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July 1996 MAGAZINE Vol. 1, No. 4 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 37 Tom Sito attempts to puncture some of the illusions about what it was like to work in '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 Howard Beckerman explains why, "Cartoon characters are the only personalities you can trust."

No Matter What, 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 Reviews: The Hunchback of by William Moritz 57

Desert Island Series... The Olympiad of Animation compiled by Frankie Kowalski 61 Picks from Olympiad Melinda Littlejohn, Raul Garcia, July 1996 George Schwizgebel and Jonathan Amitay. News Tom Sito on + 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 , 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] 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 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, ’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”.

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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 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- 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- 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 . 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 or Chuck 1975, it was still possible to assist dio politics. Back then it was an Jones. , or Art, today it’s just Business. In the

UPA studios, March, 1957 Top row: Dick Shaw, Morey Fagan, Ed Friedman, , Barney Posner, Bob Dranko, E. Bennet Bottom row: Bob McIntosh,Al Wade, Peter Burness (holding Oscar for ), , Bob Brown Courtesy of Motion Picture Screen Cartoonists, IATSE Local 839.

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good old days animators lived on their love of cartoons, ate ambrosia and had no deadlines or headaches. Obviously,that is why and Tom & Jerry car- toons 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.

How It Really Was ell, I hate to burst your bubble, but just take W the time to chat with some of our great retired gods and Warner Bros. Studios, Unit, 1954 Back Row: Ray Young,Ted Bonicksen,Gerry Chiniquy. goddesses and they’ll tell you how Front Row: Bob Matz,Warren Batchelder,Art Davis, John Brandt, Sid Farren it really was. Oh, I’m not denying Picture courtesy of Bob Matz and Motion Picture Screen Cartoonists, IATSE Local 839. that compared to any steelworker nonunion computer houses, for supposedly read it at the end of or being on a breadline their kind the same reason. the month and have your head. of job was a dream. Still, every ani- Time clocks were once stan- On any morning, at 8:28 a.m., mator then as now soon finds dard. At MGM, there was an elec- you could see people literally run- that, in the end, cartoons are a tric bell that told you when you ning up Cahuenga Blvd. to avoid business just like anything else. could get up from your desk for a this fate. I never actually heard of The first revelation that shocked coffee break, and also told you (15 anyone being fired for that reason. me was how, before the anima- minutes later) when to come back In the silent film days, the Bray tion unions started around 1937, to work. When I was at Hanna Studio didn’t pay it’s artists until animators had a six day work Barbera in 1978, the time clock Monday, because Mrs. Bray want- week. Nine to 6:00, Monday was out of use (it kept having “acci- ed to make sure their artists would through Friday, and 9:00 to 1:00 not spend all their money on drink over the weekend and possibly In the good old days animators lived on their love of not show up on Monday. In 1976, cartoons, ate ambrosia and had no deadlines at the Raggedy Ann Studio, our or headaches. Never mind Hitler, the Depression, employer wouldn’t pay us until or Jim Crow, it was all one long party. Friday at 5:00 p.m., because he distrusted us to stay all day. Many of us repaid his respect for us by on Saturday. If you had a problem dents,” like people pouring cel stealing our pencil sharpeners. with Saturdays, or paint into it), but it remained in In the 1930s, vacations were would let you work effect at Disney up until the The unheard of and overtime was Thursdays until 11:00 p.m. to Little Mermaid. So instead of the rarely paid. Disney animator Claire make up the time. Disney and timeclock at Hanna Barbera we Weeks told me that, on Snow most studios went to 40 hours in also had “The Late Book,” in which White’s deadline rush, the studio January 1941, in an attempt to the security guard would write demanded 3 hours extra a night stop their artists from unioniz- if you arrived five min- and the only pay was a 55 cent ing;and the same thing has been utes past the 8:30 a.m. check in dinner ticket to Blackie’s Steak- happening right now at many time; the powers that be would house on Sunset Blvd. (Of course,

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55 cents could proba- Hurtz (Rocky and bly buy you a good Bullwinkle). One little fac- dinner in 1937...) The toid most pro-manage- Van Beuren Studio in ment histories of the 1935 asked for “volun- strike omit, was while the tary” unpaid overtime, Disney Strike was con- which was in fact tentious and ruined the something less than family atmosphere for a voluntary. In 1947, time, everyone’s wages instead of overtime doubled overnight. gave you Today, animators oranges from his complain that the pro- Florida orange grove. ducers who control their Today, many digital destinies know nothing CGI houses speak to about animation. They’re their artists of the “real- Paul Halliday (center with hat) on all from some corpora- ity” of the 55 hour picket line during 1937 Fleischer strike. tion or defense contrac- Photo courtesy of Harvey Deneroff. workweek. tor. Well, in the Golden leagues made up to $125. Despite Age, was an some standouts like or A Free-For-All executive from Pacific Title who , women mostly n 1941, before the union, peo- helped Warner Bros. get funding were kept as ink & painters until ple’s wages were a free-for-all and for The Jazz Singer and so got the modern times. Hispanic and Asian ranged from $500 a week for a cartoon contract. Layout artist Bob I artists fared better—, top animator like , down Givens told me that Leon’s most to $12 for a painter. Babbitt used oft spoken phrase was, “I’m going to augment his assistant’s salary out Every animator soon finds to Palm Springs for the week and of his own pocket, because the that, in the end, cartoons f*&% you all!?” Other bon mots man could not afford to feed his are a business just like any- included his order to, “Put in more family. New trainees like Warner thing else. Purple! Purple is a funny color!?” Bros legends Virgil Ross and Paul After he retired, Warner’s replaced Smith were hired at $6.00 a week, him with Eddie Seltzer, whose only Rudy Zamora,Ty Wong or Chris Ishi up to $10.00 after one month. experience was arranging public- faced no barriers based on their Painter Martha Sigal told me she ity roadshows with leggy beauties. ethnicity. was hired by Leon Schlesinger at In 1944 was finally The great 1941 strike for union $12.75.After one year she was introduced to the legendary Jack recognition at Walt Disney was called a journeyman and raised to Warner, who said, “I don’t know considered animation’s own Civil $21.00 (inkers were paid $23.00); what the f&*% you guys do, all I War and has left hard feelings after that, no more raises were know is we make !” down to this day. Picketers later to allowed. Some companies set poli- MGM’s was a achieve fame included John cies about raises, but mostly you minor executive of whom one Hubley (Mr. Magoo),Hank Ketch- had to go haggle like a Bedouin artist said, “Fred was a nice man, am (Dennis the Menace), Walt camel trader. And if you asked for but as far as animation went, he Kelly (Pogo), Bill Melendez (A a change in these conditions, like didn’t know his ass from a hot Charlie Brown Christmas), and Bill a worker’s council or union, you brick.” Yet when director Hugh were branded a “Lousy .” Harman complained to him in There were no black animators Some companies set poli- 1937 that he was getting too until 1954. Max Fleischer promot- cies about raises, but mostly much interference from above and ed Lillian Friedman as the first you had to go haggle like demanded more independence, woman animator and paid her a Bedouin camel trader. Quimby showed him the door. $40 a week, while her male col- When Steve Bosustow left UPA,

