for kids. At this stage, most pro- ence documentary. It is now widely grammers will admit to the suc- What separates the suc- accepted as a medium with which cess of the aforementioned cessful adult series from the rest? to entertain, inform, and to shows. However, there is an often Fine suggests that, “It is the writing unleash the imagination of the an underlying supposition that quality and the voice quality. If you viewer. The freedom of animation these shows were “one-offs,” that look at a show like South Park, the allows us to tell stories that cannot they got lucky. This is an increas- strength is in the writing and the be told in live-action, and often ingly difficult argument to sustain characterization. If the stories adds considerable value to those when the successes just keep com- aren’t there and the characteriza- that can. The recent success of all- ing. tions aren’t there, it doesn’t matter day animation services like Tele- how good it looks.” In terms of toon and The Cartoon Network As the competition for finite Bob and Margaret, David’s hope is provides evidence that there is a advertising dollars increases, it that the series will be “viewed and demand for animated program- will be necessary for broad- enjoyed as funny stories, not put ming of all types. It is now the casters to take more chances. into the pigeon hole of, ‘This is ani- responsibility of creators, writers Part of the problem is that mation.’ It should be a prime time and producers to keep the by and large, we work in a fear- series that happens to be animat- momentum going with well writ- based industry. Most broadcasters ed, as opposed to an animated ten, provocative and entertaining are afraid to roll the proverbial series put in prime time.” As Cana- shows. dice. There is too much at stake. da’s first ever prime time animated Ratings, advertising revenues, and series, Bob and Margaret will, in ultimately careers are lost with bad many ways, set the tone in this Sean Murch has worked in the programming decisions. There country for how animation will be development, production, financ- are, as always, exceptions to the perceived by the prime time view- ing and sales of animated film rule. Abby Terkuhle is one of them. ing audience. As we roll into the and television programs for the As Abby points out, “We have fall, we will also see more animat- past eight years. He has lived and always taken chances, and they ed prime time series out of the worked in London, Paris, San have paid off. With a network so U.S. and indeed, internationally, Francisco, Vancouver and most closely linked to the music indus- with show’s like Stressed Eric from recently, Toronto. In 1998, Sean try, it is essential to not only keep the U.K. joined Nelvana Enterprises as up with the times, but to stay Director of Canadian Sales and ahead of them.” As the competi- If the stories aren’t there and Distribution. In addition to his tion for finite advertising dollars the characterizations aren’t sales duties, Sean also sits on Nel- increases, it will be necessary for there, it doesn’t matter how vana’s development committee broadcasters to take more good it looks. - David Fine and is responsible for program chances. In some ways, it is less a development in Canada. matter of taking chances, and Animation has undoubted- more a question of keeping up ly matured as an industry. Some with the Joneses. As Comedy Cen- people will argue that adult ani- tral, MTV and Fox enjoy much suc- mation today is merely a renais- Note: Readers may contact any cess in this area, other broadcast- sance of the early days, when car- Animation World Magazine con- ers may be taking a risk if they toons were played in the theater tributor by sending an e-mail to don’t begin to explore the world ahead of adult features. Realistical- [email protected]. of adult animation. Many of North ly though, it goes much further America’s current programming than that. Innovations in design, ANIMATION WORLD MAGAZINE July 1998 24 The Anime ÒPornÓ Market by Fred Patten hat is Anime? There growing in America that “anime” is not effects-driven or violence-dri- is a general aware- synonymous with violent, sexual ven.” Mike Lazzo, vice president of Wness today that the animation only. A February 1, programming for the Cartoon Net- market for anime is growing in the 1998 New York Times story on work, assured the public in USA U.S. However, there is less aware- contemporary Japanese anima- Today, December 18, 1997 that ness—or agreement—as to exact- tion comments on its wide range, anime is not shown on American ly what “anime” is. but emphasizes that “animé refers TV. “Japan animation is so different “Anime” or “animé” is the strictly to ‘adult’ Japanese anima- from what airs here ... It’s far edgi- Japanese word for cinematic ani- tion ... racy, battle-ravaged animé er, adult and violent. Anime isn’t mation, taken from the English ... ‘pornimation,’ as some of the very story-based ... The story is word “animation.” To the anime steamier romps with Western-look- hard to follow.” When it was point- enthusiasts in America, “anime” ing women, from college girls to ed out that the Cartoon Network means any animation produced in the princesses of sci-fi legend, are shows Speed Racer and Voltron, Japan, no matter the intended sometimes called in the United both juvenile action-adventure TV audience—whether a TV cartoon States ... animé is all violence and cartoon series produced in Japan, series for young children (Samurai sex ...” The article also refers to Lazzo said that “neither show is in Pizza Cats and Sailor Moon are one of Japan’s most popular chil- the style of anime.” (In the original two recent examples, and there dren’s TV cartoon stars, the robot Japanese version of Voltron, the was a Japanese TV animated seri- cat Doraemon, as “scantily clad;” Earth is completely destroyed by alization of Heidi, Girl of the Alps an innuendo equivalent to identi- the space villains. That episode is in 1974, eight years before fying Donald Duck or Hanna-Barbera’s Heidi’s Song fea- Porky Pig only as car- ture), an animated adult cultural toon characters who feature (there have been two fea- go about in public ture-length animated productions without any pants on. of The Diary of Anne Frank), or an This has action-adventure thriller filled with reached the point that violence and sexual situations. major American ani- mation presenters with To the anime enthusiasts in Japanese titles in their America,“anime” means any lineups are trying to animation produced in Japan, disassociate them- no matter the intended audi- selves from the “anime” ence.. label. Michael John- son, president of However, since the main Buena Vista Home American market for anime con- Entertainment, said in sists of teens and adults looking for Daily Variety, February light entertainment, that is just 13, 1998, of Disney’s about all that gets licensed for forthcoming U.S. American release. Most juvenile release of Hayao cartoons and the adult intellectual Miyazaki’s 1997 Japan- animation tends to remain on their ese box-office-record- studios’ shelves in Tokyo. As a breaking feature Urotsukidoji, the best-known “anime porn” title, and the result, a perception has been Princess Mononoke, one which started the American adult video market. “This is not anime ... it’s Image courtesy of Central Park Media. ANIMATION WORLD MAGAZINE July 1998 25 omitted from the heavily rewritten did not yet include explicit sexual major theatrical release, intended American version.) titles. by Tezuka to be comparable to This evolution of the defini- Western live-action movie adapta- tion of anime will doubtlessly be Anime’s Beginnings tions of such adult literary classics intensified by the increasing Asian attitudes towards as Lady Chatterley’s Lover and Loli- importation of Japanese animated eroticism have always been more ta. adult erotic fare, to mix with the open than those of the West. One action-adventure anime market. of the earliest Japanese TV cartoon The article also refers to one When the first anime-genre videos series was Sennin Buraku (Hermits’ of Japan’s most popular chil- were released in 1990-91 through Village), a fifteen-minute late-night dren’s TV cartoon stars ... as mail order and direct sales to the erotic humor anthology roughly “scantily clad;” an innuendo comic-book fandom specialty equivalent to “Playboy’s Ribald equivalent to identifying Don- stores, it was understood by this Classics” which aired from 11:40 ald Duck or Porky Pig only as market that these were animated to 11:55 p.m. for two months in cartoon characters who go equivalents of movies like The Ter- 1963. Osamu Tezuka (1928-1989) about in public without any minator and Die Hard, full of is revered as the father of both pants on. explosions, blood-’n-guts, adult Japan’s comic book and animation dialogue, and often a brief risqué industries, writing and illustrating Japanese animated explicit- nude scene. Around 1994 the the series known in America as ly adult cartoons developed along anime videos expanded into the Astro Boy and Kimba, the White with the general animated direct- major video mass-market chains Lion. It is less well known that to-video market. The first Japanese and became accessible to the gen- Tezuka also tried to create a popu- Original Animated Video (OAV) eral public, which tends to assume lar acceptance of animation with title was a science-fiction drama, automatically that all animated intellectually artistic mature Dallos, released in December cartoons are safe for children. This themes. In November 1966, he 1983. The third OAV release, on resulted in the necessity for warn- produced Pictures at an Exhibi- February 21, 1984, was Lolita ing advisories on the video boxes tion, a Fantasia-like transformation Anime I: Yuki no Kurenai Kesho * such as “Contains violence and of Mussorgsky’s famous composi- Shojo Bara Kei (freely translated, nudity;” “Contains brief nudity and tion into a modern political car- Crimson Cosmetic on the Snow * mature situations. Parental discre- toon, presenting the musical “pic- Young Girls’ Rose Punishment). tion advised;” and, “Recommend- tures” as satirical portraits of ruth- This half-hour video, first in the ed for Mature Viewers.” But these less corporate bosses, affectedly short-lived Wonder Kids erotic aesthetic artists, anime series, consisted of two 15- scandal-monger- minute dramas of rape and sadis- ing journalists, tic sexual torture/murder of rebellious teens, schoolgirls, whose spirits exact a vapid TV personal- gruesome supernatural ities and the like. In vengeance. Of the seventeen June 1969, he OAVs released during 1984, six released One were “general” and eleven were Thousand and pornographic. In 1985, after the One Nights, a viability of the direct-video market 128-minute adult for action-adventure anime had adaptation of The been established, the total was 28 Arabian Nights full action-adventure titles to just of adventure, another eleven porno titles. The Rabelaisian humor, Japanese domestic OAV market and all the erotic Osamu Tezuka tried to create a popular acceptance of anima- has grown accordingly, over the tion in 1969 with One Thousand and One Nights which contained innuendo of the past decade, with 1997’s output of all the erotic innuendo of the original Persian tales. © Tezuka original Persian 162 “general” titles and 62 erotic Productions. tales. This was a titles (including some multiple vol- ANIMATION WORLD MAGAZINE July 1998 26 umes of series) being about the child-friendly to movies whose too uncontrollable to make them average ratio. main characters are engaged in comfortable allies for the human such obviously mature activities as rebels. Sequels eventually extend- The Anime Porn Players smoking and drinking cocktails. ed the series to eleven videos. There are differences of Those which contain brief but The first Urotsukidoji opinion as to what constitutes intense adult situations carry an episode, a complete story in itself, “anime porn,” but four anime spe- appropriate warning notice. In was dubbed into English by John cialty video producers have special 1994 we arranged with Orion O’Donnell, president of New York labels for their releases which pri- Home Video to distribute most of City’s Central Park Media (CPM) marily emphasize nudity and our titles, and Orion created a video distribution company, which explicit adult sexual situations. “Not For Kids” sticker which it has had been releasing adventure These are A.D. Vision’s SoftCel Pic- automatically put on all the anime videos since October 1991 tures series, Central Park Media’s Streamline video boxes. This under its U.S. Manga Corps label. Anime 18 series, Media Blasters’ includes the whole range from Urotsukidoji was actually pre- Kitty Media series, and The Right PG-level content to R-level con- miered theatrically in London at a Stuf International’s Critical Mass tent.” two-day anime film festival on series. October 30 - 31, 1992, where it The other anime specialty Central Park Media and Urot- played to sold-out screenings on producers state that they are not sukidoji both days. Its American release interested in getting into the video The best-known “anime was at NYC’s Angelika Theater in erotica market. However, most of porn” title, and the one which January 1993. It began a national them have at least one adult fea- started the American adult video art theater tour in June, which ture in their catalogues which market, is the notorious Urotsuki- resulted in local press coverage includes a brief but intense “shock- doji: Legend of the Overfiend; first practically everywhere it played er” scene such as a graphic rape. of the “erotic grotesque” (more about how “Japanese animation For some sensibilities, this is popularly known as “tentacle certainly isn’t like American anima- enough to establish the movie as porn”) genre. This began in Japan tion!” CPM scheduled it for a video pornography. with the January 1987 release of release in August, 1993. Two such companies, the first of a five-video adaptation According to Valerio Rossi, Manga Entertainment (ME) and of Toshio Maeda’s horror comic- CPM’s marketing/production coor- Streamline Pictures, feel that their book novel, produced by West dinator, it was the company’s real- video box art makes it clear to the Cape Corporation, best known in ization that Urotsukidoji was too public that their anime titles are America for its Space Cruiser Yam- sexually intense to fit into its U.S. adult action-adventure rather than ato/Star Blazers space adventure Manga Corps “boys’ adventure” eroticism. Chicago-based Manga series. Urotsukidoji is about the line that led to the creation of the Entertainment’s media relations invasion and conquest of Earth by separate Anime 18 label. All five representative, Danielle Opyt, oversexed supernatural demons episodes were released, both on says, “Due to the basic nature of who enslave humanity and use video tape and laser disc, between anime, all of our videos bear a dis- our women as their sexual play- August and December 1993. They tinctive sticker showing our things. Generations pass. There sold so well, and generated so Manga Man cartoon spokesman are human plots to destroy the many requests from anime fans for and our flaming Manga Entertain- monsters, which often attempt to more of the same nature, that ment logo, with the warning, take advantage of their sexual CPM’s Anime 18 releases have “Manga Man Says Parental Discre- obsession and turn it against been appearing steadily since tion Advised.” This covers every- them. The tale becomes more then. Plus, the original 35 mm thing from strong language to complex when a third group even- Urotsukidoji story is still popular on brief nudity and graphic violence.” tually emerges of human/monster the art theater circuit as a mid- Carl Macek, president of Stream- crossbreeds, rejected by both par- night feature. line Pictures in Los Angeles, says, ents. They are intellectually “We have always presented anime inclined to join the humans, but A Closer Look at the Labeling for a wide range of tastes, from their intense carnal drives are still A.D. Vision, in Houston, ANIMATION WORLD MAGAZINE July 1998 27 released its first anime video in Vision’s production November 1992. For the next two coordinator, says that years, its A.D. Vision Films label the company has had included both regular action- very few SoftCel adventure anime and some of the releases since June milder erotic comedies such as F3 1996, but that is not (Frantic, Frustrated & Female) , because they have often with editing of brief explicit not sold well. “They scenes to make them suitable for a are almost all still in “Parental Guidance Recommend- print and selling very ed” warning. The company’s first consistently. A.D. release under its SoftCel Pictures Vision made a label, reserved for an emphasis of tremendous invest- explicit adult scenes, was The Leg- ment in mid-1996 to end of Lyon in November 1994. license a great quanti- A.D. Vision put out 19 SoftCel Pic- ty of general anime tures releases during 1995 and 12 titles. We are current- through the first half of 1996, ly working through a some of which were rereleases of big production back- Adult-themed or explicit anime releases in the U.S. are usually accompanied by warning labels. Samples shown previous A.D. Vision Films titles in log getting them here are courtesy of Streamline Pictures, Manga Enter- their unedited form. onto the market tainment and Central Park Media. Janice Williams, A.D. before we can pro- Stuf line, so we created the Critical duce new SoftCel Mass label. Then in 1997 we had releases. We con- a chance to license a really funny stantly get e-mail adult comedy, Weather Report requests from our Girl, and we did not want to pass fans asking when it up. We do not have any specific we are going to put plans at present for any more Crit- out a new SoftCel ical Mass releases, but there will title. We will defi- doubtlessly be more when the nitely resume them right titles come along.” soon.” The newest anime specialty The Right producer/distributor, New York Stuf International, in City’s Media Blasters, actually Des Moines, does began with its adult line, Kitty not consider itself Media. President John Sirabella really in the adult says, “Our first video was Rei-Lan: market. President Orchid Emblem, on May 6, 1997, Shawne Kleckner and we have released at least one says, “Manga Enter- Kitty Media title every month since tainment released then. I was already working in the an edited version of anime field with the Software Violence Jack and a Sculptors line through Central Park lot of fans wanted Media, and I saw that there was a to see it uncut, so large Japanese adult animation we arranged with source which was still relatively ME to release an untapped for this country. The F3 (Frantic, Frustrated & Female) , one of A.D.Vision’s earlier unedited edition (in potential American market was releases, is now available in rerelease on its SoftCel Pic- November 1996). It very good, but the existing anime tures label. Image courtesy of A.D.Vision. © 1994 WAN YAN was too intense for distributors were only putting out A GU DA/Pink Pineapple. our regular Right a few releases. They had solid gen- ANIMATION WORLD MAGAZINE July 1998 28 eral release catalogues, and they anime as nothing but sex were nervous about the repercus- and brutal violence. That sions of getting into the adult is a complete distortion of market in a major way. So I started CPM’s catalogue. Our Kitty Media to be the best and Anime 18 titles, as popular biggest company in the adult as they are, account for anime market. Now that we have only about 10% of our a solid backlist of over a dozen anime releases; between titles, we are expanding Media 5% and 10%. CPM releas- Blasters beyond the Kitty Media es almost a half-dozen label. Our first AnimeWorks label anime videos a month release, which carries a “Kid Safe = among four different For Audiences of All Ages!” logo, labels. There are two or was Ninku the Movie in March. three U.S. Manga Corps We are also starting a couple of releases and one or two live-action labels, Kaiju Productions Software Sculptors releas- for monster movies in the Godzilla es every month. Those are and Rodan vein, and Tokyo Shock popular action-adventure, for the Japanese equivalent of the horror or comedy titles. Hong Kong action thrillers. It has The U.S. Manga Corps been the success of Kitty Media anime is more mainstream that is making this growth possi- and the Software Sculp- ble.” tors titles are more “alter- nate” or artistic. Our main Asian attitudes towards eroti- Central Park Media label, cism have always been more which is our general label open than those of the West. for mostly non-Japanese videos such as live-action documentaries, only Weather Report Girl, one of a few titles released on Anime Does Not Equal Pornog- includes an anime release the Right Stuf’s Critical Mass label. Image courtesy of the Right Stuf. © 1994 O.B. Planning/Toho Co. raphy every two or three Ltd. A.D. Vision, Central Park months. Those are usually with pornography. “There is an Media and Media Blasters are all adaptations of Japanese literary important misconception in think- happy with the adult market, but works, such as Grave of the Fire- ing of the adult anime labels like they are not as pleased with the flies and the Animated Classics of Anime 18 as animated pornogra- public’s perception of it as synony- Japanese Literature series. Our phy. If you look at actual porno- mous with pornography. Sirabella Anime 18 titles average only one a graphic videos, you’ll see that they says that, “There are varying month or six weeks; maybe eight have no real story, no characters degrees of adult,” some of which or nine a year. So that’s only eight or character development, no do not involve eroticism at all. or nine adult titles compared to 45 attempt at imaginative camera- “One of our new Kitty Media to 50 anime titles a year without work—just close-ups of straight releases, Dark Cat, is definitely not sexual content. That makes it very sex. The adult anime market is for children. It is a shocking horror frustrating to hear someone say, actually aimed at viewers who film with intense violence, but no ‘Oh, yeah, I know about anime. It’s want intense adult situations in sexual situations.” those porno cartoons from real stories, whether it’s dramatic Two CPM staffers are more Japan.’“ action or humor. There are eleven perturbed by the public’s dismissal Jeff Zitomer, CPM’s supervi- video volumes in the Urotsukidoji of all anime as pornography. Vale- sor of production and marketing, saga, and its story progress is actu- rio Rossi says, “Frankly, we are con- feels that even the anime that ally more important than the sex. siderably disturbed by what seems emphasizes sexual content is mis- You could fast-forward through to be a growing trend to consider represented by being equated ANIMATION WORLD MAGAZINE July 1998 29 the naughty scenes and still have CPM is very careful that the pack- tional magazine of Diamond an interesting story to follow. The aging of every Anime 18 video Comics Distributor, describes CPM sexual nature of the story puts it makes it unmistakable that it con- Manga X as “... bringing Japan’s into a unique category; it’s not just tains adult content and is for adult best adult manga to American a horror movie with a lot of sex viewers only. This is done in a audiences ... in a 32-page, black- scenes which could be taken out tasteful manner which emphasizes &-white format priced at $2.95 without changing the story. The the story’s dramatic content rather per issue. The line will open with Anime 18 line is not a porno line than a sex-appeal hard-sell, but the English translation of the as much as a next step in animat- which leaves no way that a parent manga version of the adult anime ed storytelling for mature audi- or a video-shop clerk could mis- classic Urotsukidoji: Legend of the ences, as the next step in adven- take it as suitable for children or Overfiend #1, written and illustrat- ture films beyond PG is an R rat- young teens. Also, due to recent ed by Toshio Maeda. The manga ing. Our Anime 18 titles are for federal child pornography laws, will contain many scenes which adults who want even more the packaging and a special video were not included in the video mature situations and dialogue in header at the beginning of the series ... (A highlight of the first their suspense or their comedy, tape states clearly that the entire issue for Overfiend fans will be a but who definitely want a story cast is 19 years old or older. manga treatment of the film’s clas- and interesting characters rather The adult anime market sic scene in the nurse’s office.)” than just naked bodies engaged exists primarily through direct On the whole, the anime in sex.” sales: mail-order to customers, and distributors have not been able to wholesale to specialty shops get their adult labels into the gen- There are differences of opin- which cater to anime and to eral home video market yet. Cirillo ion as to what constitutes comic-book fans. CPM’s Joe Cirillo, refers to the major video distribu- “anime porn.” sub-licensing coordinator, says that tors and video retail chains as at the anime fan weekend con- “staying clear” of adult anime. Sir- ventions which are spreading abella says that some distributors U.S. Restrictions around America, “The Anime 18 and chains carry the Kitty Media However, the sexual con- titles often almost sell out by the titles, while others will not take tent of the adult anime market is end of the first day.” All three com- them. All three anime distributors undeniable. This has created some panies refer to their adult labels as try to produce two versions of special emphases in acquisitions safe, steady sellers. In comparison their releases (but with some titles and marketing. John Sirabella with the general anime market, this is not possible); one uncut for says, “There are definite legal there are no best-sellers but no the adult market and a “general restrictions which must be taken bombs, either. Also, there are release” version that will be into consideration. The main prob- almost no adult titles which start acceptable to the chains like Musi- lem is that U.S. child pornography off selling strongly but soon taper cLand and Sam Goody’s. laws forbid showing children in off. They just sell steadily—and sexual situations, so all the charac- without requiring the advertising Urotsukidoji is about the inva- ters in erotic videos have to look expenditures needed to promote sion and conquest of Earth by 18 or older. But this is not a restric- the general anime titles. oversexed supernatural tion in Japan. Also, Japanese Speaking of the comic- demons... women are so small that even one book specialty market, CPM is also who is supposed to be an adult a publisher (as CPM Manga) of may look underage by our stan- American editions of Japanese Still Outside the Mainstream dards. We have to turn down adventure comic books, especially The general American adult more adult anime titles than we those which are the sources of the TV/video market remains largely can accept because the characters anime titles which CPM sells. The untapped. Cirillo says that Pent- look too young to be called adult.” company is about to launch an house Comix has reviewed some CPM’s Jeff Zitomer concurs. adult label, CPM Manga X, begin- of the Anime 18 videos, but that Due to the American tendency to ning in July 1998. The May issue the adult pay-per-view TV chan- assume that cartoons are for kids, of Diamond Dialogue, the promo- nels are mostly not interested. ANIMATION WORLD MAGAZINE July 1998 30 Sales to the American erotic-shop that the adult videos are selling correlation between the anime market have been very small, and $30,000,000 to $40,000,000 a pornography audience and the the anime distributors have mixed year.” This is disputed by CPM’s market for American-made stag feelings about trying to increase sales director, Mike Pascuzzi, who cartoons and live-action sex films. them. Sirabella says, “The adult estimates that the adult sales only The overlap so far is minor, and book and video specialty shops make 15% to 20% of the general the American general erotic have a bad reputation for non- market. “Don’t forget that there video/TV market does not seem to payment. Also, the American erot- are several other anime video be interested in tapping into the ic video industry is used to price- releasers such as Viz Video, Pio- lode of Japanese animated titles. points of $9.95 or less, which we neer, AnimEigo and Urban Vision The immediate concern of can’t sell at. And the anime spe- which do not have an adult label the American anime industry is not cialty industry is having enough at all. They may have a few indi- expanding its adult market share trouble with anime’s reputation as vidual titles which require a as much as doing damage control nothing but sex & violence for us Mature Audiences warning due to to keep a public conception from to want to risk making it all look R-level content, but they are not solidifying that all anime is porno- even more like pornography really in the adult market.” This graphic, which could be highly through guilt by association by may be a difference in perception injurious to the potentially much increasing anime’s visibility in the as to what constitutes the “adult larger market for general action- sex shops.” anime market” as distinct from the adventure anime. Ironically, anime (Intriguingly, the first adult general market. Would a raunchy enthusiasts—the hard-core fans as anime to be released in America adolescent comedy full of college- well as the manufacturers—have appeared in adult book shops in fraternity style humor such as been citing for years the theatrical the late 1980s. The Brothers panty raids, peeking into the animation of Hayao Miyazaki as Grime was a three-video cartoon- womens’-gym showers and foul- well as popular TV series such as pornography series produced by mouthed dialogue, but no explicit Speed Racer and Sailor Moon as Excalibur Films, Inc. of Fullerton, sex, count as an adult or as a gen- examples of the best in anime, CA in 1986, 1987, and 1988, eral sale? which they have hoped will tran- using titles primarily from Japan’s scend the “anime cult” reputation That makes it very frustrating Cream Lemon series, the most and popularize Japanese anima- to hear someone say,‘Oh, yeah, popular of Japan’s erotic anime tion with the general public. Now I know about anime. It’s those before Urotsukidoji. Since Excal- these titles are being marketed to porno cartoons from Japan.’“ ibur Films had no creative ties to the general public, by major Amer- - Valerio Rossi the anime field, there was no ican animation purveyors who are attempt to remain faithful to the Although the dividing line denying that they are anime— original versions. A secretary at between general anime and adult who are promoting them as Excalibur says that The Brothers anime may be vague, there is a “much better than that notorious Grime is still selling well today, and definite adult market. All the Japanese low-quality sex-&-vio- she has no idea why the company anime companies producing for lence anime.” The next couple of never followed those three videos that market agree that sales are years may see which definition of up with more anime imports. The steady, and increase as a direct anime will become standardized Cream Lemon series is one in result of the number of titles avail- in America. which most of the characters able. There is no sign yet of any appear to be much too young to saturation level. As long as pro- be plausibly described as over 18.) duction in Japan turns out 50 or Fred Patten has written on anime None of the anime distribu- 60 new titles per year, there for fan and professional maga- tors are willing to discuss sales fig- appears to be the potential for zines since the late 1970s. ures, but John Sirabella makes a unlimited growth. Many, though broad estimate that adult anime is not all, of the adult cartoon videos Note: Readers may contact any about 30% to 40% of the overall range from mild eroticism to Animation World Magazine con- anime market. “If the general mar- explicit pornography. However, tributor by sending an e-mail to ket is $100,000,000, that means there does not seem to be a broad [email protected]. ANIMATION WORLD MAGAZINE July 1998 31 Animation Land: Adults Unwelcome

