MAGAZINE Vol

July 1996 MAGAZINE Vol. 1, No. 4 ANIMATION WORLD MAGAZINE July 1996 The Great Adventures of Izzy — An Olympic Hero for Kids by Frankie Kowalski 35 A look at the making of the first TV special based on an Olympic games mascot. “So,What Was It Like?” The Other Side Of Animation's Golden Age” by Tom Sito 37 Tom Sito attempts to puncture some of the illusions about what it was like to work in Hollywood's Golden Age of Animation of the 1930s and 40s, showing it may not have been as wild and wacky as some may have thought. When The Bunny Speaks, I Listen by Howard Beckerman 42 Animator Howard Beckerman explains why, "Cartoon characters are the only personalities you can trust." No Matter What,Garfield Speaks Your Language by Pam Schechter 46 Attorney Pam Schechter explores the ways cartoon characters are exploited and the type of money that's involved. Festival Reviews and Perspectives: Cardiff 96 by Bob Swain 49 Zagreb 96 by Maureen Furniss 53 Film Reviews: The Hunchback of Notre Dame by William Moritz 57 Desert Island Series... The Olympiad of Animation compiled by Frankie Kowalski 61 Picks from Olympiad animators Melinda Littlejohn, Raul Garcia, July 1996 George Schwizgebel and Jonathan Amitay. News Tom Sito on Virgil Ross + News 63 Preview of Coming Attractions 67 © Animation World Network 1996. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. Cover: The Spirit of the Olympics by Jonathan Amitay 3 ANIMATION WORLD MAGAZINE July 1996 The Great Adventures of Izzy — An Film Roman’s version of Izzy. © 1993 ACOG Olympic Hero ids across the US and around stories for Izzy, many of which will Games.) ACOP finally selected Film the world love Izzy! At least be displayed during the 1996 Roman, the North Hollywood stu- K that’s what the people at the Centennial Olympic Games in dio, known for such animated stars Atlanta Olympic Games would like Atlanta, Georgia. as Garfield and Bart Simpson, as you to believe. After all, Izzy is the As part of the effort to market the “official studio” for the 1996 much-publicized mascot of the Izzy, the Atlanta Centennial Olympic Games—something of a Atlanta Games, whose persona Olympic Properties (ACOP) decid- first in both Olympic and anima- has appeared on a whole range ed to star him in an animated tele- tion history. of merchandise; he also appears vision special. (ACOP is the mar- Carol Corwin, producer for as the star of his own animated TV keting arm of The Atlanta Izzy’s Quest For Olympic Gold, special, Izzy’s Quest For Olympic Committee for the Olympic recalls that ACOP’s selected Film Gold, something of a first for Roman because, “they liked an Olympic mascot. the fact that we were a Izzy was unveiled as a modest company and [stu- “simple little mascot” during dio head] Phil Roman stays the closing ceremony of the involved throughout the 1992 Olympic Games in whole process. We were Barcelona. Officials of the honored to be chosen. Atlanta Games turned to chil- Everyone felt proud to be dren around the United States involved on the Izzy project to help define the character because our quality stan- who was only known up until dards matched ACOP’s.” then as “Whatizit.” Their final Phil Roman, Film Roman’s choice was Izzy, after the President and CEO, com- judges considered such other mented that, “When ACOP names as Jimmy Nastics, Link first approached us, we did- D. World, and I. M. There. n’t think Izzy was an ani- Now that Izzy was alive, matable character. We need- another contest was held ed to add spunk and ener- where children were called gy. That required creating a upon to write stories about full personality in addition to Izzy as their new Olympic an appealing friendly look. hero. The “Great Adventures It needed to be eye-catch- of Izzy” writing campaign ing and captivating not only began in October 1993 and Izzy’s Quest For Olympic Gold to children, but adults need more 85,000 children wrote © 1993 ACOG to be drawn to it as well”. 