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in money to pay for coffee and bottled water, and you had to pay rent for your parking space! (Some famous companies charged novices rent for their

While the Disney Strike was contentious and ruined the family atmosphere for a time, everyone’s wages doubled overnight.

desks, but that’s another article). And who remembers that at when you needed a Leon Schlesinger-Freleng Unit, 1940. new pencil from Munchie the Back row: Dick Thompson,Carl Dalton, Sam Nicholson, Ken Champin, Lenard equipment guy, you first had to Kester, Gerry Chiniquy, Dick Bickenbach,Al Tarter, Gil Turner, Friz Freleng. Leaning over: John Kennedy. turn in your used stubbs! Front row: Les Larson, Dave Brown. Constantin Lebedef, Every studio had a footage , Herman Cohen, Bob Matz quota—at Schlesinger’s in 1940, it Courtesy of Motion Picture Screen Cartoonists, IATSE Local 839. was 23 feet a week and at Disney’s it was 5; when MGM went union Columbia replaced him with gers got too cold to draw. In the the same year, Fred Quimby anger- Saperstein, who also knew noth- 1930s, Fleischer, Terry and ily raised the quota to 25 feet a ing about animation. Schlesinger used to equip their stu- week and kept his dreaded dios with used office furniture and “footage book”; this ledger, of Sic Transit Gloria Mundi kitchen tables bought at garage course, could then be used against n The Little Mermaid, my sales. No wonder artists who went you when you went in to ask for wife Pat, who is a checker, to Disney’s Hyperion studio or a raise. Animator Rudy Zamora Owas remarking talking to MGM were amazed! The furniture responded by figuring out where an older colleague on how all the all matched! Quimby’s office was and started to useless executives who walk One painter told me the first practice bowling on the floor around the studio looking terribly thing that impressed her about above. Another early commercial important that today we call “suits.” going from Termite Terrace to studio had every animator’s name The old timer said that on Metro-Goldwyn-Mayer in 1943 up on a large chart; everytime they called them “The Walk- was that at MGM they took the someone screwed up, a check was Around-Boys.” Yet, of course, on trash out every day! In , placed next to his name. You can every cartoon these producers are ’s first large building was guess the fate of the artist with the the most prominently displayed in a former cheese factory on the most checks. the credits. Sic transit Gloria Mundi. waterfront. Everytime you opened Animators today complain if a door, you got a whiff of some A Friendly Witness their desk isn’t as well made as a ancient Stilton. During the winter, Disney classic, or they don’t have ropes were hung on the side of a window view. At ’s the building so you wouldn’t get Eddie Seltzer’s only Raoul Barré Studio in the roaring blown into icy Lake on experience was arranging 20’s, there were no curtains, rugs your way to work. publicity roadshows with or heat during the winter, and ani- At Disney’s, until The Great leggy beauties. mators went home when their fin- Mouse Detective, you had to pitch

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hose who feel animation more balanced eye. No matter was immune to the pres- what the conditions were, these T sures of national politics artists still created magic and the should remember when Walt entrepreneurs took chances that Your Ad Disney was a friendly witness at produced the great cartoons we the House Un-American Activities grew up on and still cherish.I once Could Be Committee in 1947. He de- asked veteran Joe nounced the Screen Cartoonists Grant, “What’s the real difference Guild as being “infiltrated with between 1940 and today??” He Here! communists.” One Rocky and replied that, “Ah, much is the Bullwinkle director told me it was same. Same deadlines, same poli- For rate cards and common knowledge in Holly- tics, people drew better back additional information wood, at the time, that for $5,000 then.” paid to certain politicians, your Many today like to forget that about the great artists of the past were various opportunities also great supporters of the union for exposure at The time clock kept having and stuck together to fight for Animation World “accidents,” like people what they wanted. People want Network, pouring cel paint into it. to cherry-pick their history to suit contact our their opinions or agenda. I cele- Committee dossier would be brate the complete legacy. Like moved to the bottom of the pile, those great union agitators office at or even lost. Meanwhile, at pro- Groucho Marx, James Cagney, gressive UPA, studio director Steve Boris Karloff, , Frank 213.468.2554 Bosustow was given a list of unde- Capra and Joan Crawford, do sirable (i.e., politically incorrect) honor to the efforts of Chuck or e-mail artists by distributor Columbia Jones, Bill Melendez, Art Babbitt, Pictures who were to be fired. and on any of our sales In 1954, columnist Walter behalf of animator’s rights. representatives: Winchell denounced Tempo, a Most of us enter the field of ani- commercial in mation not to get rich, but for the North America: New York, of past communist affil- love of the art. We just have iation (the company was run by learned over the years that when Wendy Jackson former union leaders). The F.B.I. it comes to the business end of our [email protected] investigated and even though profession we must learn to to nothing was ever proved,Tempo keep our hearts inspired but our Europe: lost its clients and laid off 50 artists. heads out of the clouds. And I I’m not trying to blacken any- think that the last and greatest les- Vincent Ferri one’s memories or achievements. son our past masters can teach us [email protected] Much already has been written of is, “It was ever so.” the studios with baseball dia- U.K. monds, parties and volleyball Roger Watkins courts. Max Fleischer gave all his animators a bonus of $500 for Tom Sito is an animator at [email protected] Christmas in 1931. Disney gave his DreamWorks and is President of artists free art lessons and made the Motion Picture Screen Asia: his top animators rich with stock Cartoonists Union (Local 839 options. They all came to love our Bruce Teitelbaum art form as we artists do. I’m mere- IATSE), in North Hollywood. [email protected] ly trying to see the past with a