by M. Cedric Littardi Editor’s Note: Since this arti- focused on Japanese anime, cle was written, the trial that it is then grew step by step to a about has been postponed until more general perspective, February 16, 1999. Mr. Littardi is bringing the readers along. seeking letters of support and It has become a privileged advice from people in the anima- partner with many organiza- tion community. He may be con- tions working in the anima- tacted by through Animation tion arena, such as various World Magazine at publishers and the Annecy [email protected]. festival. We have run a great number of lengthy articles n June 23, 1998, M. Tibor on a variety of subjects such Clerdouet, M. Yvan West as: the making of animation, OLaurence and M. Cedric the treatment of death or Littardi (myself) will be judged at other philosophical and the 17th chamber of the equiva- mythological matters in vari- lent of the High Court (Tribunal de ous cartoons, technical Grande Instance) in Paris. The interviews with people charges: all three of us have been working in the field, etc. If it in previous years publishers is true that the magazine and/or editors in chief of the has been known to talk about car- pretative text we are aware of, French magazine AnimeLand. toons both violent or erotic in states that “these publications will AnimeLand is an eight year- nature, this has never been the be easily recognizable”. old magazine dedicated entirely to major focus. Law 49-956 details various animation. It was created at a time administrative obligations, like when Japanese anime was broad- sending various administrative We have stated that the maga- organizations, including a control cast on French television and seen zine has been created with the by many young adults who were, committee, a certain number of scope of establishing animation copies of each issue beyond those on the whole, ashamed to watch as an artistic genre and not a because of the general belief that already sent by any “regular” pub- commercial by-product for lication. The staff checks that these animation is for children. The mag- kids. azine has since its birth focused on publications, “Do not include any two ideas which until then were illustration, any tale, any chronicle, considered opposite: reaching the Law 49-956 any heading, any insert present- general public, rather than purely So what is this whole issue ing under a favorable light ban- professionals, and keeping them about? The answer is: law 49-956 ditism, lies, theft, laziness, coward- interested with highly specific and billed on July 16, 1949 about ness, hate, debauchery or any act often technical features. “publications aimed at youth.” The qualified as crime or offense or of During the past eight text concerns “publications, peri- a nature to demoralize childhood years, AnimeLand has constantly odical or not, that by their nature, or youth or to foster or keep going grown and recently reached an their presentation or their aim, ethnic prejudice.” The penalties for average of 30,000 copies printed appear as mainly intended to chil- breaking this law are a standard and disseminated through dren and adolescents.” There is one year in prison and a $5,000 France’s general press distribution hardly any jurisprudence about fine. network. For a time the magazine this law, and the only legal inter- ANIMATION WORLD MAGAZINE July 1998 32 Our History ductions toward a larger and TF1. In the early 1990s, TF1 was One year ago, AnimeLand more diverse audience, the airing a lot of Japanese anime, caught the attention of the state authorities in place still consider exposing them to serious prob- prosecutor. We answered his let- animation to be a kids-only media? lems with the CSA. Finally, they ters with a list, justifying why Ani- It is almost like going back to the had to stop airing the shows. Fur- meLand was not to be considered darkest periods of the Comics thermore, channels such as a youth publication. This proved Code Authority censorship. Old France 3 use a strange strategy not to be sufficient, and all three of prejudices die hard... since they know there would be us were then seen by the police problems, not from the children for a deposition. We have stated Whatever the outcome of this but from the authorities, if they that the magazine has been creat- trial, it will have been costly in broadcast new adult shows. ed with the scope of establishing both effort and legal consul to Therefore, they rebroadcast old animation as an artistic genre and everyone involved. Japanese series (Captain Harlock, not a commercial by-product for Rose de Versailles) so as to not kids. As such, the editorial staff It isn’t by sheer chance bear the brunt of the risk. decided that it was an ethical issue either if this is about children. If this is happening in for the magazine not to be con- Authorities and parents always France, it could happen anywhere sidered a publication aimed at chil- think they can decide what is for in the years to come. Adult-orient- dren. Furthermore, the govern- children and what isn’t because ed animation is apparently, per- ment officials were provided with they know better. But do they? haps hopefully, becoming more all the available statistics about our Several cartoons already broadcast and more of an issue, because it readership, which clearly demon- in France have clearly not been seems that not everyone is ready strated that fewer than one third aimed at children but, apparently, to accept it. It is our sincere hope of them were under the legal age powers in place considered them that the results of this trial will be of 18, with very few under the to be, by the simple fact that they in our favor and contribute age of 15. This clearly places Ani- were cartoons. The best example toward a tide to make the general meLand in a category where it is of this is probably the Japanese public consider animation in a dif- less read by youth than several cartoon, Hokuto no Ken (Fist of ferent light. After June 23, the other types of magazines (hard the North Star), which was too issue will probably reach its con- rock, skating) that do not fall violent to be fit for children, but clusion in September, when the under this legislation. Again, this aired nonetheless. final judgement will be handed did not prove to be sufficient, and down...however the fight against After June 23, the issue will the prosecution went on surpris- prejudice will go on. probably reach its conclusion ingly quickly for the French judicial in September, when the final system. All three of the accused judgement will be handed Cedric Littardi is one of the were notified of the trial in May, down...however the fight founders of the AnimeLand mag- leaving hardly any time to orga- against prejudice will go on. azine in France and has worked nize a defense. Whatever the out- as a specialized journalist in vari- come of this trial, it will have been Astonishingly, there is no ous European countries. He cre- costly in both effort and legal con- similar law concerning broadcasts. ated the first japanese anime sul to everyone involved. Howev- However, CSA (Superior Council of label in France (KAZE Animation) er, it might well be worth the pains Audiovisual), a surprisingly influen- and now works as a consultant since whatever the result, it will tial organization, has strong cen- in all graphic and animation become part of legislation. sorship powers, even if theoretical- areas. ly they are only consultative. If the Is This Modern France? general public really feels that ani- Of course, the whole issue mation is only for children, then Note: Readers may contact any probably sounds surreal to most of any channel wishing to broadcast Animation World Magazine con- us. How is it possible that nowa- more adult-oriented cartoons will tributor by sending an e-mail to days, with the numerous efforts by be threatened by repercussions, as [email protected]. the animation industry to aim pro- has already been the case with ANIMATION WORLD MAGAZINE July 1998 33 The State of Visual Narrative In Film And Comics by Peter Chung ow does one justify the better understand- serious themes pre- activity of making comics, ing of the impor- sent in the original Hor, for that matter, movies? tance of film. work, exploit only What could be more frivolous, a the “high-recogni- worse influence on today’s youth, Comics And Hol- tion/high concept” and a greater erosion on the pub- lywood: An aspects for their lic’s literacy and grasp of higher Unhappy Mar- own commercial cultural values? However there is riage ends. Comics are nothing inherently less serious or The dismal regarded as traffick- respectable about visual narrative state of comics in ing in stereotypes, media as compared to traditional the U.S., both as and thus, as a literature — only in the debased an industry and as source, provide an way that the majority of comics an art form, gives easy excuse for artists and filmmakers use them. In little hope that it directors fact, the best visual narratives push can break through Peter Chung. unequipped or the audience to levels of interpre- as a medium with unwilling to handle tation so new and so complex, an influence beyond the closed complex characterization. Main- that they aren’t even recognized subculture it now occupies. I rarely stream audiences, seeing only the by the public. This is the source of pick up comics any more. I’d bastardized movie version of a the power of popular media; they rather watch an old movie on comics character, have their pre- affect the audience subconscious- video to satisfy my retinal needs. conceptions confirmed, thus ly. Even so, the lack of visual litera- As for reading, I prefer an actual inhibiting their desire to consider cy in the general public is suffocat- book than to suffer trying to deci- picking up a comic book to read. ing the progress of both comics pher the incoherent page layouts Comics creators are only and film as serious artistic tools. of today’s comics. too eager to perpetuate this cycle As a writer and director of Ironically, the wide dissemi- by offering characters tailored animated films, I’ve often been nation of comics-derived films and with an obvious eye toward movie inspired and influenced by the TV. programs can be blamed for deals and merchandising licenses. great comic book artists. But even the decline in both the level of These characters can be recog- while I take in their pleasures with public interest in comics, and in nized by their flashier costumes, quiet gratitude, I’ve always felt bigger muscles, bigger breasts, that the very qualities which Comics creators are only too wider array of props, weapons, enthrall me are probably too elu- eager to perpetuate this cycle and vehicles, and most important- sive, too rarefied, to ever be appre- by offering characters tailored ly, their pre-stripped down person- ciated by the mainstream public. with an obvious eye toward alities (mostly consisting of a single For me, it is that deeply personal movie deals and merchandising facial expression), ready for easy sense of discovering something licenses. portrayal by untalented ath- hidden, something which might letes/models. Hardly a comic book be missed by too casual a glance, the quality of the output of comics character appears today without that is the reward offered by art in creators. That is, the success that this aim in mind, and the trend is any medium. Yet the current comics enjoy by their acceptance effectively dumbing down the atmosphere of commercialized in the more mainstream media of readership. production of visual media, works film and TV. is the very thing which against this from happening. is suppressing their artistic evolu- Text Vs. Image:The Unresolved We may regard comics as a tion. Problem rudimentary type of film, lacking When Hollywood adapts There is very little care or movement and sound. Looking at comic characters to the big interest on the part of today’s the problems with comics lets us screen, there is an emasculation comics artists in the craft of story- study the basic nature of visual effect whereby producers and telling. The readers are not narrative and eventually reach a directors, refusing to acknowledge demanding (those who are have ANIMATION WORLD MAGAZINE July 1998 34 Comics Aren’t Literature What is rare to find is a work marked by the good integra- tion of art and story; of form and content. I’ve found through work- ing alongside comic book artists, that they have little awareness of the principles of film grammar. While I believe that the comics medium is more forgiving than film in the allowance for “cheated” continuity, I have no doubt that In August New Line Cinema will release the legibility, and thus accessibility, Blade, a live-action feature film based on of comics by a mainstream public the Marvel comic book Blade the Vam- would be improved greatly by the pire Hunter. Comic image © Marvel and film still © B.Talamon/New Line Cinema. application of filmic language. In order to approach a criti- their meaning is revealed cal method of judging comics’ through clues of behavior, value as visual narrative, we must long left the store), therefore the rather than direct pronounce- first decide where they belong in artists feel no need to learn the ments of a character’s the scale between visual media brass tacks of visual continuity. The thoughts. truth is that making a good comic and literature. Because they are printed on paper, we refer to them book is a lot harder than most 2. The artist-oriented type, in literary terms— comic book; artists realize. (Knowing the diffi- characterized by nonstop graphic novel. In practice, the fact culty has kept me from entering action/glamour posing, a that comics stories convey scenes the field, in spite of occasional fetishistic emphasis on anato- through images rather than requests by editors for me to join my, unclear geography (due to through description, make them in. Mostly, I’m dissuaded by wit- the near absence of back- work on the reader more like film. nessing the poor public response grounds), confusing chronolo- Still, I wouldn’t insist that comics to artistically worthy comics.) gy (due to the total absence of be judged according to the criteria pacing), and the sense in the we use on film, since no one Recent American comics reader that the pages have seems to agree on what those are seem to fall into two camps: been contrived to allow the either. artist to draw only what he 1. The writer-oriented type, enjoys drawing and leaving characterized by a narrative out what he does not, regard- A good film is one that laden with running commen- less of its function in the story requires the viewer to create, tary (often the interior mono- being told. Many young artists through an orchestration of logue of the main character) aspire to work in comics impressions, the meaning of its which makes the drawings because they enjoy drawing events. seem gratuitous—in fact, a the human figure. Typically, hindrance to smooth reading, they collect comics to study since the text seems complete and copy the techniques of Literature Vs. Film People often repeat the fal- without them—and which their favorite artists. The mas- lacy that “film is a passive medi- makes me wonder why I don’t tery of illustration technique is um”. The statement is usually elab- just read a real book instead. laborious in itself and they orated like this: “When I read a To me, this style is antithetical have no time or inclination to story in a book, I have to use my to the nature of visual narra- read the stories in the comics imagination to conjure up what tive. A comics writer who relies they buy. Then they eventually the characters look like, the sound heavily on self-analyzing his become working professionals, of their voices, the appearance of own story as he tells it: a. does- drawing comics which are their surroundings, the house, the n’t trust the reader to get the bought only for their flashy art- landscape. When I see a movie, point; and b. hasn’t figured out work. how to stage events so that those things are all nailed down

ANIMATION WORLD MAGAZINE July 1998 35 for me, so I don’t feel as involved.” In a review of Aeon Flux in primary status to the external, What the person is describing are the L.A. Times, the reviewer whereas in our experience, the the most obvious aspects of a remarked that the director (me) internal is often the more impor- given story, that is, its physical wasn’t doing his job in defining tant. The great filmmakers under- properties. They are, in fact, the who in the story was good and stand this trap — that strict “real- least interesting and least impor- who was bad, and thereby ism” is, in fact, the least true inter- tant components of a story. I do accused said director (me) of pretation of our experience of life; not read books in order to imagine being “lazy”. The presumptuous- that a work springing from the the physical appearance of things. ness of such an attitude would imagination which adopts the make me laugh, if only it weren’t guise of objective reality can only They are not comics inspired so prevalent. be a lie. by other comics, but rather by A good film is one that dreams, obsessions and requires the viewer to create, Comics:The List yearnings. through an orchestration of Here is a list of my personal impressions, the meaning of its favorite comics stories in no partic- Conversely, there are things events. It is, in the end, our ability ular order. My choices are based as which are typically spelled out in a to create meaning out of the raw much on mastery of narrative book, but which must be imag- experience of life that makes us form, as on originality of concep- ined in a film. These are the intan- human. It is the exercise of our fac- tion. Each of them appear to have gibles, the important stuff; what ulty to discover meaning which is been impelled by an inner vision; are the characters thinking and the purpose of art. The didactic they are not comics inspired by feeling? Novelists have the advan- imparting of moral or political mes- other comics, but rather by tage of being very explicit about sages is emphatically not the pur- dreams, obsessions, yearnings. the internal experience, and they pose of art— that is what we call indulge it, often to the detriment propaganda. 1. Baptism, Makoto-chan, Four- of the reader’s power to infer. teen by Kazuo Umezu Good writers are the ones who It is, in the end, our ability to 2. Savannah by Sanpei Shirato maneuver around this pitfall. A create meaning out of the raw 3. Mighty Atom, No-man, Phoenix book’s ability to describe thoughts experience of life that makes by Osamu Tezuka and feelings is a liability, not an us human. 4. The New Gods by Jack Kirby advantage, if used to declaim its 5. The Airtight Garage, themes rather than evoke the The inevitable challenge for Arzach by Moebius desired consciousness in the read- anyone working in narrative film 6. The Incal Saga by Moe- er. or comics is how to convey the bius and Jodorowsky Unfortunately, in practice, a internal states of the characters. 7. The Tower, The Hollow great many mainstream filmmak- Understanding this issue is the key Earth Series by Schuiten ers regard it as their job to inhibit to discerning visual versus literary and Peeters interpretation by the viewer. No storytelling. Resorting to the use of 8. The Jealous God, Envie doubt, this is due to the increasing voice-over narration or thought de Chien by Cadelo commercial pressures of the movie balloons is a literary solution that 9. Be Free! by Tatsuya industry. Coming out of the the- undermines the power of images Egawa ater after a thought-provoking (the exception is in cases where 10. Hard-Boiled by Geof Darrow film, I’ve heard viewers comment, narration is used ironically in coun- and Frank Miller “I was confused because I didn’t terpoint to what is being shown, know who I was supposed to be e.g. A Clockwork Orange). For cer- rooting for.” Doesn’t it occur to tain subjects, strict realism, where Peter Chung is the creator of them that maybe that decision the mental realm of others is Aeon Flux, the animated series was being left up to them? That impenetrable, can be effective on MTV. He studied animation at the exercise of our interpretive fac- (e.g. Henry: Portrait of a Serial CalArts and has worked in the ulties is what makes our minds Killer). However, I would find it animation industry since 1981. free? These people are usually the depressingly limiting as a filmmak- He currently resides in Los same ones who complain that er to be restricted to physical reali- Angeles. movies don’t let them use their ty to express the world of ideas. imaginations. Realism has the effect of granting

ANIMATION WORLD MAGAZINE July 1998 36 NYC Wonder Women by Samantha Allison Berger have been a serious phia, Debbi Rogow and We worked together, and ulti- reader and collector of Sheri Grasmuck, were mately, I began editing their Ichildren’s books from working on. It was a scripts, and designing some of the the time I could read--and comic book aimed at pages or doing thumbnails for the even before. When I read girls in the 8-13 age artist. They ended up using many books like Where the range and was going to of my stories, but having their Wild Things Are, The Giv- be an alternative to artist re-draw them in his Archie- ing Tree, and Sylvester Archie. They felt comics esque style. The end product is and The Magic Pebble, I were under-used as a great in intention, but a bit more instantly connected with medium to reach chil- didactic and politically correct than this medium and the Art Spiegelman’s dren, especially girls. my goals aspire to be. This started graphic novel Maus wonderful relationship originally rocked my They believed there me thinking....maybe I should do between text and image world with the were no comics for girls my own book. together on the page. It comic form. to read except Archie, It was Art Spiegelman who was clearly the thing that I wanted which has two girls with identical originally rocked my world with to do when I grew up. hot-bods, and different color hair the comic form. Although my When I did “grow up,” or at fighting for Archie’s affection, and mother had told me throughout least got older, I discovered comics stuck in 1955. Oh, and Barbie also the course of my life to read the and graphic novels. YEEEEY! It was had her own comic. Not the best graphic novel Maus, she was my like children’s books--but for in the way of role-models. mother after all, and out of sheer grown-ups! However, I may not be stubborn-rebellious-young-spirit, I talking about the type of comics Panting, I paid, parted, and simply couldn’t honor her request. with which most people are famil- headed home, so engrossed, I It was the principle of the thing. iar. I too had a huge misconcep- was reading while walking, and But, one day while I was tion of what comics were. Even smacked into a mailbox. working on the Get Real project, I the word “comics” implies a mean- stumbled into the Strand book- ing which isn’t reflected in the kind This project, called Get Real store and saw Maus was on sale. to which I’m referring. To me, would be published by their new- Without even considering, I “comics” had always meant “the found company, C.O.L.L.A.G.E bought it, brought it home, and funnies”--those cutesy blurbs in the (Comics, Arts and Gender). It had started to read. I could not put the newspaper, like Charlie Brown, intentions of having a multi- ethnic book down. When I came to the Family Circus, and occasionally group of characters, and dealing end and discovered it was only actually funny ones, like Calvin with “real problems” in the “real the first volume, and the book left and Hobbes. Or sometimes world.” It could also function as a me hanging, I ran back to the “comics” meant comic books, like literacy tool, and touch on some Strand at top speed to get the sec- Archie, Superman, and Casper. female health issues while it was at ond volume. Panting, I paid, part- Let’s face it, the same word it. Maybe it could be in public ed, and headed home, so “comics” is even used for comedi- schools....maybe it could be in engrossed, I was reading while ans! There should be a new word women’s health clinics...It aimed walking, and smacked into a mail- for the good ones. high and had a lot of potential. box. After contacting them and Never has a story been so Getting Introduced reading their proposal, I began well told as in Maus. The images In 1994 I heard about a writing and illustrating comics stained my mind. Nightmares fol- project two women in Philadel- about the painful teenage years. lowed. I was moved, a changed

ANIMATION WORLD MAGAZINE July 1998 37 person. It was the dawning of a counter. You make your way past stuff. new time. These were comics. the X-Men, X-Files, and X-Rated And that is precisely where Real comics. Autobiographical comics. Keep going past the I went. Since comics are usually comics. Trekkies and teens pricing out pretty inexpensive, I went for it U.S.S. Enterprise figurines. You go and bought a whole bunch that Searching for the Underground down the aisles, past superhero looked good to me. I bought Eric There simply had to be shelves, past Dungeons & Drag- Drooker’s graphic novel Flood. I more and I began my search. I ons, past the thrillers, horrors, and bought Peter Kuper’s book went to all the comic shops in mystery novels. There, usually Stripped and the very first full issue New York, and this was the typical tucked away in the very back of of a comic called Girltalk. That scene: You go in and check your the store, is the “indie,” the “under- night I had myself one hell of a bag with the blue-haired, multi- ground,” the “alternative,” section. read. pierced hipster behind the That’s where you find the good Each one of those books had a profound effect on me, each in its own way. Flood is a powerful graphic novel, with almost no text, which I have re- CAREERCAREER read time and time again. I felt a deep connection to it, having CONNECTIONSCONNECTIONS grown up much of my life in alien- ating, cold New York City. I found Eric’s storytelling exceptional as Animation World Network’s well, hard-hitting and deep, like recruiting section offers free postings Maus, and inspirational. I wrote to him to tell him how much the and access to artist resumes book had affected me. as well as recruitment advertisements Never has a story been so well told as in Maus.The images “The recruiting site stained my mind. reaches thousands of artists Peter Kuper’s book, Stripped, “An Unauthorized Auto- from all disciplines, quickly biography,” tells the story of and efficiently. AWN young Pete’s journey through awkward adolescence, de-vir- certainly lives up to its ginization, “very little sex, way too many drugs, and rock-n-roll,” and name world-wide.” his “first love/hate relationship.” I -Machi Tantillo was laughing so hard, I literally fell off my chair. After I read it, I read it Director of MTV Animation out loud to friends, and we all laughed heartily into the night. This book motivated me to do a - RECRUIT TOP TALENT comic called, The Stripped Strip, AT A FRACTION OF about my reaction to reading his book, and I sent it to Peter. THE COST OF PRINT ADVERTISING Girltalk is a collection of comics by all different women and www.awn.com/career one very cool man. It is edited by Isabella Bannerman, Ann Decker and Sabrina Jones. The stories ANIMATION WORLD MAGAZINE July 1998 38 written to If anyone had given me this list together in one years ago, I would have been eter- book! Peter nally grateful. Here goes: Kuper, Isabella Bannerman, • Girltalk. Edited by Isabella Ann Decker, Sab- Bannerman, Ann Decker, and Sab- rina Jones, Eric rina Jones; published by Fanta- Drooker and graphics. many, many more. Not only • World War 3 Illustrated. are they all there Published by Confrontational in the same Comics, founded by Peter Kuper book, but they and Seth Tobocman some 18 all know each years ago; distributed by Mordam other! Crazy Records (Go, Mordam, GO!). coincidence? I think not. It was • Stripped. right then that I realized it was a • Bleeding Heart. small intimate group of people • Wild Life. doing this kind of work, and all • Life and Death by Peter here in New York Kuper; published by Fantagraph- City! ics.