35 ANIMATION WORLD MAGAZINE July 1996 However, any change to Izzy’s of the Olympic Games, and the many stories submitted by from design needed to be subtle, since Torch, shining bright. Never one children around the United States. the character had already been to just go with the flow (that’s why Scriptwriter, Sindy McCay worked widely licensed and merchandise I like him), Izzy causes an uproar closely with Holly Rawlinson at distributed. With the help of ani- ACOP to create a “back life” for Izzy, mators Guy Vasilovick and Roger We came up with a look to adding his family, friends and Sciasson, the studio put together a give him more life, a per- Tribunal Elders giving reality to the 40 second pilot for ACOP which Torch World. Both Film Roman and showed Izzy going through a sonality and warmth. ACOP wanted the special to be range of animated movements. educational, yet entertaining for From playing tennis to throwing a when he wants to leave the Torch children. Carol Corwin explained; javelin to gymnastics, trying to to be a part of the Olympic Games “While we were brainstorming, we imbue Izzy with exuberance and he had heard so much about. Izzy decided to cut out some of Izzy’s energy; in so doing, they had him must prove himself worthy and speeches because it got too bor- morph his body into different learn important lessons about the ing. It was a tough balance shapes to facilitate each activity. purpose and history of the games between teaching about the They also added a nose to Izzy’s by earning the five Olympic Olympics and keeping it fun and Izzy, the official character of the 1996 Centennial Olympic Games © 1993 ACOG face and fixed up his teeth a bit. Rings—Perseverance, Integrity, exciting.” Roman explained that, “We came Sportsmanship, Excellence and Izzy’s Quest For Olympic Gold up with a look to give him more Brotherhood. (This meaning conveys to children the message life, a personality and warmth. We comes from a story session at Film that the Olympics are not some needed to change the character Roman. In fact, the rings stand for boring event that their parents to make him more workable for the colors of the five continents watch on TV and effectively pro- animation. Izzy needed more participating in the Olympics.) motes the values of perseverance, punch and I think we did a good The idea of Izzy and his Torch determination, and integrity. job of it”. World did come about from the While not filled with the cutting The special, Izzy’s Quest For edge sensibilities of some of the Olympic Gold, aired on Atlanta- films that embellished the 1984 based Turner Network Television Olympiad of Animation, the show (TNT) on August 12, 1995 as a is nevertheless an honest, if mod- two-part show, and has also been est effort that hopefully will inspire distributed internationally. It begins future Olympics-related animated with Izzy, a mischievous teenager efforts. who lives in a whimsical world Frankie Kowalski is Associate inside the Olympic Torch. In this Editor of Animation World land, the people—called Magazine and is currently on Whatizits—are charged with the Film Roman’s version of Izzy. ASIFA-Hollywood’s Board of responsibility of keeping the spirit © 1993 ACOG Directors. 36 ANIMATION WORLD MAGAZINE July 1996 “So, What Was It Like?” The Other Side of Animation’s Golden Age by Tom Sito ost animators begin as Ken Harris. Sadly, these and other animation fans. Seated in People want to cherry-pick legends are passing from the stage M front of our TVs with heav- their history to suit their leaving us orphans with the films ily sugared cereal dribbling down opinions or agenda. and, if we are lucky, some memo- our chins, we marvel at the adven- ries of what it was like. tures of Bugs, Casper and Scooby I think a lot of us today have Doo. Then one day we decide to I was fortunate that during the the impression that Golden Age apply our desire to draw into time of my entering the field, one Animation was done in a state of becoming an animator. Just like could still learn at the side of many bliss. Modern Animators complain ballplayers dream of becoming a of the great artists of the Golden about ignorant and grasping cor- Ruth or Cobb, we dream of being Age of Hollywood animation. In porations, tight deadlines and stu- the next Bob Clampett or Chuck 1975, it was still possible to assist dio politics. Back then it was an Jones. John Hubley, Shamus Culhane or Art, today it’s just Business. In the UPA studios, March, 1957 Top row: Dick Shaw, Morey Fagan, Ed Friedman, Gil Turner, Barney Posner, Bob Dranko, E. Bennet Bottom row: Bob McIntosh,Al Wade, Peter Burness (holding Oscar for When Magoo Flew), Rudy Larriva, Bob Brown Courtesy of Motion Picture Screen Cartoonists, IATSE Local 839. 37 ANIMATION WORLD MAGAZINE July 1996 good old days animators lived on their love of cartoons, ate ambrosia and had no deadlines or headaches. Obviously,that is why Pinocchio and Tom & Jerry cartoons were so good. Never mind Hitler, the Depression, or Jim Crow, it was all one long party. This naive view is encouraged by all these revisionist, Wasn’t Hollywood Wacky?? books and documen- taries corporations fund nowa- days.

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