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by Howard Beckerman hen the Bunny Speaks,I Listen

f states, in a animation cels. To gal- Wtelevision commercial, that lery-goers, cels from anima- I a product is worth having, tion films are the real thing. I believe him. Does this sur- When they head home prise you? You say that he is clutching the shiny likeness- a trickster rabbit with a es of Mickey, Pluto or Brooklyn accent, streetwise Woody, they know that they and unpredictable and have obtained the actual shouldn t be relied upon for elements of a classic car- value judgments. Well, hold toon. You can’t take Clint on there! Would you rather Eastwood or Mel Gibson trust live actors who spout home. I don’t suggest that whatever stuff is written for you try it, I don’t think Meryl them, people who get paid Streep or Arnold Shwarze- handsomely to extoll a prod- negger would tolerate uct this week and another being hung on the wall of the next? your den. Bugs, or Daffy, Donald or are more honest. A Matter of Trust For one thing, they are artoon characters are always who they are, thanks the only personalities to the foresight of their cre- Cyou can trust. Com- ators. We recognize and pare Bugs Bunny, with all his admire cartoon characters artful ways, to politicians because they are so defi- (Nixon: “I am not a crook”), Bugs Bunny in the . nitely in character. Bugs © Warner Bros. athletes ( O.J. Simpson), Bunny is Bugs Bunny and corporations (“cigarettes are Bart Simpson is Bart Simpson. In of Toon-Town, portrayed in Who not addictive”), or even your next the movie Braveheart, Mel Gibson Framed Roger Rabbit, where car- door neighbor (“I’ll return your plays the historical character toon characters supposedly reside lawnmower as soon as I’m finished William Wallace and in other films in their off-hours, these celluloid using it”). Characters exist solely to he plays fictitious personalities. Mel beings exist only for the screen. entertain us, not to take anything Gibson works hard to make us They have only one thing to from us, nor to deceive us. They believe that he is all of those peo- give— themselves. give us joy and laughter, and they ple. In actuality he is none of them. present a mirror for us to see our- Bugs Bunny is always Bugs Bunny. A cartoon character’s selves. Granted, all characters are A cartoon character’s personality is personality is all that he has. not capable of this. all that he has. He has no blood, Some lack the solid attributes no bone, no home, no spouse, no of Bugs, Donald or , each child and no bank account. When You say, “See, that proves that of whom sprang from the persis- the commercial is finished, he they’re not real!” Not so. Collectors tance and perspiration of car- doesn’t dash off to a posh Beverly today are falling all over them- toonists and animators seeking a Hills retreat. Contrary to the image selves paying handsome prices for means of expressing human

42 ANIMATION WORLD MAGAZINE July 1996

were grown from the native soil of television advertising and frenetic I don’t think Meryl Streep or studios clustered in New York and music videos, films from earlier Arnold Shwarzenegger Hollywood, from places called decades gloried in showing off the would tolerate being hung Broadway and Termite Terrace. In stars. The cameras of the 1920s, on the wall of your den. today’s movie environment, they 30s and 40s expended long, are better known and more easily leisurely moments exploring actor’s recognized than most contempo- faces. The camera loved them, and foibles. Each of the popular car- rary live actors. Study any current so did the audiences, enraptured toon personalities that we take seri- nonanimated feature, and you’ll by the shadow of a feminine ously—and we do—have been see how the obstacles placed in cheekbone or the dynamic thrust imbued with solid, recognizable of a manly chin. traits. I don’t This delight in trust Roger the stars was Rabbit, or the what brought Smurfs, or people to the Strawberry movies. Greta Shortcake, or Garbo, Marlene any character Dietrich, Vivien that was con- Leigh, Gary ceived by a Cooper, Cary cold, logical Grant, Charles committee. Laughton, Errol I’m sure you Flynn, Katherine could com- Hepburn, Judy pile your Garland, Clark own list of Gable, Ingrid cartoon be- Bergman, Hum- ings that lack phrey Bogart, the attributes Bette Davis, of strength, Spencer Tracy, certainty and among others, believabillity. were shown to The charac- perfection on ters that I the screen. The know to be by Chuck Jones 1953 filmed stories © 1953 Warner Bros. true are those might have that derive from human experi- the way of flesh and blood actors seemed to be about Hood, ence. I trust in characters that grew keep them from easy recognition. Captain Bligh or Scarlet O’Hara, over the years, not those that are Every scene is either a special but they were actually about the created full-blown with a ready effects extravaganza overshadow- actors, whose smooth flesh and group of side-kicks and groaning ing any human presence, or is a twinkling eyes were projected lov- shelves of licensed toys and wash compilation of quick cuts from the ingly, three stories high. cloths. uniform face of one hero to the bland visage of another, coming I don’t trust Roger Rabbit, or Grown From Native Soil so fast that the viewer is left won- ugs, Donald, Pluto, Goofy, dering who’s who. It was not , or Strawberry Betty and Daffy began as always so. Shortcake, or any character Bincidental characters in car- Though current movies thrive that was conceived by a toons. They developed slowly and on fast cuts and other editing tech- cold, logical committee. learned to be who they are. They niques borrowed from anxious