Jumping In! • Give It Up! A book of Kafka To make a short stories; illustrated by Peter long story into a Kuper; published by NBM. Girltalk # 4, with cover art by Sabrina Jones. long summary, I deal with everything from First began taking Peter Kuper’s comic • Eye of the Beholder by Love, to Singin’ those Postpartum course at School of Visual Arts. It Peter Kuper; published by NBM. Blues, to Old Flame, to a graphic was there I met my first comic- biography about Marilyn Monroe. book partner Ursula O’Steen, and • Flood by Eric Drooker; pub- What can I say? It’s a fantastic we started our own comic, Pure lished by Four Walls, Eight Win- book. I laughed, I cried, I declared, Friction. We featured work from dows. “It’s better than Cats,” and then I many Girltalk and World War 3 wrote to the editors to tell them artists, and tried to expose people • Maus by Art Spiegelman. how much I enjoyed their work. to other great comics while we were at it. Two years later, I’m • Seven Miles A Second by That night I had myself one about to release a graphic novel David Wojnarowicz and James hell of a read. called The Dungeon Diary and Romberger; published by Vertigo Ursula will be coming out with her Verite, a sub-sub-division of DC. So, I pick out these comics book Wrong in January of 1999. and I love them and write to the Rather than hunting • Understanding Comics, the authors independently of one through the back shelves of local Bible for the medium, by Scott another. Then one day, I pick up comic shops without a clue, there’s McCloud; published by Kitchen an issue of World War 3 Illustrated. a quicker way to become aware of Sink Press. It’s a compilation of political comics all the great comics out there. on one unifying theme per issue. Here it is. I will give you a list of the • Slutburger by Mary Fleen- There I found all the people I had stuff I think is the best of the best. er; published by Drawn & Quar- ANIMATION WORLD MAGAZINE July 1998 39 terly. addresses to contact the publishers and get some • Meatcake by of these comics. You may Dame Darcy; published also want it to pitch them by Fantagraphics. your own comic book ideas. But most important- • Dirty Plotte by ly, you may need it to write Julie Doucet; published and request some of these by Drawn & Quarterly. comics stay published and keep coming out. Comics • Naughty Bits by are rather endangered. It’s Roberta Gregory; pub- difficult to track their profit, lished by Fantagraph- which is low to begin with ics. since they’re so cheap. It’s also often difficult for them • Peep Show by to reach their desired audi- Joe Matt; published by ence, since women are Drawn and Quarterly. usually scarce in comic book shops. (And who can • Muthafucka by blame us?) Since most Lance Tooks and com- book stores and news- pany; published by stands will not carry Danger Funnies. comics, it really depends upon strong word of • Just Who The mouth and letter writing. Hell Is SHE Anyway? by Girltalk is on hold right Marisa Acocella; pub- now but I have a feeling, lished by Harmony after you check out some Books. Pure Friction. of these comics, you’ll Fantagraphics want to write to the publishers, • Marilyn-The Story of a 7563 Lake City Way NE and keep them around for years to Woman, a graphic novel about Seattle, WA 98115 come. Marilyn Monroe, by Katherine (800) 675-1100 (for a free catalog) Hyatt; published by Seven Stories Press. NBM Publishing 185 Madison Avenue Suite 1504 Samantha Berger edits and pub- New York, NY 10016 lishes the comic book Pure Fric- tion. Her self-published graphic I laughed, I cried, I declared, Four Walls, Eight Windows novel, The Dungeon Diary, will “It’s better than Cats!” 39 West 14th Street Room 503 be released in 1999. By day, she writes, draws and narrates chil- Coming Soon... New York, NY 10011 dren’s books on tape for Scholas- War In The Neighborhood, a tic in New York City. graphic novel by Seth Tobocman; Kitchen Sink Press published by Autonomedia. 320 Riverside Drive Northampton, MA 01060 There’s a “short” list to get you started. Should you want to get Drawn And Quarterly Note: Readers may contact any these through the publishers, 5550 Jeanne Mance St. #16 Animation World Magazine con- here’s a few addresses that might Montreal, Que H2V-4K6 tributor by sending an e-mail to be helpful: [email protected]. You may want these

ANIMATION WORLD MAGAZINE July 1998 40 So, You Want to Open An Animation Art Gallery? You’re Darn Tootin!: a response to Tim Stocoak’s unabridged editorial which appeared in the November 1997 issue of Animation World Magazine by Ron Merk Editor’s Note: This is an frustration between his lines of informed animation buyer can unabridged editorial submitted by venom-filled prose, and some never be the victim of a profes- Ron Merk in response to Tim Sto- relief on his part that he’s no sional sales vulture, as long as the coak’s editorial. We invite people longer part of the animation-art buyer knows exactly what he or to submit such editorials to us for selling business, but not that she is buying. More about what is publication and to respond. much relief, since he took it upon “original” and what is a “reproduc- himself to write what I believe is a tion or limited edition” later in my s someone who has been distortion of the facts. Perhaps he response. involved in the creation, truly believes what he said in the Apublication and marketing editorial. I frankly believe that the He took it upon himself to of limited edition animation art- actual situation in the animation write what I believe is a distor- work, I feel that Tim Stocoak’s edi- art business is quite a different pic- tion of the facts. torial is so skewed with sour ture from the one Tim paints. So, grapes and personal anger, that it here goes. screams for a very calm response 2. All animation art is not valu- to provide some balance to the 1. Tim claims that the anima- able and all animation art is not issues raised. tion art galleries are poor rela- garbage. In his editorial, I’m afraid tions of the animation produc- Tim’s blanket statement that that Tim is guilty of the same kinds tion industry, who pick through animation art is garbage but valu- of evasions and avoidance of the refuse of the production able garbage, is just one more issues as those people in the ani- companies to stay alive. attempt to paint everything with mation art business about whom That’s simply nonsense. Ani- the same sour color. It’s not true he is complaining. To me, Tim’s mation sellers are the best place to that the studios considered anima- editorial seems more like a person- send the cream of the animation tion art garbage 50 years ago. al diatribe against the very indus- art crop. They have the customers Much of the studios’ original draw- try he seems to adore but secretly waiting with baited breath for the ings and backgrounds have been hates for apparently rejecting him. best original art coming out of the maintained in studio archives, While I can’t comment on every studio vaults. The studios, in fact, especially those studios which issue or claim he made in his edi- make quite a point of creating spe- have survived the ups and downs torial, I’ll do my best to respond, cial cel and original background of the animation business these point by point. set-ups called “one-on-ones” of last 50 years. Drawings and back- First, not knowing Tim, I great moments from a particular grounds were preserved because couldn’t possibly comment on his film. A “one-on-one” is a set-up they are the true “original” art in opening paragraph about not normally consisting of an original the animation process. Cels were being able to get into the anima- production drawing, a cel (either routinely washed and re-used, not tion industry, the alleged poor an original cel, if the film was only because it made economic handling of his portfolio by Cal done in traditional ink & paint sense, but also because cels were Arts, his inability to get a job in the technique, or one created for sale, really “copies” of the original ani- “real” business of animation, and but based upon the original draw- mation drawings, no matter how his “logical” decision to substitute a ing, if the film was painted in the artfully they were traced and career of selling animation art for computer) and a background painted. Of course, there are one of actually creating animation. (either original or a copy). What those in the animation business However, I do read a great deal of Tim does not say here is that the who would tell you that some of

ANIMATION WORLD MAGAZINE July 1998 41 the finest examples of animation art is trash now and will be trash filled a great need on the part of art that exist today come from the in 50 years. Beauty is in the eye of collectors. ink and paint ladies of the Thirties the beholder, and I’m so sorry you The company with which I and Forties, and I don’t take just don’t “see.” work from time to time, Tooniver- exception to that position. sal, recently created a series of lim- 3.You really take the concept of ited editions under the omnibus The fundamental difference the limited edition to task,Tim. title, The History of Animation. The between my opinion and yours Didn’t you know that many first four releases in that series are is that I believe that animation of the finest artists from the end of images from short films created by art is Art with a capital A. the last century, and all during the animation legend, Ub Iwerks. present century, created limited These are films which, unlike the Just ask the archivists at Dis- editions of their work. Surely major studio films, have changed ney if they want to dispose of any you’ve seen the stone lithographs ownership many times, and fallen of their pre-production renditions of the work of Mucha, Picasso, into disrepair and disrespect, but by Salvador Dali for the film Desti- Chagall and Toulouse Lautrec. Is which feature brilliant examples of no that didn’t get made. Oh, that’s this garbage because they took the zany animation style of the by a real artist. That’s different, advantage of technology to create early 1930s period. Since nearly all right Tim? these “limited edition copies?” Did- of the original art from these films Therein lies the rub, Mr. Sto- n’t they supervise the printing, the has been lost, and nearly all of the coak. The definition of art. At the mixing of the inks, and the appli- Iwerks Studio personnel are no bottom of all your arguments lies cation of the plates to the paper? longer with us, Tooniversal sought the pernicious implication that ani- Or did they make their art more out the present owner of the films, mation art is not art. Of course, accessible to the public by creating and located one artist who had that may be your opinion. I sup- items at a lower price than an orig- worked at the studio at the time pose you think that the Sistine inal painting? After all, isn’t it the the films were made, animator Irv Chapel ceiling painting by artist’s job to reach as many people Spence. After Iwerks, Spence went Michelangelo is just interior deco- as possible with his art? Or is the on to a long and distinguished ration, and that Mozart was just medium more important than the career as one of the top animators dashing off little ditties for the rich message, Mr. Tim? Yes, studios do of the Tom and Jerry Cartoons at to play at their parties in order to create limited editions of anima- MGM. pay his bills. tion art. This was born of two The fundamental difference necessities, I grant you. One is to Didn’t you know that many of between my opinion and yours is make money, and the other is to the finest artists from the end that I believe that animation art is fill an ever increasing demand for of the last century, and all dur- Art with a capital A. Not all of it, of animation art while the supplies of ing the present century, creat- course, but some. If you had ever original art dwindled and became ed limited editions of their run your fingers over the sublime quite expensive. Do you have work. original drawings of Chernobog some problem with capitalism, by Bill Tytla, or the exquisite origi- too? Having been involved in the We were lucky enough to nal backgrounds of Eyvind Earle, creation of more than 200 differ- locate a few original drawings, or the inventive layouts of Ken ent limited editions involving, and were also given access to O’Connor, you would know in among others, all of the Warner 35mm prints of the films, from your heart that there are artists of Bros. characters, the MGM charac- which many frame blow-up pho- the highest level working in ani- ters by Hanna-Barbera, many of tos were made. Then, working mation, and what they produce the Japanese characters, including with the Tooniversal artistic team (can we use the word produce or Speed Racer and Astroboy, plus and Irv Spence, wonderful does that sound too much like a Fleischer Studios characters like moments from these films were re- factory, Tim?) is, without a doubt, Popeye and Betty Boop, and hav- created, and then produced as a art, in the commonly accepted ing given them the kind of atten- series of limited editions. Two understanding of that word. tion that “true art” deserves, I can black & white and two color You say all this animation tell you that limited editions have images were created. Great care ANIMATION WORLD MAGAZINE July 1998 42 was taken to duplicate not only collections. The level of sophistica- identify as authentic. In a business the character drawings and back- tion among animation art collec- where “authenticity” is of extreme ground paintings, but also the tors is very high, so I don’t think importance, original signatures are color palettes of the films, which that many of them will just snatch part of that authentication included the early color processes up limited editions indiscriminately process. Cinecolor and Technicolor. Every as Tim indicates is the case. Tim also makes derogatory possibility to make the pieces Art and one’s definition of references to the seal which is authentic and artistic was what is good art is a very personal affixed to limited edition art. Well, explored, and I believe, successful and subjective issue. Not all limit- Tim, if collectors did not have in creating pieces of animation art, ed editions are great animation some way of determining if the yes I said art, which stand on their art, just as not all “real art” (sorry edition is authentic or someone’s own as art. They were hand-inked Tim, I couldn’t resist) is not great Aunt Tillie is doing knock-offs in and hand painted, making each art. There are levels of good, bad her garage, collectors would one in some sense, a unique and indifferent in all things, includ- undoubtedly be getting ripped off piece, not identical as Mr. Stocoak ing animation art. Mr. Stocoak by unscrupulous operators. The states. seems to have even more serious fact is, the animation art industry objections about having some goes to extraordinary lengths to Art and one’s definition of “old animator sign them,” and make sure that the integrity of what is good art is a very per- slapping some “over-important their art work and editions is sonal and subjective issue. seal on the front,” his quotes not beyond reproach. mine. Well, Tim, we live in a coun- In creating the Ub Iwerks try that created the star-system. It’s One should always remember pieces, we felt that we were pro- really hard to avoid. We have it in the old Latin adage, caveat viding some form of recognition to politics, movies, sports, and yes, emptor, which means “buyer both the films and their creator. animation art! I frankly like the idea beware.” Our main motivation, believe it or that some “old animation celebri- not, Tim, was not just to make lots ties” sign the pieces. The old folks In addition, it is the law in of money on the unsuspecting were responsible for the develop- many states, that all forms of limit- public. The people who have pur- ment of the art of animation, so ed edition art must follow certain chased the Iwerks pieces are true why not have the “real animation rules. Seals and certificates are animation aficionados whose per- artists” (my quotes, this time) sign required by law. Check California’s sonal collections were made more them. Code of Civil Procedure, Section full and yes, more important, by Tim seems to think that old 1740 et seq., and it’s very clear the inclusion of the Iwerks pieces. animators have signed their that producers of limited editions While I am not suggesting they names so many times, that the sig- are doing the very things that pro- are as “valuable” as originals, they natures can hardly still have value. tect the public from the kinds of certainly fill a place in serious col- It’s the art that people buy, not the abuses that Tim seems to imply are lections, since originals are nearly signature. I’ve never seen anyone taking place in the marketing of impossible to find. buy a blank sheet of paper with limited editions. There are also all Mr. Stocoak’s apparent con- Chuck Jones’ signature, no matter sorts of Federal laws about inter- tempt for the buying public is how nice the paper. It’s the image state commerce which protect clearly illustrated by his statement that appeals to an art buyer, and buyers from fraud. All of these that the public snatches these lim- image that is created by the sign- must be and are observed by the ited editions up faster than if they er. So, while it’s secondary to the industry. Tim refers to “one partic- were originals. This simply is not piece’s value, the signature is ularly beloved and aggressively true. By and large, the people important because it tells us that marketed veteran animator” who who are collectors on a regular the artist/signer was involved in “has signed his name over sixty basis are well-informed about the process of the creation of the thousand times” (Tim’s quotes and what they are buying, and in fact, edition. It’s important because art number), yet fails to mention this quite specific about what they like that is signed is more valuable animator’s name. I would guess and what they will buy for their over the long term, and easy to that it’s Chuck Jones, though I ANIMATION WORLD MAGAZINE July 1998 43 could be wrong. Chuck has lived of things, rights owners to anima- tion business, may not be the longer than most of his contem- tion characters naturally look to point of the art at all. Picasso was poraries from The Golden Age of create the kinds of things that peo- never sued by his models for not Animation, done more films, and ple want to buy. That’s capitalism “reproducing” them in a naturalis- been quite well marketed by again. It’s hard to avoid in these tic way, and the art world mar- Warner Bros. and his daughter’s days of bottom line corporate veled at how “off model” he ren- company, Linda Jones Enterprises. thinking. Art has a long history of dered the reality that he saw. Cre- So what if he’s signed whatever artists from one discipline creating ative talent has a right to sign their number of pieces he has signed. work based upon art from anoth- work, no matter how objection- No one ever confided such a er discipline. Music can be based able you might find that practice. number to me, Tim. But even at on poems, or images, or be rein- 60,000 pieces, that’s barely one terpreted from other music. 5. It’s wonderful that films can piece for every 100,000 people on Images in art have been worked be made without acetate cels. earth. Not exactly a glut, is it? and reworked since the dawn of That doesn’t mean that art work Besides, what does the signature the human race. based on the film is less “real.” If have to do with the real value of the cel is beautiful, created by the art in the first place? People In my experience, most dealers hand, and accurately reflects or look at the image, not the signa- are honest and reliable, and interprets the same frame from the ture. Picasso probably signed as good business people. film which was colored and com- many pieces in his life. Does it posited in the computer, is the cel make the art less than art because After all, Tim, the whole less beautiful? I don’t think so. Of it’s signed? Does it make the earli- process of the artist is the combin- course, the buyer should be made er signature less valuable as Tim ing and re-combining of elements fully aware that he or she is get- alleges? Do art buyers want bar- which the artist finds interesting, ting a cel that was not really used gains from Picasso’s blue period in order to create something to make the film. Truth in advertis- because he signed many thou- entirely new which is uniquely the ing is essential. Is the cel worth less sands of printed pieces late in life? work of that particular artist. While than one that was used in a film? No, of course not. you may object to artists creating That’s a question that only market pewter statues or bas reliefs of forces and subjective opinion can 4.Tim has serious objections to Bugs Bunny, certainly the artist answer. creating other products based involved has the right to do it his Are sericels just cel images on animation, and selling them way. That is the right of an artist. grafted onto plastic by the seri- as limited editions. Whether or not a character is “on graph process? Depends what Since people collect all sorts model” as they say in the anima- you mean by the words “grafted

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ANIMATION WORLD MAGAZINE July 1998 44 onto plastic.” There’s an entire artis- whom they’re dealing. Use com- me. If every dealer worked the tic process in creating serigraphs. mon sense. Ask around. If you way Tim alleges, none of them All of the great artists of this centu- have a problem with a dealer, would be in business for very ry created serigraphs based on make sure you pressure the dealer long. In my experience, most deal- their paintings. Since not everyone to correct his error when and if he ers are honest and reliable, and can afford an original oil painting, makes one. If you pay with a cred- good business people. It just isn’t this was a wonderful way for an it card, “all sales are not final.” You good business to take advantage artist’s work to be sold and seen by can always protest the charge on of a customer. They never come many more people than would your credit card, and stop your back! see the original work. Creating a credit card from paying the dealer. serigraph is a exacting process. It If the dealer has defrauded you, 9.Again, I won’t lower myself to certainly isn’t a “grafting” process, you can always call a lawyer, or respond to Tim’s assertions that as Tim alleges. Once again, I urge take the dealer to small claims animation gallery and studio buyers to always know exactly court. store employees know nothing what they are getting. If a sales- and are out to bilk the public. person tells a buyer that a sericel 7. Selling animation art as an This simply isn’t true. I have “is just like an animation cel,” they investment, if that is what a found that most people who buy are not being honest. You can dealer is claiming, is most likely animation art try to be well always shop for a reputable dealer against the law. informed about what they buy. with whom you feel comfortable. Essentially, if someone Knowledge is power for the con- claims that anything they are sell- sumer. One should always remem- I have found that most people ing you is an investment, and they ber the old Latin adage, caveat who buy animation art try to are not a licensed securities broker, emptor, which means “buyer be well informed about what they’re breaking the law. If anyone beware.” The only thing I would they buy. tells you that the art has historical- add when reading editorials is, ly gone up in value, as much orig- “reader beware.” The Coca-Cola Polar Bears inal art has done, that’s fine. But if are not being sold as “original ani- they say it will continue to go up, 10. Regarding Tim’s comment mation art” as Tim suggests in his they’re telling you a lie which is about Warner Bros. marketing editorial. I called Mr. Craig Wolfe of predicated to induce you to buy. I all sorts of merchandise based Name That Toon which publishes think the lawyers call this fraud. on their classic characters, all I this edition, and discussed this can say is,‘Nothing imitates suc- matter. Craig told me that the 8. It’s not true that animation cess like success.’ pieces are clearly labeled as part of art never goes up in value. Yes, lots of people have a limited edition, and not as origi- Since I have no information made money selling Warner Bros. nal animation art. Tim also erred about the Mutant Ninja Turtle cels merchandise. Is there something when he said they were being that he claims he saw with a wrong with that, Tim? transferred onto sericels. Sericel is $3.99 Toys-R-Us label, I can’t com- not a form of material, Tim, but a ment. But like any commodity, Since 1991, Ron Merk has art process. The bear images are in and art is a commodity, there is a directed more than 200 limited fact, transferred to acetate, using a market value. Market value is editions, featuring characters such process similar to lithography, determined by supply and as Speed Racer, Superman, according to Craig Wolfe. Get demand, just like anything from Astroboy, and characters from your facts straight before you com- diamonds to automobiles. If the Warner Bros., MGM, King Fea- plain the next time, Tim. demand is great for a specific item, tures and others. the price tends to go up. 6.Animation art dealers are like Tim’s opinion of art dealers all dealers of any commodity. trying to trick the owner of valu- Note: Readers may contact any There are good ones and able animation art work into sell- Animation World Magazine con- bad ones. My advice to buyers is ing it to the dealer for peanuts just tributor by sending an e-mail to to make sure they know with doesn’t deserve comment from [email protected]. ANIMATION WORLD MAGAZINE July 1998 45 Here’s A How de do Diary: April

by Barry Purves Editor’s Note: but threw a small mation Festival: Lumps, warts and all, for wobbly with myself Stuttgart airport was like a eight months Barry in the morning. home for lost animators. Suddenly, Purves will share his per- Confidence about there was a sea of familiar faces, sonal production diary the film flew out chatting as if we’d only seen each with us for his current the window. I sup- other yesterday. Actually, most project with Channel 4, pose I am wanting people were suffering from vari- tentatively titled Here’s A to make this film ous forms of jet-lag. This particular How de do. This film will many things, possi- festival is enormously generous in take a look at three men: bly too many inviting guests from all over the Gilbert, Sullivan and things. Above all, it world. It is my favorite festival, Richard D’Oyly Carte. Barry Purves. must be clear. I without a doubt, as I feel very D’Oyly Carte brought was cursing myself much at home, and am flattered Gilbert and Sullivan together and for not being able to do gags. It’s by the respect I get here. Still, it’s formed the D’Oyly Carte Opera bizarre that I can watch everyone an honor to be on the jury along Company, which performed else’s films and see the mechanics with Paul Driessen, Garri Bardin, Gilbert and Sullivan operas for 100 of the gags, how they are set up Thomas Meyer-Hermann and Flo- years. While the trio worked and timed, but I can’t do it with rence Maihle. Illustrious company together for roughly 25 years, my own films. The Marx Brothers indeed, though the variety of dif- their relationship was strained at came round the studio—a lovely ferent languages looks a little omi- best. How will the production of situation. We were all in awe of nous. their story go? All we can do is them, and they were totally in Ironically, the catalogue has read along monthly and find out... awe of us. It would be great to col- got me down as filming both The laborate somehow. Nutcracker and Noye’s Fludde. April 1st Will I ever get to film either? No April Fools pranks thank Stuttgart airport was like a goodness. My sense of humor home for lost animators. April 4th does leave me under pressure. I Names are not my took the trainee animators to Ani- I think I’ve storyboarded strength, and already I’m hideous- mal Crackers, my third time. They Episode One, but like D’Oyly ly confused, and unable to put the loved it, though to be in the front Carte, I’m ‘lying awake with a dis- right film with the right face. I’ve row, and so much part of the mal headache, and repose is already seen more animation than action, came as a shock to them taboo’d by anxiety.’ most people see in a lifetime. Our all. Of course the Marx Brothers The D’Oyly Carte Opera jury discussions have been pas- dragged them onto the stage; Company have been in the news sionate, but not aggressive; one Groucho miraculously had Sue on trying to get funding to keep them jury here, actually came to blows! her feet, arthritis and all! Hopefully alive. The Houses of Parliament It is disheartening to have to say they would have learnt something were apparently alive with the some films are better than others, from the sheer physicality of it all: sound of MP’s singing G and S. especially looking at the variety of the timing, the slapstick, and won- Gilbert would have approved. budgets and facilities they have. derful pratfalls are a lesson to all Panicking, trying to get All the films are good to have got animators. ready for the busy week ahead. this far, and it is very difficult to have to be so critical and dismis- April 2nd April 3rd sive, but we are trying to be fair Rushing round as usual, On the Jury at Stuttgart Ani- and constructive.

ANIMATION WORLD MAGAZINE July 1998 46 with Amanda though we did not all totally phoning to say agree, we were all happy with the Pa is in hospital final choices. A lot of give and with a third take, and I think we made the stroke. I’m not right decisions. Nothing won from quite sure what Britain, or with any real puppet to do. This cer- work. tainly put everything in April 8th perspective. Various filmmakers are giv- In the very ing me peculiar looks, trying to early hours of read my mind for the results, some the morning, even coming on somewhat drowning vari- strong. Too late, we’ve made our ous sorrows in minds up. As a jury member, you Marx Brothers puppets. Image courtesy of Barry Purves. the bar with a certainly have some power. The good chum ceremony went very well, with April 5th Frank, I got a glimpse of a very most people agreeing with our I’ve certainly earned my seedy side of what goes on in choices. However, one person keep here so far—so much talking, hotel bars. The words ‘paid com- came up to me and rather force- and so many opinions expressed. panions’ spring to mind. fully jabbed me several times, say- My workshop was unexpectedly ing, ‘Let me tell you about innova- crammed and very lively. The lan- April 7th tion!’ Clearly he was not happy guage did not present any prob- The news about Pa had with our Innovation Award. We lems. If in doubt, I just flap my made me a bit tense and snappy have tried to be fair, and not emo- arms around a lot, and most peo- today, but sitting with Clare Kitson tional. Certainly, the generosity of ple can understand me. As always, in a lovely old wooden restaurant, the awards here, and the prestige, I got very passionate and emo- chatty about Gilbert and Sullivan, will help someone’s career, and so tional, and started pontificating eased the strain a bit. Though, of we can’t be too light-hearted about nonsense really. More films course, she keeps reminding me about all this. There is a responsi- and more discussions. Tonight, the how much this film is costing and bility. legendary yearly Stuttgart party at how good it has to be. Help! I The famous circus tent out- Prof. Ade’s house saw me sat on a went for a swim and managed to side the theatre was awash with sofa with Tyron Montgomery and sing the complete film, word per- various emotional animators, say- Jan [Pinkava], fresh from his Oscar fect, as I did the lengths, though ing tearful good-byes. To outsiders triumph last week. Looking at the one trio got a little hairy and I we may look an odd bunch, three of us, it seemed like an nearly sank. obsessed with minute trivial details, but we do love what we Oscar-themed version of All About I went for a swim and man- Eve. do, and we love others who share aged to sing the complete film, our passion. In just a few days we word perfect, as I did the had all become a rather close April 6th lengths, though one trio got a The jury nearly passed out bunch—quite a few hearts broken little hairy and I nearly sank. in the screening tonight for lack of and otherwise. I witnessed a few food. We’d ordered a meal at a emotional undercurrents. restaurant, and one hour and Had some very satisfying forty minutes later there was still feedback from the workshop— April 9th no sign of it. ‘This is not a bistro,’ words such as ‘inspiring’ and The circus tent was little we were snappily told. The jury ‘motivated’ are always good to more than a rain drenched frame spent the screening sharing a sin- hear. this morning. Very sad. How gle bag of peanuts. Oh, the The final jury discussion could all that passion, discussion extravagance! saw me a little stroppy. Four and flirtation have gone so quick- Real life intruded sharply, smoky hours was too much, and ly? Certainly breakfast was very ANIMATION WORLD MAGAZINE July 1998 47 thin on the ground this morning. such an event. really do hope that our G and S A lot of animators had disap- film can go out with his film of G peared in the night, leaving only April 15th and S, though the length of his the ritual of the business cards. A few worries about the films would seem to rule out the It had been a joyous week. film are taking up too much space addition of a short film. The distri- It never ceases to amaze me that in my head. It always amazes me bution company may also worry my silly, little and trivial films have that in spite of a seemingly long that we give too much away too been taken all around the world period of time for a film, every- soon. I had a letter this week from and have given me so much thing is still such a rush. Plus, we one of the senior figures of the warmth and respect. How nice it still only get one chance at every- D’Oyly Carte Opera Company, say- would be to have that respect in thing; one chance at the anima- ing that the head of Channel Four England! It is not an important job tion, one chance at the sculpting. should know what ‘Here’s a How that I do, but I love it, and for that Even the recording of the music, de do’ means, and that I shouldn’t I am grateful. the most important element, has even contemplate changing the Back to reality, a very diffi- to happen in a few hours. The name to The Gilbert and Sullivan cult reality, and a big push to get outside world probably thinks we Story. Gilbert and Sullivan going. sit around luxuriously honing everything time and time again April 17th To outsiders we may look an until we are satisfied. The reality is Last night went to Birming- odd bunch, obsessed with very different. All this was brought ham Royal Ballet’s Edward II : mon- minute trivial details, but we about by the frustrations of not umental, passionate, gory and do love what we do, and we having the actual music to listen brave. I so admire the choreogra- love others who share our to—I won’t have it until a week pher, David Bintley, trying to push passion. before I start filming. This will the boundaries of what is usually necessitate a mad panic as most of expected of ballet. Where does it the choreography will have to be say that ballet has to be cute or April 14th done the night before filming. about swans? Who would have Properly back in the office, I was also forced to make a thought a ballet about the undig- though I spent all Easter Monday compromise with the puppets. nified and horrific death of an in here catching up with the post Finances dictate that the puppets early British King by red hot poker, and such. The Stuttgart Festival can either have controllable blinks would have an audience cheer- already seems a distant memory. or decent mechanical hands, but ing. A pretty full audience was It’s almost a separate life. I can’t not both. I’ve gone for the hands. obviously prepared to give some- begin to describe to the people I really try to get so much expres- thing different a go. If only anima- here. It is just a blur of images and sion from the hands. tion producers would take note. faces—a bit like me in the office There was a second pro- today. I’m beavering away at the April 16th duction meeting with everyone, storyboard and design issues, but I saw the finished sculpt of and we have thrashed out haven’t really thought of the larger D’Oyly Carte’s head this morn- Episode One and as good as picture of Gilbert and Sullivan, of ing—quite stunning. Joe has locked it off. Nick’s designs are get- the studio, or cameraman, or given him tremendous hair (I ting there, though we are still in everyone complaining that there is won’t raise the issue that the char- danger of being too straight. We not enough money to do what I acter has just woken up!). still do not have the cross hatching am asking. Where does this rela- I’ve felt somewhat out of on the costumes right yet. tively large budget go? There are control today. Too much fussing Never have I been so ready so many people involved with this about with other important areas for the weekend, though it will be film. How I envy animators such as of G and S has given me little time all traveling, emotion and work. Phil Mulloy or Bill Plympton who to work on what I should be can have an idea, make the film doing. April 20th with only a few people, and then I watched Mike Leigh’s A weekend with Pa in hos- go onto the next project. Every- heart wrenching film Secrets and pital and by Ma’s grave is more thing I do unfortunately becomes Lies last night and wept buckets. I than enough to put the pressures ANIMATION WORLD MAGAZINE July 1998 48 April 21st tle sluggish and emotional and I was still excited after hav- tetchy today. I listen to Sullivan’s ing gone through the music music and escape into a world of score in detail yesterday. I happy endings and big chorus can’t wait to hear our partic- numbers. ular and rather punchy arrangements. Sullivan’s April 23rd music still excites me enor- And a happy 434th birth- mously. ‘It bubbles with wit day to Bill Shakespeare. It amuses and good humor,’ as Jack me that a few people refer to this Shakespeare in Next by Barry Purves. Image Point says. There is so much date as if it were my birthday. It is courtesy of Barry Purves. warmth in these operas, and a good feeling to be strongly asso- of making a film into perspective. this warmth is contagious. I ciated with Shakespeare through With a few rather emotional hope I can get this across in the Next. After all that intense work, I thoughts still with me this morn- animation. feel protective toward Shake- ing, I took awhile to get into G Nothing moved forward speare, as I do to all my puppets. and S mode, but once there I was much today. It’s not too easy hav- A strange permanent and intimate racing. The long, very flooded ing my producers two hundred bond is always formed. The Shake- journey down to Cambridge had miles away. Geography can slow speare puppet has been in Oslo given me some all too rare time to things down. today at a Festival. He has literally think straight and calmly, and Only three more days train- been ‘round the world. without distractions. I’ve been able ing the animators. I shall miss to think of ways of making things them, but I do need that space in Where does it say that ballet simpler and the design more my head. has to be cute or about swans? coherent. In every day I find I must A model of the bed have some time to myself. appeared and it bounces—very The penultimate day for my exciting. animators, and they are all looking It is not an important job that a little sad. That happy group is I do, but I love it, and for that I April 22nd about to be broken up, and no- am grateful. Sadly we have lost Tristan, one quite knows where they go the lighting cameraman I had from here. They have been a mar- Had an exhilarating after- hoped to use. What makes it even velous bunch and are all pretty noon working with Wyn at the harder is that he is a big G and S damn good animators, with a lot piano. We went through every fan, and likes my work. His letter of humor and feeling for it. The note of the score, making sure of declining was written as a G change in 12 weeks has been that each note had a purpose, and S song—brilliant. astonishing. that it wasn’t wasted nor took up I’m now at the end of sto- Possibly we have a camera- valuable time. We are happy with ryboarding Episode Three, and man for G and S... the score now. It’s certainly full of already my drawings have fallen energy and life, but what a jigsaw to pieces. For each three-minute April 24th it is. What a lot of work it has been episode I’m doing about 75 draw- Such a frantic day. I’ve not to get the music into exactly three ings. It does take too much time. even opened my storyboard for G minute chunks. Went to look at a potential and S and there is such pressure to Was amused to see in the studio—a good space among get it done. I’m still only drawing Independent, an article saying other units all beavering away. Episode Three. that Gilbert and Sullivan really are More examples today of Accountants were in this lowest common denominator having to penny-pinch with this morning—this is all a little worry- stuff, and shouldn’t be performed. budget, and yet for Channel Four ing. I’m not too good at dealing Then there’s Channel Four think- it is an enormous budget. It’s hard with the nuts and bolts, and it cer- ing Gilbert and Sullivan is high- having to keep cutting back and tainly stops me concentrating on brow stuff for an elitist audience. back. what I should be doing. Things There’s a how de do! Real life has made me a lit- like Schedule D and P45’s [self- ANIMATION WORLD MAGAZINE July 1998 49 employment taxation and employ- day, and the complexity of this film twiddly bit on the oboe come ment paperwork] are a complete has really dawned on me. It is from, and should I animate some- mystery to me, but talk about huge! I’ve been trying to give the thing to it? what the bassoon is playing in The impression that I have answers for Had a call from Angela Mikado, and that’s another matter. everyone, and that each depart- [Lubbock], whose short film, Mitzi A visit from Philip Bowman, ment is as important as the others. and Joe, had caused such excite- an animation producer I met in I am so focused on Gilbert and Sul- ment in Hollywood. She’s come Brisbane. He was fascinated by livan that I fear that I’m losing track back to England with just a few the scale of the studios here. It of anything unrelated. Karen is weeks before she goes under. would be good to go and set gamely trying to keep up with me, There is no justice. something up down there. and look after the day to day run- My animators finished ning of the office. April 30th today. Champagne at lunch saw I spent the evening with Fascinated to read an arti- us all a little rosy. Their thank you cle saying how all the Lottery card to me was a photo of their I listen to Sullivan’s music and grants have produced such three puppets as The Marx Broth- escape into a world of happy appalling films, with only one or ers, quite brilliant, as was their pre- endings and big chorus two exceptions. Do I commit sent of a collection of Gilbert and numbers. hubris and think that anything I Sullivan cigarette cards. I was very ever made on that scale could touched and shall miss them. But Mandy and Jane walking through change that? Let me make Noye now I have to put all my so-called some of the more difficult choreo- and we’ll see. words of wisdom into practice. graphic bits. I was horrified to see Can I do it after so long away from the video as I am perfect casting Note: The on-line version of this a camera? for Sullivan—stout! The girls were article includes a Quicktime movie a great help in just working out from Barry Purves’ film, Next. © April 27th some of the logic, and we certain- Bare Boards Productions. A trainee-free day, but I still ly laughed. I hope I can get a couldn’t resist the temptation to dance feel to it. I’m worried of Read Barry’s previous diary keep popping down to see how course that I will only get the in last month’s issue of Animation they were doing. barsheets a few days before I start World Magazine [http:// A couple came to see me filming. www.awn.com/mag today with an idea for an animat- Jean Marc the cameraman /issue3.3/3.3pages/3.3purvesdi- ed film—and very good it was too. came by train from Paris to see ary.html]. I wish I could help, but I have us—my knowledge of technical more than enough problems try- matters was slightly exposed. ing to raise finance for my own films. It saddens me to see the April 29th Barry Purves is a Manchester- amount of films I have written and Totally shattered after using based filmmaker. Through his storyboarded that have never had up all my gray cells yesterday, but production company, Bare funding. So much effort, emotion- have spent today quietly watching Boards Productions, he has al investment and research, and the video from last’s night terpsi- directed several stop-motion ani- they just lie there stillborn. chorean efforts. I never use live- mated films and commercials, A quiet day in the office action as direct reference, (the tim- including Next, Screen Play, Rigo- and I cracked on with all the nec- ing is so very different, and, boy, essary lists of props and so on. I do I loathe rotoscoped animation), letto and Achilles. think I need to turn the screw a bit but this will help me simply work as I get the feeling people view out who should be where at what our start day as still a long way point in the music. Of course, I’m Note: Readers may contact any away. It’s not that far at all. still working to our piano track. I’m Animation World Magazine con- probably going to get such a tributor by sending an e-mail to April 28th shock when I hear the orchestra. [email protected]. I didn’t pause for breath all Will I recognize it? Where did that ANIMATION WORLD MAGAZINE July 1998 50 Annecy’s First Annual by Buzz Potamkin nnecy this year was, je n’est with Savoyard cooking on a more sais pas—how do you regular schedule. And, not the AAmericans put it?—you least, it underscores the way in know, well, just different. It didn’t which the center of the interna- feel like Annecy (not crowded tional animation business has enough), it didn’t work like moved to Europe. Annecy (in other words, it was The focus on co-production actually efficient for the most part), within Europe became the and with the absence of any uni- main theme of the conversa- fied give-away T-shirt, it didn’t real- tions that surrounded every ly look like Annecy (although, in table in the bar and on the ter- the ages-old European tradition of with an old friend about the the great unwashed mass of Annecy he knew 25 years ago or race...at the Imperial Hotel. citoyens, it did smell like Annecy). so. An Annecy that was a window Those of you who remem- In fact, I think anyone who on the quirky world of animation, ber my thoughts on Annecy ‘97 entered the Bonlieu Theater or an Annecy that brought together (AWM, 7/97) will not be surprised Imperial Hotel this year was every other year the tightly knit to read that my thoughts on whisked away to another location, but loosely organized artistes d’an- Annecy ‘98 reflect the continua- far from those dazzling memories imation for a chaotic week of film tion of this trend to Euro-Anima- of yesteryear; all the way to a Fes- watching, gossip and good living. tion. The lower-than-last-year tival and MIFA that will forever be (His most vivid memory is of being attendance of Americans only changed by becoming the center- crushed as the then communist— underscored the obvious nature of piece for the creation of the Euro- and starved for luxuries—Eastern MIFA as an Euro-Event, and the Studio. Europeans stampeded over him to focus on co-production within devour the capitalist canapes at Europe became the main theme It is MIFA that has pushed the annual picnic on an island in of the conversations that sur- Annecy to be an annual, even Lac d’Annecy.) That Annecy is rounded every table in the bar at the cost of the Festival’s gone. and on the terrace (when the ASIFA International accredita- The marketplace—MIFA weather allowed) at the Imperial tion. (acronym for the French version of Hotel, not to forget the $100 a International Market for Animated plate lunches and dinners at the Before I left New York for Film)—has taken over. It is MIFA haute cuisine restaurants lining this trip, I had a chance discussion that has pushed Annecy to be an the lake between Annecy and Tal- annual, even at the cost of the fes- loires. (However, it is ironic that tival’s ASIFA International accredita- tion. Before I am accused of being a hidebound conservative of the worst kind, let me say that being an annual is not all bad. It cuts down to 12 months the time it takes me to catch up with people who live a few blocks or a cheap phone call away, it allows me to Festival director Jean-Luc Xiberras, ascertain more quickly which of made an appearance on the MIFA floor, the horde of shows “in produc- This year’s festival brought together two where he was warmly greeted by many tion” one year were never actually generations of animators. Pictured: Dis- delegates and friends. Photo by Ron Dia- ney legend Joe Grant with recent Oscar mond. © AWN. started, and it perks up my diet winner Jan Pinkava. Photo by Ron Dia- mond. © AWN. ANIMATION WORLD MAGAZINE July 1998 51 market in the States is really loss to this side of the Atlantic, the the only ‘single market‚’ that drain is slowing, even reversing. the press and politicians keep The Euro-Studio can now become promising us here. We can a reality, with strong creative and make a show that is a success production skills honed on the in one country, or even two past decade’s experience of sub- or three, but we still have to contracting and co-producing discover how to create a with North American partners. The show that will be a true Euro- Euro-Exhibitors, even those pean show in the way that owned by US media conglomer- your American shows satisfy ates (Nick, Fox Kids, Cartoon Net- Jean-Luc Xiberras catches up with Annick your large market in the work, etc.), are responding to the Teninge, who was assistant director of the States.” possibility of a pan-European cre- Annecy festival before joining AWN as general manager in 1996. Photo by Ron Diamond. © Which brings us back to ative synthesis, and spend a fair AWN. the festival, and the search for amount of time and energy look- these conversations did take place creative content. And this year ing for Euro-Shows. “We’re Euro- predominantly in English, even it was a search. The annualization peans, the network is European, among Europeans, or at least of the Festival may not have we program for Europeans,” says that’s true for most of those I wit- caused a drop in the number of Finn Arnesen, Cartoon Network’s nessed.) entries, but the quality was not up London-based VP Programming And these conversations to the standard of last year or ‘95. and Development, “and we’re out were more to-the-point than in The commercialization of the Euro- there looking for cartoons that previous years, as the producers pean animation industry has have the unique flair and style of and distributors present at MIFA removed many of the better minds European humor.” got down to the serious discussion and hands from the independent Mark my words. Before too of picking each others’ pockets (or film arena, and the selection this long, the creative, audience and the pockets of each others’ gov- year was the proof of that pud- marketing success that gets the ernments in most cases). And ding. However, this trend should cover of Time and Newsweek will there was the problem. now reverse, and I for one have be the Euro-Show. While it is not Here is a composite of sev- great hopes for the Festival next an Euro-Show (it has solely English eral conversations I had with dis- year (or perhaps the year after). roots), and it isn’t animated, Tele- mayed French producers: “Our tubbies isn’t far off the mark. But European Community market is The Euro-Show is a strong the next South Park may well be bigger than the U.S., our advertis- contender for the future of Parc du Sud. ers have money to spend, but the animation. A list of this year’s festival constant contention between our winners is also included in this national authorities over local con- And why should that trend issue. tent and production location reverse? Most American studios makes it very difficult to mount a were not only absent from MIFA, Buzz Potamkin is an award-win- pan-European show. We may they have even abandoned for ning independent producer, best make a French-content show in the most part the frenzied search known for The Berenstain Bears France, with a Spanish co-distribu- of previous festivals for Euro-talent and Dr. Seuss. Before he escaped tor providing finance, and have it to fill the no longer empty chairs in L.A. for New York, he had been be very successful in the ratings in Burbank, Phoenix and Florida. president of Southern Star Prods France, but what does that mean There is now a chance for Euro-tal- and then executive vice president to someone watching the show in ent to stay in Europe, and make of Hanna-Barbera Cartoons. Spain? Plus the Spanish may make shows for the home market, even a Spanish-content show that rates to aim for the “single market” Euro- well there, and even have an Eng- Show that is this year’s Holy Grail. Note: Readers may contact any lish co-producer, but what does The Euro-Show is a strong con- Animation World Magazine con- that do for an audience in Eng- tender for the future of animation. tributor by sending an e-mail to land? Our market is big, but your After many years of talent [email protected].