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had him as hero, swain, defender owed by the stronger personalities of democracy and respectable mid- of Donald and Goofy. dle class citizen. By the late 30s, Another character that has lost Mickey was berating his dog Pluto touch with audiences and who for doing the thoughtless acts that has long been in retirement, is Mr. he himself freely performed in his Magoo, the wonderful little man earlier years. Today’s Mickey is more from UPA. Magoo was a “real” character in a sea of anthropo- morphic stand-ups and his popu- larity brought a refreshing appre- ciation for the depictions of humans in cartoons, but today he is barely remembered. Live come- dy stars like Buster Keaton experi- enced the same callous disregard in their careers, though Keaton, in his last years, was able to make a brief comeback. This might hap- from ’s TV series pen to Magoo, but his subtle © Felix the Cat Productions Quixote-like humor may be too Movie personalities of those more Today’s Mickey is more intellectual for audiences seeking relaxed times didn’t—wouldn’t— corporate symbol then the accepted stupidities of Beavis contend with the short bursts of screen presence. and Butt-Head. screen time, rarely more than 10 Probably the greatest cartoon seconds in any shot, that is the hall- corporate symbol then screen pres- character of all, Felix The Cat. mark of today’s moviemaking. Even ence. Over the years, the front While he is one of the earliest ani- Bugs, Mickey, Donald and Daffy office has had his eyes redesigned mated stars,he is still dragged out could not compete with Greta, more than once, and his tail has periodically. Felix in the 1920s was Ingrid, Errol and Humphrey. But, been toyed with constantly. It’s the personification of cartoon that has all changed, now it is the been removed, replaced and heroes. His basic, bouncy, black brightly hued faces of cartoon characters that audiences adore. Does anyone wear a T-shirt with the likenesses of Mel Gibson, Tom Cruise or Clint Eastwood? It’s doubtful, but Mel, Tom and Clint are probably wearing Disney dec- orated jockey shorts at this very moment.

The Burden of Stardom till, it is not easy for cartoon personalities to carry the bur- removed again. In an Sden of stardom. Mickey attempt to give him an Mouse, for instance, has experi- added depth, Mickey enced numerous changes and has been cast in roles in shadings of character. Starting in featurettes based on sto- 1928, as a rowdy, ratty hiero- ries by Dickens and glyphic, pulling pig’s tails to elicit Twain, but these appear- sounds, the roles that followed ances were overshad- Felix the Cat, the /Pat Sullivan version.

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and white shape was the first to silence. Giving him a voice is as elicit a personality. Felix pondered unsatisfying as putting Nikes on and made decisions. He knew Michelangelo’s David. Mr. how to turn a drawn palm tree Magoo reflects the wit and sub- into a banjo or unscrew his tail for tlety of the stylized 1950s. If he use as a telescope. Felix was the returned to function in today’s first character to reveal creative violent movie atmosphere, intelligence, traits rarely champi- minus his walking stick, but tot- oned in his various reappearances ing a Uzi instead, he might won- on television. The problem for der why he was clutching a fly Felix, Mickey and Magoo is that swatter. they are products of their respec- Still, no matter what their tive times, and because their times problems, cartoon characters are the most honest and trust- A ‘What’s up Doc” worthy on the lot. They speak or a “You’re despicable!” from the heart. A “What’s up Doc” or a “You’re despicable!” comes to us from the from one of them, comes to us depths of a cartoon soul. from the depths of a cartoon soul. I believe that these figures, Popeye the Sailor Man (1933) are no more, reincarnations/updat- these cherished images, no mat- © King Features ed versions are doomed to failure. ter what their foibles and strange Attempts at updating cartoon habits are among the finest of peo- reflect our own feelings are the heroes is as fruitless as Steve ple. Their presence is reassuring ones to whom we give our undy- Martin’s recreation of Phil Silver’s and comforting in a world of ing trust. It is no more than the classic Sgt. Bilko character. No uncertainty. Their strength as per- simple recognition between amount of technological icing can sonalities rises above the crass beings, them and us, of things we supplant the magnificent low-tech commercialization that they are have in common. So, when the originals. Felix, for instance, subjected to. Bunny speaks, I listen. belongs in black-and-white and The likenesses of cartoon char- acters are on everything we Howard Beckerman is an anima- own, but no amount of stu- tor, storyman and director, who dio hype can get us to truly began his career in 1949 work- love them. We love them, ing for Terry-Toons and not for their press releases Paramount with such cartoon but for who they are. It has characters as , been said that the connec- , Popeye and tion that binds audience and Casper . He star is a mysterious one and worked for UPA and for many can’t be dissected. I disagree. years wrote and animated televi- I see no mystery in the sion commercials, educational notion that we respond pos- and corporate films. His articles itively to the lack of preten- on animation have appeared in sion, the native cleverness numerous magazines and cur- and the strong survival rently teaches at The Parsons instincts of a Bugs Bunny or School of Design and The a Bart Simpson. More to the School of Visual Arts in New point, we love cartoon peo- York. He is presently completing Sylvester ple because they are like us, a book on animation history and © Warner Bros. and characters that most technique.