ANIMATION WORLD MAGAZINE July 1998 52 E3:E3: IITT’’SS AANN AANIMATEDNIMATED YYEAREAR

by Joseph Szadkowski hat may have surprised designed with a primarily male garten Adventure and Math the more than 41,000 demographic in mind. Adventure educational CD-ROMs Wattendees at this year’s “We did a very violent teach through interactive anima- three day Electronic Entertainment game before Spyro the Dragon, tions and sound components. Expo (E3) in Atlanta from May 28- filled with a lot of destruction, Completing activities will lead to 30 was that the primary colors mayhem and darkness. Working rewards of full color video clips and wackiness of classic animation on this all-ages title has been a from the movie. Another favorite was as noticeable on the show- refreshing change for us to do animated movie from Universal room floor as mutant battles, something that is bright and does- Studios, An American Tail, contin- graphic violence and adult n’t have overt violence or blood,” ues Fievel the mouse’s journey themes. Game developers are said Todd Price, president of from Russia to America. Combin- beginning to see the bright lights Insomniac Games. ``At the end of ing the appeal of the movie with of fun animation after spending the day, we were happier. The learning activities, children will years within the darkness of surre- morale in our office improved sig- enjoy nine, detailed illustrated al environments that have, in the nificantly because we can all play chapters, 25 story scenes and past, been the hallmarks of games the game, look at the characters more than 60 hidden clickable ani- and laugh even though we mations. Both Land Before Time have played it a hundred times.” and An American Tail titles are Spyro The Dragon, being devel- available for Macintosh or PC in oped for the Sony PlayStation by the fall. Insomniac Games, Inc. and Uni- Working on this all-ages title versal Interactive Studios, takes has been a refreshing change players on a 3-D action-adven- for us to do something that is ture with a mischievous purple bright and doesn’t have overt dragon. The game’s worlds are violence or blood. - Todd Price graphically stunning as players are immersed into interactive Small Soldiers’ Squad Com- fantasy realms. Spyro the Drag- mander, developed by Hasbro on, a one-player action game, Interactive with DreamWorks and will be available for the Sony Universal Pictures, offers live-action PlayStation in September 1998. and animation blended with scenes from the new movie. Games From the Block- Squad Commander takes children busters ages nine and older on an adven- From Universal Studios and ture that poses a real-time strategy Sound Source Interactive, the challenge through 20 missions. rich graphic environments from Puzzles are layered, requiring play- The Land Before Time and An ers to use problem-solving skills as American Tail have emerged as well as computer skills to fend off a CD-ROM edutainment products constant stream of ``enemy’’ fire. Spyro the Dragon, a one-player action game, will be available for the Sony PlayStation in for children, ages three to six. The game, available for Windows, September 1998. Photo by Joe Szadkowski. The Land Before Time Kinder- will be on retailers shelves in June. ANIMATION WORLD MAGAZINE July 1998 53 Bug’s Life will be an below-the-knees perspective of action/adventure game for the fully explorable environments and hand-held system featuring objects. dozens of characters from the American television car- film and nine levels of game toons, Blue’s Clues and South Park play. It is conveniently sched- were very notable at E3. There uled to be released in time for was a lot of excitement around Christmas. Acclaim Entertainment’s display of Fans of A Bug’s Life will also the core South Park characters want to stay alert for the Cartman, Kyle, Stan and, of November release of the Dis- course, Kenny. The PC video game ney Interactive CD-ROM based allows players to kill the ever-rein- on the movie. An carnated Kenny and should be action/adventure game for available sometime in 1999. children ages three to seven, Part of the Nickelodeon the film’s characters are dynasty of children’s entertainment brought to life for interactive includes Blue’s Clues, the educa- activities that promote on- tional television series featuring screen and off-screen play. the flop-eared Blue and pals. The Disney Interactive is planning several games Mulan for Game Boy lets CD-ROM programs bring the tele- based on the upcoming animated feature film, fans of the film continue the vision show to interactive life and A Bug’s Life. Photo by Joe Szadkowski. battles being fought by Fa allows young players to touch, Disney Interactive contin- Mulan, a young woman who dis- move and interact with Blue’s ues the magic of the movies guises herself as a soldier in order world. Being released from through CD-ROMs that teach and to regain her family name honor. Humongous Entertainment and entertain within interactive, 3-D An action/adventure game, play- Nickelodeon, Blue’s Clues will ini- worlds. Adding to the already ers will enjoy solving puzzles and tially include two programs, “Blue’s extensive roster of CD-ROM releas- engaging in battles as they work Birthday Adventures” and “Blue’s es being developed is the Mulan through ten levels of gameplay. ABC Time Activities.” Each pro- Animated Storybook, scheduled to Game Boy fans will find Mulan by gram will be filled with activities coincide with the movie’s theatri- THQ, Inc. on retailers’ shelves in and learning fun found in the tele- cal release. The rich detail of the July. vision show. Fans will find the movie has provided the CD-ROM Humongous Entertainment CD- developers with a deep artistic ROMs on retailers’ shelves this fall. palate upon which to create. Chil- Nintendo is ready to fight back Favorite animated shows dren, aged five to nine, will enjoy against PlayStation’s domi- for children and adults alike are multiple story screens featuring nance with Poke’mon for Game Animaniacs, Pinky & the Brain and the character Mulan’s village and Boy. Looney Tunes, all from Warner home land of China. Story screens Brothers. SouthPeak Interactive are filled with clickable animations, Onto the Small Screen has been awarded the license to puzzles and multi-leveled educa- Expanding their playing create interactive CD-ROM pro- tional activities that will help users field, THQ, Inc. will also release grams featuring the studio’s cast of build critical and creative thinking Rugrats for Nintendo 64, PlaySta- animated characters and clips. skills. tion and Game Boy beginning in The Looney Tunes Jigsaw More Disney films finding November. A non-linear, third per- Puzzles line includes: The Com- new life as electronic games can son, action/adventure game, play- plete Bugs; Cosmic Capers with be found from THQ, Inc. who is ers control their favorite characters Marvin the Martian; Assorted Nuts releasing cartridges for the Game of the Emmy Award-winning Nick- starring Taz and Wuv; and Mar- Boy based on Disney’s Mulan and elodeon animated series. The riage highlighting the romantic the Disney/Pixar A Bug’s Life. A game provides players with a escapades of Pepe Le’ Peu. All pre- ANIMATION WORLD MAGAZINE July 1998 54 sent one and two ment with Rayman 2, sided puzzles the sequel to the showing scenes action-adventure clas- from more than 20 sic that debuted in Looney Tunes 1995. Rayman 2 releases. Looney blends humor and Tunes Jigsaw Puz- suspense in a 30- zles will be images-per-second 3- released for the PC D environment. This in fall. release has Rayman Pinky & The escaping an inter- Brain World Con- galactic zoo to release quest challenges his caged friends and players with an find the source to the arcade-style strate- Great Power. Find it gy game. The on the shelves for There was a lot of excitement around Acclaim Entertainment’s display of the playing field is a core South Park characters.The game will be available in 1999. Photo by Joe Nintendo 64 and PC series of mazes Szadkowski. in time for Christmas. where gamers steamer trunks packed with licens- Rayman 2 for PlaySta- must build, destroy and move ing products, and more than 150 tion will be released the first quar- walls while claiming territory. For unique little ``pocket monsters’’ ter of 1999. solo-play or as a multi-player game (the translation of Poke’mon) for Expanding their animated with up to eight participants con- Game Boy players to collect, train, character library, UBI Soft also nected via a modem, Pinky & The swap and capture during this role- announced Buck Bumble is sched- Brain will be available this fall for playing adventure. Poke’mon is uled to buzz in during the late PC play. coming to the States in September. summer and might be one of the Travel the Warner Brothers Sailor Moon has been one year’s most popular games. Buck Studios “back-lot” in the Animani- of Japan’s most successful animat- Bumble is a Cyborg Bee who bat- acs Adventure Game. Players ed television programs and has tles mutant insectoids that are assume the identity of popular enjoyed a cult following in the enslaving the Earth’s native insect characters in order to thwart the U.S. The 3D Adventures of Sailor population. The bug eye view of a evil plan of Thaddeus J. Plot to Moon by 3VR, Inc. can now be 3-D world encompasses over 20 destroy the old Animaniacs’ films. found on retailers shelves. The eerie environments to walk Animaniacs will be on store action and adventure includes a through or fly over during full shelves for PCs this fall. 3D Magical Puzzle Room, Fashion arcade action and driving game- Salon and Fitting Room, Galactic play. Buck Bumble will be a multi- Buck Bumble is scheduled to Moon Library, Crystal Fighting player game released for Ninten- buzz in during the late sum- Area and Moon Castle TV Show do 64. mer and might be one of the enhanced by the Sailor Moon year’s most popular games. Theme Song. The 3D Adventures Joseph Szadkowski writes on vari- of Sailor Moon provides girls with ous aspects of popular culture a sophisticated heroine and and is a columnist for The Wash- New From Japan... immersive environment that will ington Times. Nintendo is ready to fight have their male counterparts beg- back against PlayStation’s domi- ging for a chance to play. nance with Poke’mon for Game Note: Readers may contact any Animation World Magazine con- Boy. The animated Poke’mon tele- UBI’s New Offerings tributor by sending an e-mail to vision show, which is the highest- UBI Soft Entertainment pro- [email protected]. rated children’s animated show in vides animated family entertain- Japan, is moving overseas with ANIMATION WORLD MAGAZINE July 1998 55 Disney’s Mulan: A More Modern Heroine by Andy Klein aving exhausted the canon of classic Euro- Hpean fairy tales and chil- dren’s books that provided the basic story material for five decades of animated features, the filmmakers at Disney have, in recent years, turned to the Middle East (Aladdin), colonial America (Pocahontas), and Africa (The Lion King). (They have also turned to the world of adult literature, leading to their ambitious, but misbegotten, ver- sion of The Hunchback of Notre Dame.)

An Asian Classic Now—and it’s about time—they’ve looked to the Far East, where there is a body of fable at least as rich and well- The atypical Disney gal, indeed: Mulan incognito. recorded as in Europe. The new © Disney Enterprises, Inc.All Rights Reserved. Mulan cleaves relatively faithfully the Great Wall. The Emperor (Pat tion is uncovered, she is drummed to the bare bones of the oft-told Morita) demands that one man out of the corps. Chinese legend of Hua Mulan, a from each family in his kingdom Of course, further crises young woman who is supposed join the fight. Elderly, infirm Fa require that she save the day once to have taken her ailing father’s Zhou (Soon-Tek Oh), the only again. place in the Emperor’s army dur- male in the Fa family, prepares to ing a fierce invasion. do his duty. To protect him, his The secondary nature of the doting daughter, Mulan (Ming-Na No previous Disney feature has romantic subplot really repre- Wen), cuts her hair and goes off in been so centrally concerned sents a change. drag in his place. with gender roles... There is nothing new about cross-dressing comedy— Disney has changed her Romance Isn’t the Answer even in family films—and much of No previous Disney feature family name from Hua to Fa— the humor in Mulan derives from has been so centrally concerned which is no great sacrilege, since the heroine’s attempts to under- with gender roles and only Beauty even the historical records of the stand and imitate male character- and the Beast came within shoot- real Mulan can’t seem to agree on istics. (Think Tootsie in reverse.) ing distance of Mulan’s modern her name or even the century in Thanks to her cleverness, she take on the subject. Like Belle, which she lived. In Disney’s ver- becomes the best of all the sol- Mulan is smart and plucky...and a sion, China is threatened when an diers—not surprisingly, given complete outcast. Even more than army of Huns, led by Shan-Yu what louts most of the genuine Belle, she has to take charge of (voice of Miguel Ferrer), breach males are. Still, when her decep- her fate. And, way more than ANIMATION WORLD MAGAZINE July 1998 56 Taking From the Culture Not surprisingly, the anima- tors have drawn their visual inspi- ration from Chinese and Japanese sources. The characters’ simple lines and the clean look of the backgrounds resemble classic Asian painting. Plus, the filmmak- ers haven’t “Westernized” the char- acters’ features. The film should draw none of the complaints that greeted Aladdin. If the film does draw fire for cultural insensitivity, it’s likeliest to be for its chief comic supporting character. Mulan’s three army buddies (voiced by Gedde Watanabe, Jerry S. Tondo, and—!—Harvey Fierstein) may be Following a disastrous encounter with the village matchmaker, Mulan is comforted by cut straight from the standard Dis- her father, Fa Zhou. © Disney Enterprises, Inc.All Rights Reserved. ney pattern, but her main advisor, Belle, she finds her eventual fulfill- finding a suitable husband can a diminutive dragon named ment independent of a romantic she satisfy her family’s honor. Mushu, is more than a little out of resolution. When she bungles the interview, it time and place, sounding like a is implied that she has no further cross between George “The King- The new film shows Mulan dis- options. Curiously, these scenes, fish” Stevens and a Baptist preach- covering along the way that while amusing, are the weakest er. Admittedly, a jive-talking drag- she doesn’t have to accept her part of the movie. While they may on in sixth-century China is pretty preordained position. be thematically important, they irresistibly funny and Eddie Mur- are so tangential to the rest of the phy does the most with the mate- This is still a Disney film and plot that they delay the film from rial he’s given. (“So, Miss Man’s thus, it upholds most of the tradi- getting down to business. decided to take her little drag tional values that have marked the studio’s animated feature output for 60 years. However, the sec- ondary nature of the romantic subplot really represents a change. Mulan isn’t waiting for her prince to someday come; when he does arrive, having known her primarily as a man, and having learned to admire her for her deeper quali- ties, the romance is muted and subtle. While Belle was an inde- pendent type from the start, the new film shows Mulan discovering along the way that she doesn’t have to accept her preordained position. Our introduction to the character shows her nervously If the film does draw fire for cultural insensitivity, it’s likeliest to be for its chief comic preparing to impress the town’s supporting character, a dragon named Mushu, shown here with his cricket companion, imperious matchmaker; only by Cri-Kee. © Disney Enterprises, Inc.All Rights Reserved. ANIMATION WORLD MAGAZINE July 1998 57 Mulan. Directed by Tony Bancroft and Barry Cook. Written by Rita Hsiao, Christopher Sanders, Philip LaZebnik, Ray- mond Singer, and Eugenia Bost- wick-Singer. Score by Jerry Gold- smith; songs by Matthew Wilder and David Zippel. Produced by Pam Coats. With the voices of Ming-Na Wen, Lea Salonga, Eddie Murphy, B.D. Wong, Donny Osmond, Harvey Fierstein, Jerry Tondo, Gedde Watanabe, Matthew Wilder, James Hong, Miguel Ferrer, Soon-Tek Oh, Freda Foh Shen, Pat Morita, June Foray, Marni Nixon, George Takei, Miriam Margolyes, James Shigeta, and Frank Welker. Mulan’s CGI sequences, in particular the big battle between the Huns and the Chinese, are the most memorable scenes. © Disney Enterprises, Inc.All Rights Reserved. show on the road,” he pouts, after if any, such influence on display. Andy Klein is a film critic for the Mulan decamps for the army.) With the exception of a New Times newspaper chain. He great funk track at the end, the is head of the animation commit- Humor Anyone? song score, sad to say, is distin- tee for the Los Angeles Film Crit- guished from other recent Disney ics Association (LAFCA). Howard Ashman, please come efforts only by its lack of humor. back to life! There is only one funny number, “A Girl Worth Fighting For,” and it’s Note: Readers may contact any That said, the material is only moderately funny at best. Animation World Magazine con- nowhere near as good as what Howard Ashman, please come tributor by sending an e-mail to Robin Williams and James Woods back to life! [email protected]. respectively delivered in Aladdin and Hercules. Mulan will not take its place as one of the all-time fun- niest Disney features. (During the last decade, it’s the Musker/Clements unit that has consistently turned out the studio’s most hilarious features.) Despite its simplicity, or possibly on account of it, the animation is often beauti- ful, if rarely eye-opening. The CGI sequences, in particular the big battle between the Huns and the Chinese, are the most memorable scenes. Mulan could have been the perfect opportunity for Disney to incorporate some of the tech- niques and styles that distinguish Japanese anime, but there is little, Disney Enterprises, Inc.All Rights Reserved. ANIMATION WORLD MAGAZINE July 1998 58 Bob and Margaret: An Ordinary Couple Goes Prime Time Worldwide by Maureen Furniss his summer, a new animated another animated series, Dr. Katz: think they are funny. series, Bob and Margaret, is Professional Therapist. Tappearing on the air in Eng- Judging from “Burglary,” The Broadcasting Hurdle land, Canada, the United States the one episode I had seen as I In an article from the Janu- and elsewhere. It features a hus- wrote this review (which was ary issue of Televisual, a commen- band and wife in their mid-40s before the show’s debut in the tator posed the question: “Is this who, along with two pet dogs, U.S.), it seems that the series has the U.K. answer to The Simpsons?” manage to deal with the day-to- promise. The dry humor I general- In more ways than one, this is an day stresses of their ordinary lives. ly associate with British comedy is interesting point to query. As prac- Created by Alison Snowden and certainly there, with unexpected tically everyone knows, The Simp- David Fine (aka Snowden Fine), narrative developments adding sons has been instrumental in the series is based on the creative twists to the story in interesting demonstrating that prime time duo’s 1995 Academy Award win- ways. I laughed out loud several animation can be a success. In the ning short film, Bob’s Birthday. In times, which is either an extremely United States, King of the Hill is the United States, Bob and Mar- good sign or an extremely bad perhaps the most fortunate bene- garet debuted on Comedy Central sign, as most of the series I have ficiary of this ‘revelation’, having on June 22, 1998. It airs Mondays laughed at have been canceled reaped its own rewards as a huge at 10:30 p.m. (ET/PT), following because no one else seems to prime time hit on the Fox Net- work, where The Simpsons also airs. Nonetheless, at the 1997 International Animated Film Mar- ket (MIFA) held in conjunction with the Annecy festival, a panel of international animation execu- tives discussed the viability of prime time animation in their own countries, which included the United Kingdom, Germany and France. They lamented the fact that it remained difficult to con- vince broadcasters that an adult- oriented animated series had a place in a prime-time slot.

Within recent years British television has broadcast many innovative animated works aimed at older viewers...

However, within recent years British television has broad- cast many innovative animated works aimed at older viewers, including two series: Crapston Vil-

Margaret, Bob and their dogs,William and Elizabeth. Courtesy of Comedy Central. las (created by Sarah Ann ANIMATION WORLD MAGAZINE July 1998 59 (Fox) and thus are subject to the government Broadcast Standards and Practices regulations, Bob and Margaret is being aired on a cable network, which is not bound to the same level of censorship. As a result, it can be somewhat more ‘broad’ in its comedy than even The Simpsons and King of the Hill, and the Fox network pushes the limits of network television. For example, the Burglary episode manages to work in nudity, bath- room humor and at least the pos- sibility of gruesome violence dur- ing a scene when Bob is shown disrobing and sitting nude on a A mouth’s eye view: Bob the dentist. Courtesy of Comedy Central. toilet. Since he’s taken off his glass- Kennedy) and Pond Life (created Pond Life. Like the American es (those 40-somethings don’t see by Candy Guard), both of which works, it centers on domestic fam- as well as they used to), he does- were launched in 1996. These ily life as experienced by a rather n’t realize that the burglar robbing series were given support by ordinary couple who don’t accom- everything in his house, while the British television Channel 4’s Clare plish much. Fine says, “Real peo- sleeping Margaret drools on her Kitson. For some time, it seemed ple just keep doing the same pillow, may at any moment blud- that the fate of Bob and Margaret’s dumb things over and over. Real geon him with a meat cleaver! I position in British programming people don’t always develop, real know it doesn’t sound funny the was uncertain. The Televisual arti- people stagnate, just like Bob and way I write it, but I swear it works cle quoted Fine as he explained Margaret.” Well, that formula in the show. that “the slot C4 gives the series worked for the immensely popular Other things struck me as could make or break it. ‘I hope that American live-action series Seinfeld humorous just because of how they don’t put us out at 5:30 or — and to some extent the same they are played out. A great exam- something like that, but I think formula is employed in both The ple occurs in an exchange they are clear that it’s made for Simpsons and King of the Hill, between two lethargic cops who adults, and should be shown at though they also tend to tackle are supposedly investigating the around 9 p.m.’“ If broadcasters are ‘issues’ of some sort. burglary. At one point, one of willing to support it, Bob and Mar- them gets a toffee from her col- garet may become the first series If broadcasters are willing to league and finds it’s all fuzzy with produced outside the U.S. to gain support it, Bob and Margaret lint — but she eats it anyway! It financial success and international may become the first series really does play more funny the attention in prime time. I’m not produced outside the U.S. to way Snowden and Fine write it. sure Bob and Margaret would gain financial success and For American audiences, the ever rival the success of The Simp- international attention in Britishness of the characters alone sons, but I think it has the potential prime time. is likely to earn the series some to make a strong showing. points. The police officers and the However, within the United robbers are particularly appealing; The Best of Two Worlds? States, differences in the exhibition I thought the supporting charac- To me, the appeal of Bob of the three series affect their con- ters in the episode provided most and Margaret falls somewhere tent to some extent. In contrast to of the humor. It will be interesting between the American series The the two American animated series, to see whether Snowden Fine’s Simpsons and King of the Hill, and which are shown on public air- decision to make each episode a the British Crapston Villas and waves by a network broadcaster ‘stand alone’ show, without links ANIMATION WORLD MAGAZINE July 1998 60 between the episodes or the sup- was pre-sold to Channel 4 in the porting casts (which add so much UK, Comedy Central in the U.S., to the popularity of The Simpsons), and Canada’s Global Television. has any affect on the series’ suc- Each of the thirteen 22-minute cess overall. episodes currently in production The comedy in Crapston is budgeted at U.K. £270,000 Villas and Pond Life and the over- (at a June 1998 conversion rate, all appeal of those two series approximately U.S. $440,000 would seem to be a lot more spe- each). Layout, design and story- cialized than that of Bob and Mar- boarding, as well as digital garet. There was some concern painting and compositing using among ‘consultants’ that Bob and the Animo system, is being done Margaret would not be of interest by Nelvana, while animation is to young viewers, due to its focus being completed in the Philip- on an angst-ridden couple who pines. Fine says he is happy to Courtesy of Comedy Central. are in their 40s. Based on seeing be removed from the produc- one episode, which admittedly is pared to King of the Hill, it almost tion details, explaining that he not much of a sample, but with looks like full animation. Okay, wanted more time for the creative the benefit of knowing Bob’s Birth- that’s a bit of an overstatement, work and voice recording, which day and other works by Snowden considering that these characters is done in London: “We are avoid- and Fine, it seems to me that the are anything but the lively singing ing the drudgery of animation, like series actually has the potential to and dancing types one might find painting cels. I hate all that.” attract a fairly wide audience. In in a Disney feature, but thank It is certain that many eyes any case, it seems a wider range goodness for that! will be on the Snowden Fine series of ‘family’ viewers would be The history of the series’ as it airs this summer, including drawn to the everyday experi- development is interesting. As the those of investors who will be ences of the characters in Bob and story goes, Snowden and Fine interested to see if the series can Margaret, than to the raucous were bombarded with calls follow- indeed attract audiences in prime raunchiness of Crapston Villas (see ing their win of an Academy time. the AWM article “Jill McGreal’s ‘Out Award for Bob’s Birthday in 1995. Visit Alison Snowden and of the Animation Ghetto: Clare Kit- Although they had visions of work- David Fine’s web site in AWN’s Ani- son and Her Muffia” ing with an American studio, the mation Village, which includes [http://www.awn.com/mag/issue artists, who are British and Canadi- images from the Oscar-winning 1.2/articles1.2/mcgreal1.2.html] an, decided against a partnership animated short, Bob’s Birthday for a bit of dialogue), or the with Universal Pictures because it [http://www.awn.com/snowden- female-centered narratives of wanted the characters in Bob and fine/index.html]. Pond Life, which is subject to that Margaret to be more ‘American- ized.’ Fine says Universal was con- old ‘men won’t watch women’s Maureen Furniss is the editor and stuff’ argument. cerned about the series’ “British- ness and wanted to change it. publisher of Animation Journal, a They wanted to have it set in the scholarly journal based at Chap- It seems to me that the series US, or make Bob and Margaret man University, in Orange, Cali- actually has the potential to have loads of American friends.” fornia, where she is an assistant attract a fairly wide audience. Snowden Fine had devel- professor in the School of Film oped a relationship with Channel and Television. The Fine Print and Details 4, which picked up 25 percent of Technically, the work in the series’ production costs, and Note: Readers may contact any Burglary looked fairly good. I saw then sealed a deal with the Cana- Animation World Magazine con- what appeared to be smudges dian production house Nelvana, tributor by sending an e-mail to and fuzziness in images, but over- which paid for the remaining 75 [email protected]. all the animation is smooth. Com- percent of the costs. The series ANIMATION WORLD MAGAZINE July 1998 61 For The Love of Prague book review by Adam Snyder ene Deitch’s For The Love told him. “I of Prague begins in late want you to go GOctober, 1959. A con- to my studio in fused, extremely nervous Ameri- Prague.” can animator is being transported Gene deep behind the Iron Curtain on a laughed, won- Soviet-built DC3-copycat plane. He dering why wonders aloud, “What the hell am someone I doing here? Who is this guy Sny- would have an der? Am I being set up?” animation stu- The anxious animator is dio in Okla- Gene Deitch, who had recently homa. He was left CBS Terrytoons where he had remembering created such unforgettable char- his basic train- acters as Tom Terrific and Manfred ing days at the Wonder Dog. The mysterious Camp Gruber Snyder is my father, William L., in Muskogee, who had founded Rembrandt when he and Films a decade earlier to import his buddies films to the U.S. from Europe. After would go to a distributing such classics as Jiri bar in a nearby Trnka’s Emperor’s Nightingale and poke town Albert Lamorisse’s White Mane, he named Prague. had just begun producing anima- “No, not tion in Prague. Prague, Okla- homa,” my father respond- For The Love of Prague is not ed with his typ- the story of one man’s love for ical swagger. an ancient, magical city, or also promised, in writing, that he “Prague, Czechoslovakia.” even of his experiences as the would not have to remain in Gene had never even had only American to live in Prague for more than ten days. a passport before, and was dubi- Prague during virtually the ous about traveling to a Commu- entire Cold War. One of the most heartbreaking nist country on someone else’s sections of the book tells of lark. So my father gave him an how she lost custody of her offer he couldn’t refuse. If Gene To Go Where? son ... because she was in love Several months earlier my would go to Prague and straight- with an American capitalist. father had walked into Gene’s en out production on a cartoon Manhattan animation studio and, he was producing there, my dad puffing on his signature Cuban would finance Gene’s pet pro- Enter Fate cigar, proceeded to give Gene one ject—Munro, Jules Feiffer’s story The fates had other ideas, of the great snow jobs of the Cold about a four-year-old boy drafted however. Gene promptly fell head- War. “I’m told you’re the best ani- into the Army. When Gene still over-heels in love with the city on mation director in New York,” he expressed reluctance, my father the Vltava River, and never again ANIMATION WORLD MAGAZINE July 1998 62 would return to the when they first met, and United States to live. even more than Gene, However, For The risked everything so they Love of Prague is not could be together. One of the story of one the most heartbreaking man’s love for an sections of the book tells of ancient, magical city, how she lost custody of or even of his experi- her son, David, solely ences as the only because she was in love American to live in with an American capital- Prague during virtu- ist. The most harrowing ally the entire Cold pages tell of how in 1985 War. Rather, it’s about David sought asylum in the how Gene left West. Gene vividly behind everything describes the frightening he knew—his experience of driving him friends, his family to freedom. Gene could (including a wife and have been expelled from three sons in New the country, and Zdenka York), his career, his might have been denied entire way of life—to travel, or worse. be with the 4’11” dynamo he met dur- A Special Situation ing his first few days All during my child- in Prague. More than hood, Gene and Zdenka’s anything, For The love story, their experi- Love of Prague is the ences under Communism, story of Gene’s four as well as my father’s own decades with Zden- October 28, 1959. Bill Snyder welcomes Gene Deitch to Prague. mysterious adventures in ka Najmanova, his Photo courtesy of Gene Deitch. that other world, were part “self-assured, in con- self-proclaimed workaholic who, of Rembrandt Films lore. trol, in command, unshakably save for vacations and a single After reading For The Love of optimistic, fearless, competent and two-week bout with the flu, has Prague, tales of jazz concerts, their talented” wife and professional not missed a day of work during many friends, the absurdities of partner. more than half a century as a pro- the Communist bureaucracy, and In 1958 my father estab- ducer at the famed Czech anima- other details of their lives behind lished a special ‘Snyder unit’ at the tion studio. Never one to mince the Iron Curtain, confirm for me famed, state-owned, sole Czech words, she has managed over the what from afar and through the studio. He even imported a state- years to play havoc with the Eng- eyes of a child, I had always imag- of-the-art Portman camera from lish language, often with amusing ined. Despite living under a totali- America. To run it, he hand-picked results. Like the constellation she tarian regime, without many of Zdenka, one of the few people in calls the Big Diaper. Or that New the physical comforts we took for Czechoslovakia who spoke Eng- York is crowded with skyscrappers. granted, in many ways he and lish. For the first week Gene was in And that the Earth someday might Zdenka led a storybook life. Work- Prague however, Zdenka refused be threatened by investors from ing for western animation clients to talk to him. She was appalled outer space, causing Gene to envi- and holding a U.S. passport, Gene that this “American” had been sion rows of little green men com- enjoyed a special status. He could recruited to “save” the project on ing down the gangplanks of their hop in his car and drive to West which they were working. Today flying saucers, each carrying a Germany any time they needed Zdenka—now Zdenka Deitcho- briefcase! coffee, a new tape recorder, or va—is still a bundle of energy; a Zdenka, too, was married other hard-to-find items. He and ANIMATION WORLD MAGAZINE July 1998 63 ings to the women and bottles of Jack Daniels to the men. Even Gene admits that he, “cannot for- Your Ad get the great fun we had togeth- Your Ad er, and the great creative burn Could Be we both raced through.” I buried Could Be my father last week. And as I Here! reread Gene’s book, I was remind- Here! ed that no matter what was going on between them, part of Gene and Zdenka photographed during a my father’s legacy was the impact For rate cards and visit to San Francisco, March 1998. Photo he had on one man and one additional information about courtesy of Wendy Jackson. woman whose story is told in For various opportunities Zdenka traveled regularly to West- The Love of Prague. for exposure at ern Europe together, although In 1995 Adam Snyder, pres- Animation World Network, Gene was required to write a letter ident of Rembrandt Films, began contact our to the government inviting her to collaborating with Gene Deitch on Los Angeles travel with him to a specific place The Nudnik Show, which now has office at and return with him at a specific been distributed by Sunbow time. Entertainment in more than 20 213.468.2554 countries. Gene likes to say that in all the For The Love of Prague or e-mail years he lived in Prague he (1997, ISBN 80-7205-467-8) is any of our sales never met a Communist... only available from its exclusive dis- representatives: tributor, Peter Lemkin, P.O. Box Gene likes to say that in all 136 CZ-110 01 Prague 01, Czech the years he lived in Prague he Republic, or via e-mail: North America: never met a Communist, meaning . Price is that he never met a true believer. U.S. $20 per copy, which includes Dan Sarto It’s a simple enough statement, but air mail postage to anywhere in like many anecdotes in the book it the world. Only personal checks [email protected] reveals a larger insight into the and cash are accepted. Communist culture. My chief com- plaint is that I would have liked to Adam Snyder is President of Rem- Europe: learn more about his work at the brandt Films, producer of Nudnik animation studio, but that book is and Friends, distributed by Sun- Thomas Basgier now in the works, Gene assures bow Entertainment, and other [email protected] me. cartoons and several series dis- tributed by Palm Plus Produc- Remembering the Good Times tions, including classic animation For me, of course, the most from Zagreb Film and the Sofia U.K. painful passages concern Gene’s Animation Studio, which are Alan Smith falling out with my father. But packaged into two thirteen part Zdenka and I prefer to remember series, Maxicat and Friends and [email protected] only the good times—the excite- Three Fools and Friends respec- ment generated by one of my tively. dad’s visits to Prague in the 1960s, his buying antiques for a song, Note: Readers may contact any Other Location: throwing dinner parties on a boat Animation World Magazine con- [email protected] as it sailed under the Charles tributor by sending an e-mail to Bridge, handing out nylon stock- [email protected]. ANIMATION WORLD MAGAZINE July 1998 64 An Afternoon with Ollie Johnston, Frank Thomas and Pinocchio by Charles Solomon ierre Lambert’s CS: How accu- Pinocchio, origi- rate and thor- Pnally published in ough do you France by Demons et think the book Merveilles and in an is? English translation by Hyperion, ranks as the OJ: Somebody loveliest animation says that Eric book of recent years. Larson took The pages seem to over Fred overflow with exquis- Moore’s Lamp- itely reproduced cels, wick at the end, backgrounds, draw- when he turned ings and set-ups. into a donkey, Recently, two of the because he Nine Old Men of Dis- knew how to ney, Ollie Johnston draw animals and Frank Thomas, from living on a who animated key farm. That’s not scenes of the title char- true: Fred did acter, sat down with that stuff. I animation critic know, because I Charles Solomon to was working on discuss Lambert’s a couple of work. have quite the sparkle that I scenes and worked with him. remembered in the picture, but it Charles Solomon: What were your sure had everything else. If you CS: Milt did some of that too, did- reactions to the book? like Pinocchio, this is really the n’t he? place to see it. Pinocchio lends itself to a book OJ: He did a lot of the Pinocchios. Ollie Johnston: That’s what I felt. of this quality. - Ollie Johnston I just did two or three scenes in Pinocchio has more wonderful there. Bill Tytla did not work on locales than almost any other pic- Geppetto. (To Frank) And didn’t it Frank Thomas: I thought it was ture—almost more than Snow say that you worked on the char- exceptional. When it first came White, and is more refined. There acter of Alice? out, I was amazed they would are the wonderful shots of [Gus- spend that much money on all of tave] Tenggren’s looking down on FT: Probably. In reading through the technical aspects of putting the city—just fantastic! I never get the book, the errors bothered me, the book together—the artwork tired of looking at them. The text is but then I got to thinking, “Well, it’s they were able to find, the paper, good, but the art dominates the got the spirit of the thing.” The the coating on the paper to get book, and it should. There are quotes from the guys, even true colors, everything that Walt errors in the text, as in all the though they were wrong—if he’d was trying to get in there. It didn’t books. gotten the right people, I think ANIMATION WORLD MAGAZINE July 1998 65 they would have said the same FT: It has a fantasy to it that stimu- moments in the film. What do you thing. So from one standpoint, it lated his thinking. He could always remember about those scenes? doesn’t hurt the book. A technical- split off something that annoyed ly accurate book is pretty hard to him, if he also found elements that OJ: Well, I know I was pleased to get, and it would be a different looked good to him. get it. Frank did the long nose type of book. Of course, being a sequence at the end. I did the stuff perfectionist you always think, OJ: Frank and I started on a cou- where it was starting out to grow “Why couldn’t they do a book that ple of scenes that never got and he was worried about his would be all this?” Kimball gets a shown. The drawing of the little father. When the Blue Fairy lot of credit on Peter Pan, for Cap- puppet looked more like Freddy appears, he’s hiding, on the floor, tain Hook, but there’s no mention Moore’s sketches at that time. But all the time with his hat off. Frank of the Indian Chief, whom he did then they put the thing back into helped me with the drawing a very good job on. story (development). In the mean there. time, Milt came up with the more OJ: He didn’t do any of Hook. boyish puppet, who was softer FT: Pinocchio was constructed and more appealing. Fred came in wrong for something like that. His FT: He did the Indian Chief, he did and said, “My god, that Milt Kahl head was far too big; his arms the Lost Boys. can draw, Jesus!” weren’t short but they were right next to his legs. So usually you’d OJ: Pinocchio lends itself to a book In reading through the book, turn the head like this to get the of this quality. We had Claude the errors bothered me, but hat within reach [he tilts his head Coates, we had Tenggren. We then I got to thinking,“Well, to one side]. You’d have him touch had the animators, we had it’s got the spirit of the thing.” a little bit of the brim and take it off [Hugh] Hennesy and [Charlie] - Frank Thomas Philippi, those great guys. One OJ: I knew the scenes where his reason, of course, for the level of nose would start to grow was real quality was Walt: he was behind CS: What about the story of Ray big stuff to do. I felt like I was living every idea, every character, every Disney and the cigar? a charmed life at that time, having word, every color and literally stuff that good. Frank took over every thing. That was the last pic- FT: Ray didn’t even seem to be part on the long stuff, and I did the last ture he was that closely involved of the same family as Roy and scene. in. Walt. So it was okay for him to sell his insurance. There was this big FT: It was after Ollie started on the CS: What do you think interested meeting in Sweatbox Four, which thing that someone said, “Why him in that story to begin with? In was this nice room with soft don’t we have some leaves come the book, he says that Walt haunt- chairs. We were all sitting and try- out of the nose?” That led to ed the nearby library’s children’s ing to look intelligent, talking another idea, then I went up there department and that’s where he about what the Fox should be. one day, and here’s a whole new found it. Nobody was getting anywhere, chunk of the storyboard, with the when suddenly the door opened bird’s nest, the two eggs and the OJ: I’m not so sure that’s correct. and there was this kid with this birds that popped out and flew He probably read some of it but I cigar. He didn’t say anything you away. I said, “Wait a minute! This don’t think he read all these books. could understand, he just went on can’t be!” I didn’t do the leaves or and on. When he closed the door, the birds, but I had to do Pinoc- FT: Not all the way through. we all looked stunned. And Walt chio way down here at the end of said, “There’s your fox!” this vaulting pole, trying to bal- CS: I wonder what attracted Walt ance it. If he said anything, there to the story in the first place, since CS: One of the sequences Pierre would be this six foot pole whip- the original Pinocchio is such a writes about is yours, Ollie: Pinoc- ping back and forth. Different nasty little puppet. chio telling the lie and his nose guys did the nest, the leaves and growing, which is one of the key the birds—on the drafts, we had ANIMATION WORLD MAGAZINE July 1998 66 FT: We had to be aware that you couldn’t anticipate a stumble, anything that happens to him. At the end of the scene, when the audience applauds him, he claps, too—this is what we do, I guess. I was looking for anything that showed he was only born last night; he had no experi- ence to draw on. He had to be very wide-eyed and innocent-looking. Frank Thomas and Ollie Johnston. Photo by Karen Quincy Loberg, courtesy of and © 1995 the Walt Dis- When the girls in ney Company.All Rights Reserved. the dance start about eight names. lousiest idea I’ve ever heard any- coming in, he didn’t know what to where!” I was looking at it just the make of them. That was kind of CS: What about “I’ve Got No other day, and when Pinocchio fun because the only way to make Strings,” Frank? says, “I’ve got no strings, to hold the girls different from him was to me down,” the gesture comes keep them staring wherever the FT: I’d say that was mainly [Wilfred] after he says, “Down.” That was eye was painted on. It couldn’t be Jackson and me. We didn’t know just what I wanted it to do, and no in the gestures, because they all enough about dancing to make one has objected, although I can were puppets together. up a dance, but we wanted to still hear Milt scream, “Oh for That was a tough battle for find some movie that had a simple Christ’s sake!” me, to get it to feel like he was still little dance or a vaudeville comedi- a puppet and the girls were pup- an who had some fancy little step. A lot of people feel Pinocchio is pets, and get a balance there. We We found one in somebody’s ver- the apex of animated features. also had to get his concern about sion of Gilbert & Sullivan’s “Mika- - Charles Solomon them, and get them to look like do.” It had the kick with one foot, they enjoyed him or were having and the other foot just coming a good time or whatever. [To Ollie] along each time he kicked, so that CS: In both of those sequences I guess you and Eric came along looked funny. you had to deal with something with the French girls. By that time I felt pretty strongly that it that’s very difficult to bring off in we had the thing going. ought to be very amateurish. I was animation: something happening talking to Milt one day and said, to the character that he’s not CS: Another thing that strikes me “He’s never rehearsed this, he expecting—he trips or his nose about Pinocchio is that the film doesn’t know what he’s going to starts to grow. There’s no anticipa- doesn’t pull its punches. Where it’s do, he’s making it up as he goes tion: the character has to be as scary—Lampwick’s transformation along. I’m going to have him be surprised as the audience. I’ve and Monstro—it’s really scary. I late on his sync on some of the seen a lot of animation where that think a lot of recent films have words.” Milt looked me and said, kind of thing doesn’t work, but it tended to pull back from that kind “Are you crazy?!? God! That’s the does in Pinocchio. of power. ANIMATION WORLD MAGAZINE July 1998 67 OJ: Well the whole thing on Plea- Snow White may be warmer, there done Cinderella that was so much sure Island where the guy sends are parts of Bambi that are more like Snow White. We wouldn’t the donkey back, “You can still beautiful and Dumbo will make have done any of those pictures; talk.” Geez, this is powerful stuff. you cry more readily. But in Pinoc- they all felt to me, working with chio, everything works in a way him, that he was held in. He was FT: I think it could have been that’s never quite been equaled. trying to make it the best he could, stronger. It’s Walt’s way of thinking, but this wasn’t really what he “Oh that’s as mean as he needs to If things had gone the way he’d wanted to do. During that time he be.” When he did Snow White, I (Walt) planned for the next was nervous. think he was surprised that he was ten years, there’s no telling criticized for making the Witch so where he would have gone. - OJ: Towards the end of that peri- fearsome. Frank Thomas od, when he started on his loco- motive, I’d see him out in the OJ: He didn’t think she was going shop, and he said, “I got to get to be that believable. OJ: I think that’s because of Walt’s this place so it doesn’t hang on involvement. In the book, the one picture all the time.” He knew FT: I think he was worried the author says Walt was never again he had to do something to put other way, that people would hiss as close to the stuff as he was on that place back on a sound foot- and boo at her, like the villain in Pinocchio and Snow White. I think ing, but it wasn’t necessarily going The Drunkard. that after he got off Pinocchio and to involve him in the way he had on to Fantasia, it was a different been involved. OJ: I don’t think he felt that picture kind of a picture and a different was going to grab people the way type of involvement. When he it did. I don’t see how he could came to Bambi, the money situa- Charles Solomon is an interna- have imagined it. tion and the war were causing tionally respected critic and histo- problems, although I think he rian of animation. His most FT: On Pinocchio , he hadn’t turned out a real gem. I think this recent books include The Disney changed his mind about the was his last major involvement. That Never Was (Hyperion, Witch yet, so he was still able to 1995), Les Pionniers du Dessin get some of the strength. That’s FT: If things had gone the way Animé Américain (Dreamland, where the story was. It had gotten he’d planned for the next ten Paris, 1996) and Enchanted so believable in a strange fantasy years, there’s no telling where he Drawings: The History of Anima- land, with so many fantasy situa- would have gone. He believed in tion (Knopf, 1989; reprinted, tions. You don’t see Lampwick Fantasia so strongly and we’ve Wings, 1994). His writings on the again—you don’t have any scenes talked many times, where the stu- subject have appeared in TV of him saying, “Don’t leave me dio would be today if it had gone Guide, Rolling Stone, the Los alone.” There are a lot of things over. Angeles Times, Modern Maturity, you could have done to dress it Film Comment, the Hollywood up. Shortly after that we were CS: The way Snow White did. Reporter, Millimeter, the Man- doing Bambi. The story guys chester Guardian, and been wanted Bambi’s mother to be seen FT: If there’d been no war and if reprinted in newspapers and pro- when she was shot, falling to the there’d been money from Pinoc- fessional journals in the United ground, blood on the snow. But chio . States, Canada, France, Russia, Walt said, “You guys don’t need Britain, Israel, the Netherlands that.” OJ: He’d have been doing won- and Japan. derful things. OJ: Then they wanted to kill Note: Readers may contact any Thumper in the second half. FT: He would have gone out into Animation World Magazine con- the Field of Dreams. He wouldn’t tributor by sending an e-mail to CS: A lot of people feel Pinocchio is have done another picture like [email protected]. the apex of animated features. Pinocchio and he wouldn’t have ANIMATION WORLD MAGAZINE July 1998 68 The Hollywood Animation Union (M.P.S.C. #839) by Tom Sito nyone who is a fan of Hol- lywood knows there are big Agaps between the official record and the hidden realities of Hollywood. But it’s not just details of some movie star’s sex habits or scandal that are glossed over, the fact that Hollywood artists formed labor unions to protect themselves from the power of movie studios and their corporate overlords is treated as non-history by the media. That Groucho Marx, Frank Capra, Joan Crawford, Dorothy Parker and Boris Karloff worked tirelessly to build Hollywood’s unions is rarely mentioned in their biographies. Before 1941, salaries were a free for all, anywhere from $6.00 to $500 a week, and Sat- The M.P.S.C. headquarters are located at 4729 Lankershim Blvd. in North Hollywood, California. Photo courtesy of M.P.S.C. urdays were a mandatory work day. Local 843, in Paris by the Syndicat Milt Kahl. Today the M.P.S.C. is National des Techniciens Cine- 3,000 strong, counting among its Likewise in Toontown. matographique, in London by members the animators of Walt Crack open any animation history BECTA, in San Francisco by Local Disney, DreamWorks, Warner book and see if they mention that #16 and in Winnipeg by Local Bros., MGM, Hanna-Barbera, Rich, Chuck Jones walked a picket line, #832. Animation unions at one Hyperion and many more. or that Maurice Noble, Bill Tytla, time also existed in Chicago, Min- Before 1941, salaries were Art Babbitt, John Hubley, Selby neapolis and New York. a free for all, anywhere from U.S. Kelly and Bill Melendez risked their $6.00 to $500 a week, and Satur- careers to create an animator’s The M.P.S.C. days were a mandatory work day. union. The animators of Max Fleis- Today Hollywood anima- The M.P.S.C. guarantees basic cher formed their union in 1937. tion artists and techs are repre- working conditions, wage mini- The Hollywood artists won their sented by the Motion Picture mums and overtime after 40 hours recognition in 1941. Jack Zander, Screen Cartoonist’s & Affiliated per week rules. The union also Frank Thomas, Ollie Johnston, Eric Optical Electronic & Graphic Arts arbitrates disputes artists can have Larson, Dave Tendlar and Bill Scott Local #839. It was formed in 1952 with their employer and provides all once served as union officers. and it’s first signatories included free legal advice. Some bosses Animators in Florida are top Disney artists like John Hench accuse the union of inhibiting cre- represented by Screen Cartoonists and Nine Old Men Les Clark and ative freedom; but the union takes

ANIMATION WORLD MAGAZINE July 1998 69 no position on aesthetics. crowd of young, eager It’s only purpose is to safe- talent. The hard reality guard the working condi- is with the exception of tions of artists. Walt Disney Studios, a The M.P.S.C. pub- union studio, no anima- lishes current information tion studio has ever on wages and personal stayed around long contracts so an artist is not enough for an artist to negotiating blind, okay’s retire from. No one ever visas and helps unem- retired from UPA or ployed members find MGM. Without our work union pension fund, The sorry state of many Golden Age ani- the American health sys- mation artists would tem is well known. The have no recourse in M.P.S.C. provides some of Tom Sito. their sunset years. the best health insurance in Cali- your health insurance, in this plan In addition, the M.P.S.C. has fornia — the Motion Picture the employer contributes and added a multi-employer 401k Health and Welfare plan. It pro- your pay is unaffected. plan, an additional way that mem- vides major medical, dental, opto- The M.P.S.C. is also the bers can save towards their retire- metric, pharmaceutical, chiroprac- guardian of the old age pensions ment and take out interest-free tic and acupuncture coverage. of animation folks. The popular loans on their account. The plan covers same-sex couples, myth that animators keep drawing cannot refuse you if you have a into their 90s or become rich from One of the most popular ser- pre-existing condition like diabetes Disney stock is only true for a tiny vices the M.P.S.C. provides is the American Animation Insti- or cancer and follows you from percentage. The great majority of tute. job to job for up to one and one- animation artists eventually reach half years after you leave the an age where their energy or cre- The M.P.S.C. throws it’s sup- industry. Best of all, while in many ative powers have diminished, or port to political issues like making U.S. companies money is deduct- they just don’t want to compete common cause with the National ed from your paycheck to pay for anymore with the ever growing Cartoonist’s Society and the Writers Animation World SStore http://www.awn.com/awnstore

Never before available!! Original Production cels from the Oscar nominated film The Big Snit by director Richard Condie

ANIMATION WORLD MAGAZINE July 1998 70 Guild to oppose a California law There are two enrollment ran said in 1815, “It is the com- that forces freelance artists to pay periods, one in the spring and one mon fate of the Indolent to see business taxes. They also have sup- in the fall. Sometimes there is a their rights become prey to the ported historical preservation waiting list to enroll and a class Active. The condition upon which groups like Hollywood Heritage to could close out before you have a God hath given us Liberty is eter- preserve animation landmark chance to apply. When the A.A.I. nal Vigilance.” That quote was not buildings like Hanna-Barbera’s old was started the total student given to me by my college profes- headquarters at 3400 Cahuenga enrollment was around 40. With sor but by the late Bill Scott, ani- Blvd. the current boom in animation mation writer, director and voice 750 students enrolling with of Bullwinkle the Moose, who was What does this have to do dozens more being turned away also a passionate union activist. with the love of cartoons? or put on a waiting list is not At the National Cartoonists Nothing and everything. uncommon. The union office staff Society annual meeting, we were is small and they must cover union addressed by Joanne Schuster, the issues as well as A.A.I., so please widow of Superman co-creator The A.A.I. be patient. Joe Schuster and the model for One of the most popular To reach the union office Lois Lane. Siegel and Schuster services the M.P.S.C. provides is the with questions or if you wish an were the two 19 year-olds who American Animation Institute. It A.A.I. catalog mailed to you call sold away their creation, Super- was formed in 1980 to further the (818)-766-7151. The A.A.I. reser- man, for $130 and never saw any retraining of our members and to vations only number is (818)766- of the tens of millions of dollars provide a low cost way new talent 7746. The M.P.S.C. 839 is located profit their creation made. In could get animation training. All of at 4729 Lankershim Blvd., North 1978, blind and indolent, they the A.A.I.’s teachers are current Hollywood, CA 91602-1864. The received pensions only after public working professionals who drive fax number is 818-506-4805. protests by united cartoonists. Mrs. to the classroom directly from their AWN has links to our web site Schuster told us, “All artists should studios. Past lecturers include Milt through the Animation Village. stick together because only then Kahl, Art Babbitt and Cliff Nord- do you have real power!” berg. The renowned drawing Our Satyagraha Let the love of animation teachers Glenn Vilppu and Karl Finally what does this have guide our hearts but not cloud Gnass conduct workshops at A.A.I. to do with the love of cartoons? our minds to the realities of mod- as well. The classes cost in the Nothing and everything. ern business. range of $80-$100. In a perfect world there The A.A.I. offers classes in would be no need for unions character animation, inbetween- because everyone would get their Tom Sito is a 20-year animation ing and cleanup, life drawing, fair share. The last time I looked, veteran and teacher whose cred- background and figure painting, this wasn’t yet a perfect world. its include He-Man and the Mas- storyboarding and character Isn’t talent enough? History has ters of the Universe, The Little design. Most classes are at night proven it isn’t. Most businessmen Mermaid, Beauty and the Beast, but some weekend workshops who invest in animation love the Aladdin, The Prince of Egypt and exist as well. You don’t have to pay medium as much as the artists do. Paulie. He was elected president for a full semester of classes like a However, the M.P.S.C. was created of the animator’s union M.P.S.C. degree program; you pay on a to guard against those who are 839 in 1992 and has served in class by class basis. The A.A.I. is just seeking a quick buck or step- that capacity ever since. considered adult education and is ping up on the necks of others; a non-accredited school. Classes those who consider animators just Note: Readers may contact any begin with a three week required ‘wrists’ and naive children. That is Animation World Magazine con- seminar called “Introduction to the our Satyagraha. tributor by sending an e-mail to Industry.” The Irish patriot John Cur- [email protected].