45 ANIMATION WORLD MAGAZINE July 1996 No Matter What Garfield Speaks Your Language by Pam Schechter nimated characters ti games, bubble baths, the world together boxer shorts, cake pans, A much like a common cookie cutters, golf balls, language. It is almost a given pacifiers, welcome mats that children, no matter and trading cards. Some where they live, understand of the items can be and enjoy Disney characters, worn, some displayed, whether seen in cartoons or some used and some on the myriad pieces of consumed. By the one licensed merchandise that hundredth episode of are widely available. For the , over adults, , $3 billion worth of Mickey Mouse and even Simpsons merchandise Beavis and Butt-Head bring had been sold world- out similar smiles. wide. I remember during my Similarly, MTV is first visit to Europe, seeing a making millions on inter- poster in a shop in national sales of licensed Rome. It showed Snoopy as products from Beavis “Joe Falchetto,” dancing with and Butt-Head Show to his paws raised high. I imme- the show’s international diately felt a strong sense of audience of teenagers familiarity as I gazed at Joe © Film Roman and twentysomethings. Cool’s image, even though I Last year, in the the- did not speak Italian. In that atrical film arena, merchandising instant, the world became a small- and licensing fees added $5 to $6 Some can be worn, er place. I was reminded once billion to film revenues worldwide. again that animated characters some displayed and Some of 1995’s most successful tie- have become a lingua franca. As some consumed. ins were from animated films as such, we do not need words to , and enjoy a character on a T-shirt, Screen Savers and Pacifiers ; thus, not only did poster or hat. hen these film do well at the box office, This year, almost $95 billion will went on the air, the but they also have created streams be generated in worldwide rev- W show only had only 12 of licensing revenue as well. enues from the sale of licensed licensees. Now, there are more Companies that produce ani- products. A hefty chunk of these than 1,110 Simpsons items mated films and TV shows realize dollars will come from the mer- licensed worldwide. The products the potential of licensing popular chandising of animated charac- include sleepwear, PC screen characters. Disney, Hanna Barbara, ters. savers, electric calendars, video MTV, , Film Roman,

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with minimal control by the pro- duction company. A key consider- ation is the degree of risk the man- ufacturer incurs. After all, there is always the possibility that the mar- ket for the products will never materialize, perhaps as a result of the show’s or film’s lack of success. Ideally, a licensing agreement is a fair compromise between these competing objectives. Most licensing and merchan- dising agreements are basically the same. The use of the character on a certain product is licensed for a specific amount of time for a spe- Mickey Mouse salt and pepper shackers. cific territory. The license usually © allows the manufacturer to man- , and Saban are all On the other hand, the man- ufacture, advertise, distribute and actively involved in licensing the ufacturer wants to earn a fair prof- sell the products on an exclusive rights to their characters. it for taking the risk in creating and basis. Some animation studios hire distributing the licensed products. It is important that the agree- other companies to license the ment provide enough time for the manufacturer to effectively pro- rights to their characters. Others Seeing familiar friends manage and control the creative duce and distribute the products in and financial aspects of the licens- in unfamiliar places question, which customarily ing and merchandising process makes the world a ranges from 3-7 years. The pro- themselves. The typical licensing neighborly place. duction company commonly agreement is usually between a receives from 3-10% of the gross , as the profits from the sales of the mer- owner of the rights to the charac- In order to do this, it chandise. However, in rare ter, and a manufacturer or distrib- needs a certain a- instances, it can be as utor, which has the responsibility to mount of freedom high as 15%. Arrange- produce and distribute the prod- to exploit the ments can also be made ucts. products, for the production com- pany to get a up-front Risks and Rewards guarantee in addition to a n negotiating a deal, the com- share of the profits. These peting interests of both the pro- sort of guarantees for the Iduction company and the man- animated star of a suc- ufacturer have to be taken into cessful film or TV show account. A producer naturally can range from wants to earn as much as possible $500,000 up to and will usually receive a percent- $1,000,000. age of the sales of the licensed products, while seeking to main- tain certain controls over the type and quality of product created, so as to preserve their character’s Tom & Jerry (, /MGM, 1940) identity. © MGM

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product with McDonald’s in 1987 with the rerelease of Snow White and the Seven Dwarfs. However, for the past 5 years, Disney turned to another fast-food chain, , for its major cross-promo- tional efforts, including tie-ins for such films as The Lion King, Pocahontas and The Hunchback of Notre Dame. The global appeal of such char- acters as Mickey Mouse, Snoopy, , or Bart Simpson, tie the world togeth- (Friz Freleng/ Warner Bros/1935) er with a common language, that © Warner Bros. of laughter. Seeing familiar friends (Bob Clampett/ in unfamiliar places makes the Warner Bros., 1942) A company that wants to © Warner Bros. world a neighborly place. license a character on the inter- national market will want to make as well suited for international sure the manufacturer protects its A key consideration is the merchandising as that involving copyrights and trademarks. This is degree of risk the animated characters. So, remem- done by putting the appropriate manufacturer incurs. ber, no matter what your native copyright and trademark notices tongue, Garfield speaks your lan- on the products. To verify this, pro- As an art form, animation cross- guage. duction companies approve art- es all boundaries of language and work and samples of the finished geography. There are few areas in product. This is also done to make the entertainment industry that are sure the characters “goodwill” is not compromised. When a merchandising licens- ing agreement expires, the rights Pam Schechter is an to the character are usually entertainment attorney in New returned to the producer, includ- ing all of the materials used to York City. Her practice includes produce the merchandise. a special concentration in the Manufacturers are not the only businesses that realize the animation industry. She value of animated characters. Recently, McDonald’s, the inter- represents several animators national fast-food giant, and the including Eric Fogel, the creator Disney announced a landmark cross-promotional agreement. of the MTV The 10 year pact confirms how The Head and Beavis and Butt- animated characters are being used by multinational corpora- Head tions. The agreement, which kicks off on January 1, 1997, is worth Yvette Kaplan. $1 billion! Disney originally start- Fred Flintstone (Hanna-Barbera, 1960) ed cross-promoting its animated © Hanna-Barbera

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Cardiff 96 by Bob Swain Computer also provided delegates with an Internet cafe. Two popular sessions were the keynote speech by Scott Ross of and the inaugur- al academic lecture by Dr. Paul Wells of the De Montfort University in Leicester (“ to from an Educational Perspective”). Seminar highlights included a spe- cial session on scriptwriting for ani- mation and a look at the difficult road to making it in the American market. A strong program of technol- Pictured left to right: Chuck Swenson, Laverne McKinnon (Hanna Barbera), ogy seminars included a first class and (Klasky Csupo) at Cardiff. guide to evolving opportunities for Courtesy of Ron Diamond animators in the multimedia mar- he record number of dele- place once again in Cardiff in ket, chaired by Cuts editor George gates at this year’s Inter- 1998. Jarrett, and a comprehensive ses- T national Animation Festival in The Animation Expo was intro- sion on animating the net. But the Cardiff enjoyed what was duced for the first time at the one session which provided the undoubtedly the strongest show Cardiff International Arena, com- central focus for the animation ever staged there. The event has bining exhibits of models and cels community was the first ever matured under Festival Director from recent productions with a Animo Users Group. Fran Barlow to become much trade exhibition. Although domi- more than just a screening of the nated by the recruitment efforts of With the days of real paint best in animation. Now including Warner Bros and Disney, the trade strictly limited in the indus- an exhibition, an excellent stream show also attracted a lively mix of of seminars, networking opportu- suppliers, producers and distribu- try, everyone knows they nities and, above all, some great tors. now need to address the parties, the screenings were no new opportunities of digital longer the only reason to be in Cartoon Technology town. Despite justified criticism of n terms of cartoon technology, some sections of the program- there were stands from ming, the overall standard ICambridge Animation Systems, With the days of real paint remained high. The Festival is now Alias/Wavefront, Softimage, INA strictly limited in the industry, every- an essential meeting point for all , EOS Electronics and one knows they now need to those involved in the internation- Avid. A lively area throughout the address the new opportunities of al animation industry. And follow- show, it was an innovation which digital production techniques. And ing on from its success this year, it is now guarantied to play a larger with Animo proving to be far and has been confirmed that it will take role in future years. Apple away the most popular computer

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alongside production of its first ani- aspects of film making. For 50 mated , Prince of Egypt. years people have been working He joined DreamWorks after work- on how to make the whole sys- ing on the original CAPS project at tem work better using traditional Disney and then helping Warner technology. That makes it all the Bros set up its digital production facilities. “DreamWorks was founded Part of the freedom came one-and-half years ago by Stephen from having no legacy, no Spielberg, and resources that we had to David Geffen. It is the first draw on, being able to Hollywood studio to be founded rethink everything. in decades so it presented a unique opportunity to set up something different,” says Kohler. easier to make the transition to the “Part of the freedom came from digital world. having no legacy, no resources “We dedicated ourselves to that we had to draw on, being deciding what was necessary for able to rethink everything. At my the filmmakers rather than just Nick Park of Aardman first meeting with Jeffrey and developing the tools themselves. at Cardiff. Stephen they were talking about There is always a danger of get- Courtesy of Ron Diamond making films in New York and cut- ting carried away and building system for 2-D animation, it was a ting in L.A. That is still pretty cut- tools that do little things. You need great opportunity to hear just how ting edge stuff. At DreamWorks we to concentrate on creativity,” he a range of existing users had been are trying to build what the hype says. using it already. tells you is the digital studio of the “So we allied ourselves with More than 500 Animo systems 21st century. In fact, that is pretty partners we would need to devel- have already been sold around the much true.” op the components. We partnered world—including 100 to Dream- “Most of the initial effort is early on with Silicon Studio and Works, 120 to Warner Bros and going into feature animation sim- set out to define what the studio further major sales to Nelvana and ply because this is one of the most would require. We also partnered DIC. Contracts are currently under analyzed and compartmentalized with IBM and Cambridge for the negotiation with Disney for what is likely to be the biggest deal so far. The biggest user in Britain is Telemagination, where 9 machines are used on the studio’s own pro- ductions and are also offered as a facility service to other producers. Current users include Honey- combe Animation, Snowden Fine and Bermuda Shorts—which is producing ’s new 13-part series of Candy Guard’s Pond Life on the studio’s Animos. DreamWorks’ head of technol- ogy, Dylan Kohler, explained how Pictured left to right: Karen Schmidt (Warner Bros), Heather Kenyon (Hanna- Barbera), Phil Roman (Film Roman), Dave Master,Tom Knott ,and Max Howard (all Animo is being integrated into the three from Warner Bros.) at the Warner Bros. Feature Animation party. company’s new digital studio, Courtesy of Ron Diamond