ANIMATION WORLD MAGAZINE July 1998 71 by Wendy Jackson Business High Court (Tribunal de Grande fight for the image of animation as Instance) in Paris on the charges a media beyond kids,” said Cedric Microsoft Sells Softimage To because they were previous pub- Littardi, one of the men on trial Avid. Softimage, a 12-year-old ani- lishers and/or editors of Anime- who is seeking letters of support mation and graphics software Land, an eight-year-old French and advice from people in the ani- company which became a wholly magazine about animation. The mation community. He may be owned subsidiary of Microsoft Cor- trial has been postponed to Feb- contacted by e-mail at kaze@plan- poration in 1994, will merge with ruary 16, 1999. The three men are ete.net. Avid Technology, makers of the facing charges that the magazine Mr. Littardi has also written Avid Media Composer and Sym- violated the French Law 49-956, an article about the case, which is phony editing systems, forming billed nearly 50 years ago, which included in this issue of Animation one company. Microsoft has sold states that publications believed to World Magazine. Softimage to Avid for a combined be “aimed at youth” must not con- $285 million, part of which is Avid tain “any illustration, any tale, any Sunbow & Cartoon Network stock, so Microsoft will retain sig- chronicle, any heading, any insert Deal. Cartoon Network U.K. has nificant equity in the company. presenting under a favorable light formed a co-production arrange- Montreal, Canada-based Softim- banditism, lies, theft, laziness, ment with Sunbow Entertain- age, makers of Softimage 3D, cowardice, hate, debauchery or ment, an independent production Toonz (2-D) and the new, “next- any act qualified as generation” Sumatra 3-D anima- crime or offense or of tion software will now be respon- a nature to demoral- sible for Avid’s overall high-end ize childhood or graphics and effects business. Sof- youth or to foster or timage president Moshe Lichtman keep going ethnic said, “A focused effort will get prejudice.” The stan- underway to incorporate mutual dard penalty for technologies and architectures in bypassing this are a future products with the goal of year in prison and a building the broadest, most inte- fee equivalent to U.S. grated product line on this planet. $5000. AnimeLand, As we look ahead, we feel very which often features strongly that Softimage, in combi- images from adult-ori- nation with Avid, is in the most ented Japanese powerful position in its history to anime, claims to be a fully realize our Digital Studio publication aimed at vision and to deliver the most and read by adults, powerful, integrated production not children. Howev- environment to our customers.” er, the challenge they face in court is to Anime On Trial! On June 23, prove that an adult Tibor Clerdouet, Yvan West Lau- audience for anima- Sunbow’s Fat Dog Mendoza will be the first in a series of rence and Cedric Littardi were tion exists. “This trial co-productions partially financed by Cartoon Network scheduled to be put on trial in the is a good occasion to Europe. © Sunbow Entertainment. ANIMATION WORLD MAGAZINE July 1998 72 company recently acquired by library of animated series based on Internet allows deeper connec- Sony Wonder. In the multi-year children’s books, including Arthur tions than ever before.” Prior to deal, Cartoon Network will invest and The Busy World of Richard joining Nickelodeon in 1980, Lay- in international co-production of Scarry. bourne was a teacher and advo- animated series including Fat Dog cate of media education. Mendoza for air in 1999. Addition- People al co-production partners for this Musical Chairs. Portland, Ore- series are planned. “We have sig- Laybourne Launching New gon-based Will Vinton Studios nificantly grown our audience Company. Geraldine Laybourne, has hired Keith Shartle as vice across Europe since our launch often described as one of the most president of production. He was four years ago and it was always powerful women in the entertain- previously senior vice president our intention to introduce original ment industry, has left her post as and an executive producer at commissioned series,” said Lynne president of Disney/ABC Cable Dream Quest Images in Los Ange- Frank, senior vice president and Networks to form her own diversi- les, where he has worked for the general manager of Turner Enter- fied media company. With ABC as past 16 years, and was the third tainment Networks International its first investor and client, the still employee hired in the company Limited. unnamed company will focus on which now has 220 employees. . . creating branded content for the . North Hollywood, California- Cinar Acquires Another Pub- Internet and television, targeted based Film Roman has hired lisher. Montreal, Canada-based mainly at women and children. Peter L. Kaufman as vice presi- Cinar Films Inc. has signed a defin- Prior to joining Disney/ABC in dent of business and legal affairs. itive agreement to acquire Char- 1996, Laybourne was president of He was previously director of busi- lotte, North Carolina, U.S.A.-based Nickelodeon/Nick at Nite, a com- ness and legal affairs at Live Enter- publisher HighReach Learning, pany she joined in 1980 at its tainment. For Film Roman, he will Inc. for U.S. $18 million and Cinar beginning. Laybourne said, “With focus mainly on their expansion stock. HighReach is an 11-year-old the explosion of new technologies into live-action production, while company which specializes in pub- of the Internet with traditional Amy Lynne Pucker will continue to lishing educational materials for media, I see many of the same handle most of the animation pre-school children. Last year, conditions today that existed 20 deals. . . . Montreal, Canada-based Cinar acquired Carson-Dellosa years ago.” She added, “The inter- software developer Discreet Publishing Company, launching its play between television and the Logic is conducting an executive educational product division. search for someone to fill the pres- The division is now called Cinar ident and CEO position which will Education and is headed up by be vacated by company founder recently-appointed president Richard Szalwinski who remain Hasanian Panju, previously as chairman of the board. . . . chief financial officer of Cinar Manhattan Transfer senior digi- Films. Cinar president and CEO tal artist Tami Feldman will relo- Ronald A. Weinberg said, “Sev- cate from New York City to Miami, eral fundamental trends under- Florida to work at sister company, score the high growth poten- Post Edge. The two subsidiary tial of the educational market, companies of Video Services Cor- such as the growing school- poration have formed a joint post- age population, increased pri- production division which will be vate and public investment in headed by vice president Dan education heightened educa- Rosen, who is also president of tional standards and the grow- Manhattan Transfer. . . . New York ing use of technology in the Will Vinton Studios’ new vice president of pro- City and San Francisco-based classroom.” Cinar has built a duction, Keith Shartle. Photo courtesy of Will Curious Pictures has added sev- Vinton Studios. ANIMATION WORLD MAGAZINE July 1998 73 eral new people to its computer Magic also brought on Chris been teaching at Ringling School animation team: Christopher Jones as Fire artist. Previously of Art & Design in Florida. Anima- Gwynne is now CG supervisor employed at The Post Group, tion World Magazine has featured and senior technical director, B. Jones worked on several animated profiles of both Pitt Ian Hayden is senior technical series such as The Real Adventures [http://www.awn.com/ director, Owen Demers is senior of Jonny Quest. . . . Two people mag/issue1.11/articles/leger1.11. technical director and CG texture have recently exited executive html] and Geiser and lighting meister and David posts at Children’s Television Work- [http://www.awn.com/mag/issue Baas is senior character animator. . shop (CTW): former vice president 3.2/3.2pages/3.2chimovitznyc.ht . . MGM Animation has signed of program development Dolores ml] in past issues. . . . David actors Betty White, William Macy, Morris has joined HBO as vice Vogler has been named vice pres- Peri Gilpin, Jeffrey Tambor, Harve president of original programming ident/creative director of Nick- Presnell, Wallace Shawn and Joe for HBO Family Channel. In addi- elodeon Mediaworks. Since Pantoliano as the voice cast for the tion, CTW’s former vice president 1995, he had been vice president new animated series, The Lion- of production Marjorie Kalins is of Kid’s Content for Disney Online. hearts. . . . Nickelodeon has now co-producing a feature film He will now relocate from Los signed Rob Mittenthal to an called Elmo in Grouchland with Angeles back to New York, com- exclusive first look film and TV CTW and The Jim Henson Compa- ing full circle to where he worked development deal. Mittenthal is ny. . . . German broadcaster ZDF before Disney, as executive pro- co-creator and executive producer Enterprises has promoted Volker ducer of Nickelodeon Online . . . . of the animation variety show Lehmann to head of acquisi- Jayson Raitt has joined MGM Kablam!, which has just been tions/business affairs, a role in Animation as manager of cre- renewed for 26 new episodes. . . . which he will oversee ten acquisi- ative affairs. He was previously at Santa Monica, California-based tions executives. He was previous- Columbia Tri-Star Television Distrib- post production and effects studio ly in charge of acquisitions of all ution. . . . In line with recent POP has hired visual effects super- children’s programs, documen- expansion of its commercial divi- visor David Sosalla and executive taries and TV movies. . . . Plat- sion, Palo Alto, California-based producer Joe Gareri. Both Sosalla inum Studios, a European comic Pacific Data Images (PDI) has and Gareri were previously at book literary rights company has signed New York City-based effects house Pacific Title Digital hired Bill Kunkel as director of agency Claire Garrett Alden for where they worked on films such interactive development for its U.S. East Coast representation. PDI is as Deep Impact.. . . . Steve Hagel entertainment arm, based in Los represented in the Midwest by Bill has left his post as sales and mar- Angeles. He has been a journalist, Rabin & Associates, and on the keting manager at animation sup- game designer and consultant in West Coast by Lynda Woodward & ply distributor ChromaColour the gaming industry since 1978. Associates. . . . Animation director International, where he had been Platinum also promoted Paul Andy Staveley has joined Lon- for five years. He has moved to Benjamin from manager to direc- don-based animation studio, Aka Newhaven Media, a production tor of creative affairs. Benjamin’s Pizazz as staff CGI animator and is facility also in Calgary, Alberta, background includes working on also being represented as a com- Canada, where he is now the licensing of animation properties mercial director. In between com- business development manager Looney Tunes and Space Jam at mercials, he is working on a short for animation. . . . Santa Monica, Warner Bros. Consumer Products. film called, Night Saves the Day. California-based visual . . . California Institute Of The effects/post-production studio Arts has hired Suzan Pitt as fac- In Passing... Digital Magic Company has ulty member in its experimental hired Mark F. Miller as executive animation department and anima- Ken O’Connor. Legendary Dis- vice president and managing tor/puppeteer Janie Geiser to ney layout artist Kendall O’Connor director. He was previously presi- head up a new puppetry pro- died of natural causes on May 27 dent of Unitel Hollywood. Digital gram. For the past year, Pitt has at his home in Burbank, California.

ANIMATION WORLD MAGAZINE July 1998 74 Contributions and film’s cast includes voices by Eddie inquiries about Murphy, Pat Morita and June the fund are wel- Foray, and songs written by come. For infor- Matthew Wilder and David Zippel. mation, call (213) In case you haven’t noticed the 849-1728. billboards and TV advertising, the film’s opening will also be promot- Phil Hartman, a ed on talk shows and specials air- well-known ing on Disney-owned networks comedian who ABC and the Disney Channel. was also a voice Note: This issue of Anima- actor for anima- tion World Magazine features a tion, was shot to review of Mulan by Andy Klein. death by his wife on May 28 at his Lost Disney Short Found. A rare Mulan. © The Walt Disney Company. home in Encino, 35mm nitrate print of Alice’s Span- He would have turned 90 years California. He was a frequent ish Guitar, an animated short film old on June 7. Born in Perth, Aus- guest voice on The Simpsons, made by Walt Disney in 1926, has tralia, O’Connor emigrated to the playing characters such as past B- recently been found and donated U.S. in 1930. In 1935, he was movie star and infomercial host to George Eastman House Inter- hired as a layout artist at Disney Troy McClure, lawyer Lionel Hutz, national Museum of Photography Studio, where he worked until his fast talking salesman Lyle Lanley, of Film. It is the only nitrate print of retirement in 1974. Some of his political figure Evan Conover, Bart’s this film known to have survived. career highlights at Disney include adoptive “bigger brother” Tom The eight-minute black & white designs for 13 animated features and even Moses . Walt Disney Pic- film combines live-action with ani- including Snow White and the tures recorded Hartman as the mation, like the 17 other films in Seven Dwarfs, Fantasia, Cinderel- voice of a character in the dubbed the Alice in Cartoonland series, la, Peter Pan and nearly 100 English version of the Japanese which starred child actress Margie shorts, including the 1953 Oscar animated feature, Kiki’s Delivery Gay trapped in an animated winner, Toot, Whistle, Plunk and Service, which has not yet been world. The George Eastman Boom. He also taught at California commercially released in the U.S., House hosted the annual summer Institute of the Arts; among his stu- but is currently touring film festi- school for the International Feder- dents were John Lasseter, John vals. ation of Film Archives (FIAF), Musker, Henry Selick, Mark Kirk- through June 26, and is also land and Tim Burton. O’Connor Films home to the only permanent film has received an ASIFA-Hollywood preservation school in the U.S., Annie Award, a Motion Picture Mulan, Disney’s 36th animated The L. Jeffrey Selznik School of Film Screen Cartoonists Golden Award theatrical feature film, opened in Preservation. and a Disney Legends Award. U.S. movie theaters on Friday, For more information Funeral services were private, but June 19. Directed by Barry Cook about George Eastman House, O’Connor will be remembered by and Tony Bancroft, Mulan is the visit the “Hidden Treasures” article a scholarship fund for animation first feature to be primarily pro- in the March 1998 issue of Anima- students. Donations may be sent duced at Walt Disney Feature Ani- tion World Magazine to: mation Florida, which opened in [http://www.awn.com/mag/issue Kendall O’Connor Animation Orlando nearly two years ago. In 2.12/2.12pages/2.12engleeast- Scholarship Fund the Disney tradition of adapting man.html]. P.O. Box 3535 classic tales, Mulan is based on a 1634 North San Fernando Blvd. 2,000 year-old tale of a young girl Fox Vamps Up Next Feature. Burbank, CA 91508-3535, U.S.A. who joins the Chinese army. The Fox Animation Studios has con-

ANIMATION WORLD MAGAZINE July 1998 75 firmed another animated feature was never in production. It is still in nels around the world, in several in development; a musical based pre-production.” He added that different languages. on the story of Dracula. It is the studio “currently has a very expected that the film will be the small crew on the film,” which is in Nick Turns Off In Germany. Cit- third release from Fox Animation the process of “finding out exactly ing weak advertising sales and Studios, which made it’s debut how they are going to make it.” In increased competition for viewers, with Anastasia last fall and is still in February, Fox announced that the Nickelodeon has ceased broad- pre-production on its second fea- film will be released in 1999. Fox is casting its channel in Germany. ture, Planet Ice, slated for a 1999 expected to make a new The channel, launched nearly release. The Dracula film is being announcement regarding Planet three years ago, was challenged developed with Josh Whedon and Ice soon. by the launch of Kinderkanal, a his production company, Mutant new advertising-free cable chan- Enemy, which is also developing Television nel launched last year by German several other vampire-themed pro- broadcasters ARD and ZDF. Nick- jects, including another live-action Toons From Planet Orange is the elodeon hopes to regain its pres- feature based on the TV series name of a new half-hour special ence in Germany by licensing pro- property, Buffy the Vampire Slayer. featuring eight animated short gramming to native broadcasters Whedon’s other projects in anima- films commissioned by Nick- in the future. tion include writing the screenplay elodeon and directed by artists in for Disney/Pixar’s Toy Story, as well Australia, Germany, Latin America, Sony Launches Anime Channel. as one of the songs for Simba’s U.K. and the U.S. It is the first ani- Sony Pictures Entertainment (SPE), Pride, Disney’s direct-to-video mated project by Nickelodeon’s in partnership with Japanese ani- sequel to The Lion King. Worldwide Development Group mation studios Toei Animation, (WDG). “The mission of WDG is to Sunrise, Kyokuichi Corporation Fox Not Freezing Planet Ice. Ten discover fresh talent from around and Nippon, launched ANIMAX— development personnel and artists the globe and provide [them] the the first 24-hour satellite channel involved in pre-production on opportunity to develop and pro- devoted to anime—in Japan on Fox’s next animated feature, Planet duce their innovative, irreverent June 1. Masao Takiyama, a former Ice, were given lay-off notices and ideas,” said Albie Hecht, president executive at Fuji Creative, has completed their last days of work of Film and Television Entertain- been named general manager on May 29. The film’s former direc- ment for Nickelodeon, “[as well as] and CEO of the channel, which tor, Art Vitello parted ways with a chance to develop their charac- will be headquartered in Tokyo. the project at least one month ters into future Nickelodeon toon ANIMAX will be one of 171 chan- ago. However, resulting rumors stars.” The shorts are: Agent Green nels on the new digital platform, that the film has been canceled and Ego From Mars by Kapow SkyPerfecTV!, which aims to reach are being denied by Fox Anima- Productions, Snout by Fudge two million subscribers by the year tion Studios. Division president Puppy Productions, Helmmut and 2000. Programming will consist of Chris Meledandri said, “The film the Killer Nose by Anton Reidel, La animation produced by founding Hora de Hombre Cacto by companies. Darío Adanti and Bárbara Perdiguera, Vida De Sapos Fox Animating ‘99 Line-Up. by Metrovisión Post Produc- Hoping to expand on the success ción, Spider and Fly by Elm it’s had with The Simpsons and Road on the Box and Hec- King of the Hill, The Fox Broad- tor the Get Over Cat by casting Company will add three John R. Dilworth. Toons new animated series to its prime From Planet Orange will air time schedule in mid-season (early simultaneously on August 1999): Simpsons creator Matt 22, on Nickelodeon chan- Groening’s Futurama [AF Toons From Planet Orange. © Nickelodeon. ANIMATION WORLD MAGAZINE July 1998 76 4/14/98], Eddie Murphy and Will ware on an SGI Onyx. . . . Palo Director Dave Borthwick utilized Vinton Studios’ stop-motion The Alto, California-based Pacific Data stop-motion animation with com- PJs [AF 2/17/98] and newcomer Images (PDI) created a comput- puter animation effects. . . . Lon- Seth MacFarlane’s Family Guy. er-animated spot for Gatorade don-based Aka Pizazz created a While Futurama and The PJs were called Frost: Who’s Bad Now! The 30-second spot called Martians for planned and in production well spot depicts a fire-breathing mech- Swedish agency Observa Grey’s before this announcement, Family anized beast chasing a live-action client, Yes washing liquid, in Guy is a relatively unplanned pilot runner who is saved when he which aliens come to earth and by MacFarlane, a 24-year-old grad- steps into the Gatorade Frost discover the product, only to be so uate of Rhode Island School of “world.” PDI’s proprietary software impressed, they return to their Design who was recently discov- was used by animation director planet with hundreds of bottles. ered by Fox executives. MacFar- Cliff Boulé, character animator Director Marc Craste used Animo lane’s student film first brought Adam Valdez, effects for 2-D animation with added CGI him to Hanna-Barbera’s attention animator/modeler Krysztof Rostek effects. . . . Aka Pizazz also creat- where he made Larry and Steve, a and assistant animator Chanda ed a 30-second commercial cur- What A Cartoon! short for Cartoon Cummings. . . . Burbank, Califor- rently airing in South Africa, called Network in 1995. Specific nights nia-based Renegade Animation Sledgehammer. The 3-D stop- of the week on which the three created animated 60, 30 and 15- motion spot for Dispirin aspirin new series will air have not yet second spots for Cartoon Net- pays homage to the animated been announced. In a related work’s “Get Tooned Sweepstakes” Peter Gabriel music video of the move, Fox will relocate King of the promotion. Daffy Duck serves as same name. The director was Hill from its post-Simpsons Sunday narrator for the spots which aired Steven Harding Hill. . . . Lastly, Aka slot to an 8:00 p.m. Tuesday slot, in May. The director was Darrell Pizazz director Philip Hunt (Ah preceding a new live-action series, Van Citters and the animator was Pook is Here) directed the first of Costello, starting in fall ‘98. The Ken McDonald. . . . London-based three spots for mobile phone Simpsons, entering its 10th season Bolexbrothers (The Saint Inspec- operators, Orange. Hunt’s thumb- in fall ‘98, will stay put on Sunday, tor) created a spot for Coca-Cola’s nail line animation of a stick figure but will be followed by another Nestea called Kwiki-Mart, in which was enlarged and made into new live-action comedy, Feelin’ All a skeleton enters a convenience replacement cut-out figures, Right, set in the 1970s. store, and turns into a snowman which were animated against blue after drinking the cool beverage. screen and composited into col- Commercials lage environments with a Henry system. Spotlight. Wonder- The second Orange ing who does the spot is being directed visual effects for by Marc Craste and those Chihuahua the third by Dominic trend-inducing Taco Griffiths, all at aka Bell commercials? Pizazz. . . . Another The spots’ talking London-based studio, dog is filmed in live- Passion Pictures, action then manip- created three 30-sec- ulated with anima- ond spots for Garden- tion by Michael burger, based on Killen at Los Ange- painterly, 2-D art by les-based Post children’s book illus- Logic Studios, trator Dan Yaccarino. using Discreet Director Alyson Logic’s Inferno soft- Hamilton’s back- A Cartoon Network promo by Renegade Animation. © Cartoon Network. ANIMATION WORLD MAGAZINE July 1998 77 directed by Denis Morella. . . . New York City-based Brian Diecks Design created a promo spot called The Xtreme Experience for ESPN, using 3- D wireframe animation and 2- D animated type. . . . Boston- Massachusetts-based Locon- te Goldman Design created a package of bumpers for the History Channel’s new five- part series, Dream Machines. The spots directed by Arne Jensen and animated by Erica Neiges, combine live-action photography with animated effects. . . . Toronto, Canada- based Spin Productions cre- Computer Café’s Ladybug commercial for New Organics Company. Image courtesy of Com- ated two, 30-second comput- puter Café. er animated commercials for ground includes a recent stint as storybook” look. . . . Also in New Cadbury Chocolates, using lead character animator on Warn- York, Curious Pictures director Alias/Wavefront’s Maya software. . er Bros. feature, Quest for Joan Raspo created a 30-second . . Camelot.. . . . Hollywood, Califor- spot for Kellogg’s Smart Start cereal nia-based Acme Filmworks cre- called Seize the Day. The spot Home Video ated a 30-second promo spot for combines animated type and The Tex Avery Show on Cartoon graphics atop live-action photog- Tell Me Who I Am. Positive Com- Network. Director Ashley Lenz raphy of the product. . . . Another munications, Inc. has released a used traditional character anima- recent typography commercial by 35-minute animated video for kids tion composited with added grain Curious Pictures is What’s Miss- aged 3-11, depicting African her- and some original background ing, a 60-second spot for Show- itage. Titled Tell Me Who I Am: The footage from Tex Avery cartoons time Networks which also incor- Journey Begins, the video was to achieve a seamless result. Digi- porates animated graphics, all tal ink and paint was done at Vir- tual Magic. . . . Santa Maria, Cali- fornia-based Computer Café cre- ated a computer-animated com- mercial for the New Organics Company, featuring a computer- animated ladybug interacting with live-action. Ron Honn served as animation director, David Ebner as technical director/animator and Oliver Hotz as lead animator. . . . New York City-based AMPnyc is producing three, five-second sta- tion ids for Primestar Satellite Tele- vision, using three distinct anima- tion styles: water colors, full char- acter animation and a “children’s Swan Princess III. © Columbia TriStar Home Video. ANIMATION WORLD MAGAZINE July 1998 78 directed by James A. Simon and produced by Wantu Enterprises. The musical story is currently avail- able by direct order from PCI ($19.95). Call 1-888-WHO-I-AM-2 or visit www.poscomm.com.