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elements. Also Avid and We are also interested in using its ent,” says , head of Alias/Wavefront. vector package but we think this Disney’s studio and co-pro- “The network should be able will have a lot more use in effects ducer of The Hunchback of Notre animation. At the moment we are Dame. Although they are both If you are a producer trying concentrating a lot more on the bringing major production work front end of the process.” One of to Europe and providing fresh to raise a crew for a the most significant developments employment prospects for smaller budget, it makes for this year’s Festival was the pres- European animators, many inde- life very difficult. ence of such a large number of vis- pendent producers fear the itors from American studios. process could damage the indus- Warner Bros. and Disney were try by creating a talent shortage to support all sorts of systems. We both there in force in order to feed and forcing up the rate for the job. are starting with feature animation their new studios in and “We are all having problems either but some of the key components Paris respectively. losing staff or having to pay more,” will have to be of use in the other says Jerry Hibbert of Hibbert Ralph divisions. One of the fundamen- The Changing Landscape Animation and chair of the Guild tals is the asset management sys- eature animation is in high of British Animation. tem. This is a huge database cov- demand and there are a very “There is an upside in that ering every digital piece that goes Flimited number of artists who British animators are getting lots into your film—a sound file, a cel, can produce the quality of work. of money and experience. But if a palette. That means we will be Opening in Europe is one way of you are a producer trying to raise able to go back to Prince of Egypt working with great animation tal- a crew for a smaller budget, it as a historical record. We could makes life very difficult.” even go back and use the ele- But the smaller American ments of it in things like an independents also made the interactive game. “We are trip to Cardiff, many of them working with Animo in devel- hoping to develop relationships opment. Animo shares the dis- with partner companies in tributed workstation approach Europe. With the changing US that we have. Each worksta- market making life increasing- tion can run the same soft- ly difficult for independents, ware—both Intel machines they are now keenly eyeing and Silicon Graphics. What Europe for their expansion that means to us is that we can plans. Few European anima- have workstations on their tion studios have so far made own but also drafted in to any kind of real impact in the work together. American market. But at the “For a larger studio like us, same time many producers in we want to have things on dif- Europe are now looking to see ferent platforms. Very often cer- if they can carve out a slice of tain software is available on just that very tough American pie. one platform or another so it is The Festival featured a session nice to have a mix of systems. devoted to cracking the I think that the world is chang- American market but the ing and that it is best to focus Europeans soon discovered on software first and foremost that transatlantic cooperation and hardware as you choose. Arthur Sheriff ( Publicist) was the recipe of the day. and unidentified at the “iced” Vodka shot ice “Cambridge has also done sculpture.Those who participated received “The landscape in the US a grand job in respect to the a 20th Anniversary Aardman T-shirt. has changed so much in the studio’s desire for openness. Courtesy of Ron Diamond past few years with vertical

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integration, forcing all mators in outside of us to think of new of —including ways to find a way in,” the Sverdlovsk Film says Nina Hahn from Studio in Yek-aterinburg. Sunbow Entertain- Two of these films have ment in New York. “It since been nominated is all about thinking for — globally, which really Korova in 1990 and is a first for the creative Gagarin earlier this year. industry. It is like mak- In Hungary, Varga ing a quilt, with all was the first studio to be kinds of people play- set up outside the state ing their part. No mar- system. Since 1989 it has ket should operate to TVC’s John Coates at the Aardman 20th Anniversary grown to a permanent the detriment of any celebration party after an “iced” vodka shot. staff of 50 animators other.” Courtesy of Ron Diamond from Hungary, Russia Joint developments are the and then in the long-term to look and Eastern Europe. way forward, according to Phil for a US deal. There is a lot to be “We started out as a service Roman of leading American inde- learned by going there but it takes company. We learned a lot from pendent Film Roman. “If a a long time.” The Festival managed other directors and tried to under- European producer works with an to face East as well as West, with stand what the market wanted established US producer, it is a lot a focus on several Russian and internationally and tried to devel- easier because there is a level of Eastern European studios within op projects. Now we are looking comfort for the Network to work its international programming. for co-productions. Our main aim with a producer who has already Co-production with the West is of is to get out into the international delivered for them,” he says. growing importance to them, with market with our own projects,” One European producer who Britain’s S4C in particular continu- says director Entrees Erkel. has been working for the past ing to make heavy use of their tal- The first original project, with three years at getting European ents. Its latest series, The Bible, is publisher Dorling Kindersley, co-productions off the ground in due to go on air soon, Faiths of began last year and The Tales of the US is Jorge Iglesias of Spanish the World is now in production Brer Rabbit, a co-production with company AKA. He has been devel- and a series of Epic Tales is in Clear Idea, starts this summer. In oping Mondo Logo with a team development. the meantime, the studio has also of American writers. Varga Studios from Hungary been working on four programs “The key in the US market is and Pilot, Second Frog and for S4C, and on The Willows In credibility. You have to have a Sverdlovsk from Russia were all had Winter and Wolves, Witches and long-term perspective and you special programs featured in the Giants for TVC and Honeycomb have to have your eyes wide open Festival screenings. Pilot Moscow Animation. to reach the talent,” he says. Animation Studio was the first pri- vate animation company to be set East European Developments up in Russia. It has produced many t is still a very difficult path for original shorts since it began in European producers. I think that 1988, with an animation school Bob Swain, who lives in Ithe idea of partnerships with US set up at the studio in 1990 and a Brighton, , is a producers is the most obvious per- New Screen Technologies School scriptwriter and journalist, spective. But it is also important to in 1994. who specializes in animation, consider a global perspective. It The Second Frog Animation computer graphics and special effects. This article first could be more important to devel- Group was established within Pilot appeared in July issue in 1991 to distribute and market op European co-productions and of the British magazine, Cuts. to develop credibility within Europe material being produced by ani-

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Zagreb 96 by Maureen Furniss he 12th World Festival of Animated Films was held T June 10-14, 1996 in Zagreb, where artists, journalists and lovers of animation from around the world gathered to watch more than 50 films representing the best in international animation. Although it is only one in a grow- ing number of important interna- tional animation events, Zagreb is unique among festivals for several reasons. Most importantly, it rep- resents not only the proud her- itage of Croatia’s famed Zagreb School of animation, but also a sig- nificant political and cultural insti- tution for the emerging democra- Janet Pearlman and Maureen Furniss paling around at Zagreb. tic Croatian society. Indeed, one Courtesy of Maureen Furniss finds that in Croatia, the celebra- tion of animation is accorded a Yugoslavia, the look and feel of Lisinski Hall, which housed the degree of respect that is found in Zagreb—from a visitor’s viewpoint, screenings, many of the related art few, if any, other countries. at least—is far from turbulent. The exhibitions, and Internet facilities political situation there may be far connecting the festival to other from settled, but the festival plan- cities in Croatia and throughout Most importantly, the ners, Josko Marusic, Margit-Buba the world. Parties were held in the festival represents not only Antauer and Iva Stipetic, did a center of town, at the Euro-disco the proud heritage of great job in presenting their guests After Eight Club and at a site near with the many natural beauties the National Theater. This year’s Croatia's famed Zagreb and local entertainments found in picnic was held at a lovely site on School of animation, but Zagreb and its vicinity. Though cer- Medvednica Mountain. Many fes- also a significant political tainly one does not wish to forget tival-goers chose to eat in the old- and cultural institution for the difficulties that Croatia is now est part of the city, with architec- the emerging democratic experiencing, it is wonderful to be ture dating from the 11th centu- Croatian society. able to appreciate the many good ry. The narrow streets in that sec- things the city has to offer. tion of town are lined with rows Throughout the five days of of café tables, where evening Although the news media the festival, there were opportu- guests linger, drinking coffee, tends to focus on the unrest expe- nities to see many different aspects wine, and beer, speaking various rienced in Croatia and its neigh- of Zagreb. Many events were held languages (though English always boring countries of the former on the outskirts of the city, at seemed to be welcome), creating