Swan Princess III. Columbia TriS- tar Home Video will release the direct-to-video title, The Swan Princess III and the Mystery of the Enchanted Treasure, produced by Nest Entertainment and directed by Richard Rich. The video features a 72-minute film with five songs and a 12-minute Sing Along sequence featuring songs excerpt- Reader Rabbit’s Kindergarten. © The Learning Company. ed from all three Swan Princess films. The video will be available in anime expert Fred Patten, taking a console called Dreamcast, slated stores August 4 for $14.95 (SRP). A closer look at the burgeoning for release in Japan in November, tie-in promotion and rebate will market for “anime porn.” and in the rest of the world in run on packages of Kid Cuisine 1999. Microsoft and Sega have Frozen Meals in August and Sep- Time For Melody Time. On June been developing this product for tember. 2, Walt Disney Home Video nearly two years. It will utilize a released Disney’s 10th animated version of the Windows operating Anime Update. Following is a list feature, the 1948 film Melody system, and will include a modem of anime video releases scheduled Time. Starring Donald Duck in sev- for networked gaming and Inter- for June, July and August. Right eral roles, the film is a collection of net access. . . . DIC Entertain- Stuf International: Toward the musical stories—or chapters— ment has signed an agreement to Terra and Godmars.. . . . Media such as Pecos Bill and Johnny represent The Learning Compa- Blasters/Kitty Media: Chimera, Appleseed. Some of the songs are ny’s educational CD-Rom game Earthian - The Beginning of the performed by The Andrews Sisters. character, Reader Rabbit, for End and Sexorcist.. . . . A.D.V. Melody Time runs 75 minutes, is worldwide television, video and Films: Space Adventure Cobra, unrated, and is being offered for licensing. DIC will immediately Tekkaman Blade II, Slayers: The U.S. $22.99 (SRP). begin developing the property for Motion Picture, Dirty Pair Flash: domestic and international televi- Mission 2 Act 1, Dragon Knight Internet & Interactive sion programmers and the direct- and Rail of the Star (new English to-video market. . . . Electronic dub). . . . Central Park Media: Quick Bytes. The Electronic Arts announced and is showing Silent Service, Nightmare Campus: Entertainment Expo (E3), the off its slate of upcoming 1998 Volume 1, Fobia 1, The Slayers: world’s largest event dedicated to games for various platforms, Volume 7, Gall Force 1: Eternal showcasing interactive entertain- including Small Soldiers, based on Story, Harmageddon, Voltage ment and educational software the upcoming DreamWorks film of Fighters! Gowcaizer: The Movie and related products, took place the same name which includes and Great Days of the Century. May 28-30 at the Georgia World computer animation by ILM. . . . Many of the above listed Congress Center in Atlanta, Geor- Meanwhile, on the internet, Bris- anime titles are strictly for adults. gia. Exihibitors included Microsoft tol, U.K.-based animation studio This issue of Animation World and Sega who gave a sneak peek Fictitious Egg and director Andy Magazine features an article by at their collaborative new gaming Wyatt have launched a Shock-

ANIMATION WORLD MAGAZINE July 1998 79 wave-viewable animated series called Tommy Sausage at www.eggtoons.com. Warning: this is an adult cartoon!. . . . Macrome- dia’s Shockrave game site is featuring a new animat- ed game by Ezone Cor- poration called Lenny Loosejocks Goes Walka- bout [www.ezone.com/ lennyworld]. The game follows the title character through the virtual town of Pullyapantsup, Aus- tralia. . . . Goblin Enter- tainment has launched The Joe Psycho & Moo Frog Cartoon Show, an Internet cartoon series viewed with Macromedia Flash [www.goblinstu- Prince of Egypt. © DreamWorks LLC. dios.com]. . . . Marvel Interac- Technology Roadshow, Southern Star and BRB tive is using RealFlash to bring its International. . . . Discreet Logic comic characters to life in a new Tools Of The Trade. Phoenix, Ari- recently sold 40 of its Silicon series of Internet “radio-plays” zona-based Rainbow Studios Graphics O2 effect* systems to a called Marvel’s Excelsior Theatre. recently purchased five licenses of new digital cinema school in The web site LambSoft’s Pro Motion software, Japan called Movie Movie. Start- [www.marvelzone.com] became which enables animators to com- ing in October 1998, the two-year subscription-based ($34.95 per bine motion capture data with program will offer classes in digital year) on June 15. . . . The Comic keyframe animation. Rainbow is compositing, motion capture and Book Legal Defense Fund using Pro Motion in production of character animation. . . . (C.B.L.D.F.) is hosting an on-line a 3-D feature film called Billy Jelly- Studios: What technology auction, featuring original art by bean.. . . . Numerical Design Ltd. are you using to create animation? artists such as Frank Miller. . . . has released a new 3D Studio Software developers: Who is using Comedy Central recently MAX plug-in called MAXImmerse, your product and for what? Send redesigned its South Park web site which enables animators and your news to “Tools of the Trade” [www.comedycentral .com/south- game developers to view and at [email protected]. park/] to include a new “Behind interact with scenes in real time. . the Scenes” section featuring sto- . . Colorland, an animation studio Licensing ryboard samples, an episode in Shenzhen, China has gone guide and Q & A with the show’s completely digital in its ink and Licensing Show News. The creators. . . . paint services with 45 ANIMO annual Licensing Show took place More animation-related workstations. This transition has at the Jacob K. Javitz Convention gaming news is featured in Joseph taken place over the past two Center in New York City, June 9- Szadkowski’s E3 review in this issue years, during which time the stu- 11. It is here that producers of ani- of Animation World Magazine. dio has worked on projects for stu- mated properties made deals with dios such as Yoram Gross Village licensees to create toys, games,

ANIMATION WORLD MAGAZINE July 1998 80 software, apparel and released Dexter’s other products based Laboratory: The on their characters. Musical Time Some news was: Machine, an album Canadian company featuring songs from NELVANA is lining Cartoon Network’s up licensees for its six animated series new animated series about a boy genius to air on CBS in fall who conducts exper- 1998. Franklin will be iments from a hid- featured in a promo- den laboratory in his tion of Polygram room. The 30-minute home videos and recording is available Eden plush toys at on CD ($15.98) and the U.S. chain of cassette ($9.98). stores called Zany Brainy. From the Files Education of the Flying Rhinoc- eros will be featured Mentors Wanted! on posters with the Workforce LA, a non- U.S. Postal Service profit organization and as a new ice Dexter’s Laboratory:The Musical Time Machine. © Cartoon Network. serving Los Angeles cream flavor from Happy Kids for Rugrats children’s schools, is looking for Baskin Robbins. . . . Saban/Fox apparel. volunteer mentors to coach high Kids signed Parachute Publishing License of the Year (worldwide school students at its Animation and HarperCollins to create a outside the U.S.): Warner Bros. Boot Camp in August, 1998. Fifty series of children’s books based on Consumer Products Looney Tunes teenagers from the L.A. area, the Life With Louie series. . . . Nick- property. many of whom are from at-risk elodeon recently struck a promo- environments and in danger of tional deal with Campbell’s Soup Music dropping out, need your encour- to tie in with Rugrats and Blue’s agement and expertise! Needed Clues. . . . Australian company Prince Of Egypt Brings 3 for two to four hour assignments Southern Star is handling licensing Albums. DreamWorks Records will are a director, character animator, for Cosgrove Hall and ITEL’s stop- release one soundtrack of songs composer, sound effects designer, motion animated series The Ani- featured on the soundtrack of, in-betweener, clean-up artist and mal Shelf. Ladybird Books has and two albums of songs inspired AVID editor. For information, call signed on for story and activity by DreamWorks Feature Anima- Evelyn Seubert at (213) 224-6191. books, and Bluebird Toys has tion’s debut effort, the animated developed a plush line. musical drama, Prince of Egypt. Events Also during the Licensing The albums, featuring recordings Show, the International Licensing by performers such as country The Exhibition L’imaginaire De Industry Merchandisers’ Associa- artists Reba McEntire and Randy La Ville. showcases backgrounds tion (LIMA) presented its annual Travis, and R&B and pop artists and characters from a 16-minute LIMA awards on June 10. The ani- Boyz II Men and Jars of Clay, will animated film Les Aventures de mated-related winners are: both be released prior to the film’s Guede produced in Abidjan, Africa Licensing Agency of the Year and theatrical release on December by the French Studio Entracte with License of the Year: Nickelodeon’s 18. the participation of children. The Rugrats. exhibit runs until July 2, 1998 at Licensee of the Year/Soft Goods: Dexter Rocks. Kid Rhino recently Kodak headquarters, 26 rue Villiot,

ANIMATION WORLD MAGAZINE July 1998 81 75012 Paris, France. computer networking technology film compilations, a special on The used in feature production, at the Simpsons, and a retrospective of Animated Exhibits. With all of ATM (Asynchronous Transfer Ray Harryhausen, who was be the current public interest in ani- Mode) Year ‘98 Conference held at present to host the closing night mation, chances are that some- the San Jose Convention Center ceremony. For information, con- where near you, there’s some ani- through June 5. For information, tact [email protected] or call mation-related art on display. Ani- visit www.atmyear.com ++ 44 1274-773399 (ext 274.) mator Mo Willems and his father, Casey Willems, a ceramicist, are * Friday, June 5. Providence, * Saturday, June 6 - Sunday, June showing their sculptural works in Rhode Island, U.S.A. 7. Washington, D.C., U.S.A. a joint exhibition called “Father Rhode Island School of Design Comic book artist Frank Miller and Son” at Gallery Henoch in (RISD) presented the 1998 Senior made an appearance at two loca- New York City, June 11-July 4, Film/Animation/Video Festival at tions of the stores, AnotherUni- 1998. . . . The Museum Of The 7:00 p.m. in the RISD Auditorium. verse.com, to promote his new Moving Image (MOMI) in London For information, call (401) 454- Dark Horse Comics series, 300. will feature an exhibit tied to the 6233. July 24 U.K. release of Warner * Sunday, June 7. London, Eng- Bros.’ animated feature, The Magic * Friday, June 5. Eugene, Oregon, land, U.K. Sword: Quest for Camelot. The U.S.A. The British Film Institute’s National show runs July 1 - November 18. . The University of Oregon present- Film Theatre started its kids pro- . . The International Museum ed a show of student work in ani- gramming series, Junior NFT with Of Cartoon Art in Boca Raton, mation and motion graphics. For a screening of The Secret of Florida is featuring an exhibit titled information, visit http://aaa.uore- N.I.M.H. (1982). Call 0171-928- “Garfield: 20 Years and Still Kick- gon.edu/~animate 3232. ing,” June 19 - August 30. * Friday, June 5. Santa Monica, * Tuesday, June 9 - Thursday, June Last Month In Animation California, U.S.A. 11. New York City, New York, The following is a list of events Glenn Vilppu taught a class in U.S.A. which took place since the last “Figure Drawing for Animation” at The annual Licensing Show took issue of Animation World Maga- DH Institute of Media Arts. For place at the Jacob K. Javitz Con- zine was published. These listings information, visit http://www vention Center. For information, are published weekly in the Ani- .dhima.com. If you can’t make it to visit www.licensingshow.com. mation Flash, a free newsletter this class, take Glenn’s free, “virtu- which is distributed by e-mail. Sub- al” life drawing class on-line on * Wednesday, June 10. Glendale, scribe now! Are there animation Animation World Network. His California, U.S.A. events going on in your area? new series launched in the June ASIFA-Hollywood continued its Share your regional event news issue of Animation World Maga- Careers in Animation series with a with the international readers of zine [http://www.awn.com/ lecture on storytelling by Francis the Animation Flash! Please send mag/issue3.3/3.3pages/3.3vilp- Glebas, at Glendale Community announcements to pudrawing.html]. College (GCC). ASIFA is also con- [email protected], at least eight tinuing its Life Drawing Work- days in advance. * Saturday, June 6 - Friday, June shops at GCC on Wednesday 12. Bradford, England, U.K. evenings (7-10 p.m.) and Saturday * Monday, June 1. San Jose, Cali- The Bradford Animation Festival mornings (10 a.m. - 1 p.m.). For fornia, U.S.A. A team of executives took place at the National Muse- information on both programs, from Walt Disney Feature Anima- um of Photography, Film & Televi- call (818) 842-8330 or (818) 240- tion (Paul Yanover, Dean Schiller, sion. Competition included four 1000 ext. 5158. Ben Croy and Mark Kimball) categories, and additional pro- demonstrated and discussed the grams include workshops, short * Thursday, June 11. Los Angeles,

ANIMATION WORLD MAGAZINE July 1998 82 California, U.S.A. screened. Call (212) 679-0870. The L.A. United School District and * Friday, June 12. New York City, AnimAction presented the Team New York, U.S.A. * Tuesday, June 16. Los Angeles, Awards VIII at UCLA’s Wadsworth The Children’s Entertainment Asso- California, U.S.A. Theater from 7 to 9 p.m. This ciation (CEA) held its annual mem- UCLA presented its annual “Prom” annual event honors middle bers meeting at 9:00 a.m. at the screening of student animation school students who have com- American Federation of Musicians’ work at 7 and 9 p.m. RSVP to pleted animated anti-smoking HQ, Paramount Building, 1501 (310) 825-5829. public service announcements Broadway. It was followed by a with the AnimAction program. For conference on the kids’ music busi- * Tuesday, June 16 and Wednes- information, call (310) 455-9912. ness. For information, contact day, June 17. Los Angeles, Califor- [email protected]. nia, U.S.A. * Thursday, June 11. Los Angeles, The third Virtual Humans confer- California, U.S.A. * Saturday, June 13. Nashville, ence took place at the Universal The Women in Animation Writer’s Tennessee, U.S.A. City Hilton. Speakers included Group held its monthly seminar at The Nashville Independent Film Steve Williams (Complete Pande- 7:30 p.m. at Saban Entertainment, Festival hosted a workshop titled momium), Jeff Kleiser (Kleiser-Wal- 10960 Wilshire Blvd. The topic “Pushing the Boundaries of Ani- czak), Andre Bustanoby (Digital was “Developing the Script.” Call mation in Film” with independent Domain) and Greg Panos (Perfor- (818) 360-8321. animator Ellie Lee at the Belmont mance Animation Society). For United Methodist Church. For information, visit www.vrnews. * Thursday June 11 and Saturday information, visit www.nashville- com/eventsvh3main.html. June 13. Erlangen, Germany. filmfestival.org. The German-subtitled version of * Wednesday, June 17 - Sunday, Hayao Miyazaki’s animated fea- * Saturday, June 13. Chatsworth, June 21. Zagreb, Croatia. ture, Mononoke Hime (Princess California, U.S.A. The 1998 Zagreb Festival of Ani- Mononoke) was screened at 8:30 The Learning Tree University held mated Films took place and Gun- p.m. at the Erlangen Comic-Con. an all day seminar on Writing for nar Strøm will review the festival Animation, 9 a.m. to 5 p.m., and the winners for Animation * Thursday, June 11. Nashville, taught by Jean Ann Wright. Call World Magazine’s August issue. Tennessee, U.S.A. (818) 882-5599. For programming information, The Nashville Independent Film visit the Zagreb web site, accessi- Festival (formerly Sinking Creek) * Sunday, June 14. Beverly Hills, ble from Animation World Net- included a screening of animation, California, U.S.A. work’s Animation Village. including Gabola the Great and The 1998 Student Academy http://www.awn.com/awneng/vi Cartoon Network’s B-Sides: Rari- Awards ceremony took place at llage.html ties, Out-Takes, & Oddities. the Academy of Motion Picture Arts and Sciences. Winners are list- * Thursday, June 18. New York * Friday, June 12 - Sunday, June ed in this month’s issue. City, New York, U.S.A. 14. Los Angeles, California, U.S.A. Christie’s East held a large auction. The ShowBiz Expo took place at * Monday, June 15. New York City, It included an animation art sec- the Los Angeles Convention Cen- New York, U.S.A. tion featuring art from Snow ter. Events include panel discus- Women in Animation (WIA) and White, Pinocchio, Fantasia, Bambi, sions titled “Pitching Your Anima- Women in Film and Television and the Disney short, The Brave tion Project” with speakers from (WIFTA) hosted an evening with Little Tailor. For information, call Fox and DreamWorks, and “All CG Faith Hubley. Her films Seers and (800) 395-6300. To learn more Movies” with speakers from Uni- Clowns, Beyond the Shadow about how Christie’s auctions versal and PDI. For information, Place, Time of the Angels and My work, visit Animation World Maga- visit www.smpte.org. Universe Inside Out will be zine’s November 1997 issue for

ANIMATION WORLD MAGAZINE July 1998 83 “Inside Christie’s: A Conversation Jandy Place in the Marina del Rey Student Academy Awards. The With Elyse Luray-Marx” by Heather area, for a pot-luck lunch with Student Academy Awards pro- Kenyon [http://www.awn.com great networking opportunities. gram is a national competition /mag/issue2.8/2.8pages/2.8keny- Call (310) 448-7500. conducted by the Academy and onmarx.html]. the Academy Foundation. Each * Saturday, June 20 and Sunday, year over 300 college and univer- * Thursday, June 18. Los Angeles, June 21. London, England, U.K. sity film students from all over the California, U.S.A. The British Film Institute’s National United States compete for awards Women In Animation’s Writers Film Theatre continued its kids and cash grants, with films being Group met at Rhythm & Hues Stu- programming series, Junior NFT judged in four categories: anima- dios, 5404 Jandy Place in the Mari- with screenings of Rock-a-Doodle tion, documentary, dramatic and na del Rey area. The topic was (1990) on Saturday, and Hans alternative. This year’s ceremony “What Writers Should Know About Christian Andersen’s Thumbelina took place on Sunday, June 14 in the Traditional and CG Animated on Sunday. Call 0171-928-3232. Los Angeles. The gold prize Commercial Pipeline,” with speak- ($2,000) in the animation catego- ers Jane Stephan, Ian Dawson, Bill * Tuesday, June 23. Dana Point, ry was awarded by voice actor Kroyer and Michael Crapser. California, U.S.A. June Foray to two students from The Digital Living Room (DLR) con- Florida’s Ringling School of Art & * Friday, June 19. Los Angeles, ference, organized by Upside Design, Peter Choe and Neal Nel- California, U.S.A. magazine and other sponsoring lans, for their film, Jakata. The sil- Members of the animation com- publications, took place at the Ritz ver medal ($1,500) went to munity gathered for a silent auc- Carlton Laguna Niguel. The event Switchback by Kyle Clark from the tion to raise money for indepen- included a Video, Animation and University of Southern California dent animator Sarah Petty, who Special Effects Festival. For infor- (USC) in Los Angeles and the suffered a series of misfortunes mation visit www.digitallivin- bronze ($1,000) went to Put On A and is in need of financial support. groom.com Happy Face by Suzanne Lee Twin- Artists who donated pieces for the ing from the University of the Arts auction include Fréderic Back, * Tuesday, June 23 - Sunday, June in Philadelphia. To promote oppor- Faith Hubley, Paul Driessen, Janet 28. Cardiff, Wales, U.K. tunities to the students beyond Perlman, Bill Plympton, David Sil- The Vital! Animation Festival took the evening, a compilation pre- verman (“The Simpsons”), Andreas place. Animation World Magazine sentation of the gold medal Deja, Eric Goldberg and Joe editor-in-chief Heather Kenyon award-winning films is circulated Grant. Sarah Petty’s film Furies and moderated a panel discussion each year free of charge to educa- John Canemaker’s Bridgehampton titled “Animating the Internet” on tional and non-profit organizations will be screened. For information June 25 at 12:00 p.m. For infor- nationwide, utilizing a grant from call Tom Sito at (818) 695-6425. mation about the festival, includ- the Eastman Kodak Co. For those who could not attend ing complete program listings, visit the event, the artwork is also www.vital-animation.org. Annecy Winners. being showcased and bids are The 1998 Annecy Animation Festi- being taken via the web (before * Wednesday, June 24. Burbank, val is reviewed in this issue. Win- and after the event) at California, U.S.A. ners are included with the article. www.fleetingimage.com/auction. ASIFA-Hollywood presented Tom Sito’s “An Evening With...” series * Saturday, June 20. Los Angeles, featuring the animated couple, Bill California, U.S.A. and Sue Kroyer. For information Women In Animation’s Computer call (818) 842-8330. Animation Group meets on the third Saturday of every month at Awards Rhythm & Hues Studios, 5404

ANIMATION WORLD MAGAZINE July 1998 84 compiled by Wendy Jackson On A Desert Island With....Some Consenting Adults and a Cartoon Talk Show Host This month, we asked a selection of people related to this issue’s themes of comics and animation for adults what films they would want to have with them if stranded on a desert island. Alison Snowden and David Fine from U.K. recently premiered their first television series, a prime time cartoon for adults, Bob and Margaret, based on their Oscar-winning short film, Bob’s Birthday. Denis Kitchen is a comic book artists and founder and president of Kitchen Sink Press, a Massachusetts, U.S.-based comic book publishing company. And Space Ghost, this month’s cover model, is a superhero from Ghost Planet, Outer Space who has his own talk show on Cartoon Network.

Alison Snowden and David Fine’s Finest: These are in no particular order. It was enough that we could agree on this list without trying to agree which is number five and which is number six!

1. The Big Snit by Richard Condie. Real adult animation before The Simpsons. It was a big influence on us. 2. The Simpsons by Matt Groening. Groundbreaking series which heralded a renaissance in smart, original animation with great voices. (Phil Hartman, R.I.P.). 3. The Hill Farm by Mark Baker. Stunning student film by a friend and badminton adversary. 4. Radio Days. One of Woody Allen’s best. His combination of writing, character and visual sense is inspiring. 5. The Street by Caroline Leaf. One of the most original and moving short films ever. Who would think that such stylized oil-on-glass animation could have such humanity and feeling? 6. Down By Law by Jim Jarmusch. One of the most original and hilarious feature films ever. Does American film get any better? 7. Fargo by the Coen Brothers. Hmm. Maybe it does. It’s a toss up. 8. Creature Comforts, Nick Park’s tiny, perfect gem. 9. Why Me? by Janet Perlman and Derek Lamb. A great bit of acting, humor and story in a simple, but effective style which was inspiring. 10. On Land, At Sea and in the Air, Paul Driessen’s elegant and wonderfully timed film.

Denis Kitchen’s Picks: As a comic book artist and publisher I’m not specifically an animation expert. I only know what cartoons made me laugh out loud, or whose images and styles left deeply imbedded and enduring impressions. Here’s my top ten personal favorite cartoons:

1. Early Betty Boop, especially Bimbo’s Initiation (Fleischer Bros.). 2. Pinocchio (Disney). 3. Fantasia (Disney). 4. Early Popeye (Fleischer). 5. Superman (Fleischer). 6. Mom and Pop in Wild Oysters (Fleischer stop action). 7. Ren and Stimpy by John Kricfalusi. 8. Screwy Squirrel by Tex Avery and Preston Blair. 9. Hell’s Bells (1929 Disney Silly Symphony). 10. The Simpsons by Matt Groening.

Space Ghost Space Ghost, the one cartoon character, is also the only one who selected all live-action films. He insists that these are indeed his picks and not merely the first eleven entries of the 1983 Leonard Maltin’s Movie and Video Guide. 1. Aaron Loves Angela by Gordon Parks Jr. 2. Aaron Slick From Punkin Crick by Claude Binyon. 3. Abandoned by Joseph M. Newman. 4. Abandon Ship! by Richard Sale. 5. Abbott and Costello Go to Mars by Charles Lamont. 6. Abbott and Costello in Hollywood by S. Sylvan Simon. 7. Abbott and Costello in the Foreign Legion by Charles Lamont. 8. Abbott and Costello Meet Captain Kidd by Charles Lamont. 9. Abbott and Costello Meet Dr. Jekyll and Mr. Hyde by Charles Lamont. 10. A tie between Abbott and Costello Meet Frankenstein by Charles Barton and Abbott and Costello Meet the Invisible Man. by Charles Lamont ANIMATION WORLD MAGAZINE July 1998 85 The Dirdy Birdy by John Dilworth

ANIMATION WORLD MAGAZINE July 1998 86 Asian and Computer Animation, August 1998

his month Animation World Magazine looks toward Asia. Jackie Leger profiles Tezuka Pro- ductions and Museum in Japan, while Dr. John Lent takes a look at Ram Mohan and the Tanimation industry in India. Recently, China has been making strides into the animation business. Veteran animation consultant Milt Vallas takes a look at their bid. Milt will also describe the latest digital tools used by studios around the Asian continent. Plus, Anne Aghiou and John Merson take us inside Vietnam for a look at their production facilities. As far as com- puter animation goes we have two exciting articles. Bill Fleming is going to point out invisible CGI, while Michelle Klein-Häss is going to tell us how to build an affordable home studio. Other articles include Barry Purves’ monthly production diary, Glenn Vilppu’s next life drawing lesson and event reviews from Cardiff, Zagreb and the Singapore Animation Festival. An exciting new computer generated 3-D film, Azimuth, is reviewed by Judith Cockman so don’t forget your 3-D glasses and finally, David Kilmer’s long awaited The Animated Film Col- lector’s Guide is put to the test by Emru Townsend. We will also be featuring a special magazine supplement on SIGGRAPH! Don’t miss our SIGGRAPH 98 Special Report, going online August 10th. Not everyone can get to SIGGRAPH this year- so join us for an in depth report on the people, companies, products, and tech- nologies that lead the way at this year’s conference.

Animation World Magazine 1998 Calendar

Television (September)

Independant Filmmakers (October)

Licensing and Merchandising (November)

Family Animation (December)

ANIMATION WORLD MAGAZINE July 1998 87