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the kind of atmosphere that in its programming and enter- truly can only be found in tainment. For almost 75 years, Europe. Posters in the street animation has been produced announce Zagreb’s many cul- in Croatia, with its famed tural events, ranging from Zagreb (started as gallery openings to dance Duga Film) celebrating its performances and a range of 40th anniversary this year. A musical events, from classical special program, “40 Years of to underground. Prices for the Zagreb Film Animation food and beverages are rea- Studio,” spotlighted films sonable by American stan- made for children. Included dards, so a night of dining in were films from the Professor the old town turned out to Baltazar series, as well as a be affordable as well as fun. number of other short works My first night in the city, I by Zlatko Grgic, Boris Kolar, walked through this section Ante Zaninovic, Dragutin of town for some time, try- Vunak, and Borivoj Povni- ing to counteract the effects kovic. Two Zagreb animators of a long plane ride and a 10 were honored with gallery hour time difference. Many showings of their artwork in attractive young women various media: Vunak’s exhi- were poised at tables and bition focused primarily on apparently eager to flirt with works of the past 3 years, John Dilworth and Niko Meulemans my two male companions, at the Zagreb Festival Picnic. while the professional opus of who shall remain nameless Courtesy of Maureen Furniss work by Dovnikovic, better as they both have girlfriends. important in part because of its known as Bordo, was pre- At times, the atmosphere of the role in bringing an international sented in a showing of his illus- festival was decidedly more busi- spotlight on the city. trations, comics, and graphic de- ness-like. On more than one occa- For me, the diplomatic com- signs from the past 46 years. A ret- sion, government dignitaries wel- ponents of the festival are among rospective of Macedonian films comed festival guests with recep- the most interesting. A discussion included 13 short works produced tions and small-group meetings. of politics was never far from the between 1971 and 1989. Certainly, the biggest event of this surface of things. In most cases, it type was one involving Croatian seemed that everyone felt relatively Special Programs President, Franjo Tudjman, Pro- free to voice their discontent with long with more local pro- gram Director Josko Marusi, and the slowness of change and, over- duction, the animations of several attendees. ’s Am- all, I sensed less optimism than I A other countries also were bassador invited Canadian festi- felt two years ago on my first visit featured in special programs. Five valgoers to dine with him, includ- to Zagreb. Another change I programs of British productions, ing Chris Robinson (Director of the sensed was an increasing Amer- curated by Pat Raine Webb, cov- Ottawa Festival), ican presence in the city itself, ered works from throughout its (recipient of the festival’s Lifetime which I viewed with some disdain. animation history, while recent Achievement Award) and anima- Store windows carried an unset- American work was the focus of tor Janet Perlman. All festival tling amount of Disney merchan- Warner Bros., MTV, Hanna-Barbera guests were invited to the resi- dise and the golden arches of and Disney programs. A more mar- dence of the city’s mayor, a ges- MacDonald’s could be seen plas- ginalized group of artists were fea- ture that served to underscore the tered on posters throughout the tured in a four-day program, importance of animation as an city. “Articulated Light: The Emergence aspect of Zagreb’s cultural heritage. Fortunately, the festival still of Abstract Film in America.” The festival is viewed as being retains a strong sense of tradition Among the other highlights

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was the presentation of the fest.hr. Life Achievement Award to Because I will be serving on Caroline Leaf, who is best my first selection committee known for her sand, oil on (for the Ottawa Festival) in glass, and scratched anima- a couple of weeks, I was tion created during her 20 particularly interested in the years at the National Film dynamics of the competi- Board of Canada and else- tion. The Zagreb Festival’s where. Australian film schol- selection committee includ- ar and artist Erik Roberts ed Gunnar Strøm of organized a retrospective Norway, Jill McGreal of the screening of Leaf’s films, and Ivan including The Owl Who Ladislav Galeta of Croatia. Married a Goose (1974), The committee selected The Street (1976), Interview more than 50 films from 472 (1979), A Dog’s Tale (1986), submissions and, it seems, and Entre Deux Soeurs (Two there was generally con- Sisters, 1990). Later in the sensus on what works week, Leaf and a small made it into the competi- group of festival attendees tion. When questioned gathered for an informal about one or two films, chat as part of a series enti- committee members did tled “Conversations with the indicate that political reasons Masters,” a regular event at necessitated the inclusion of Zagreb that allows 10 to 15 works that otherwise might Bretislav Pojar and Gunnar Strøm at Zagreb. people to get better ac- Courtesy of Maureen Furniss not have been chosen. With quainted with an honored these exceptions, the quali- artist. As a special tribute to Leaf, embraced the Internet to create a ty of work submitted was of the several artists collaborated on a stronger international presence for same general standard that one entitled Leave a Normal itself. At one time, the government sees at most festivals. I often hear Life, which made its debut at the provided Internet access to its citi- the comment that there has not festival. The film includes visual and zens free of charge and many been a real stand-out lately, aural segments created by Janet thousands of people made use of though Priit Pärn and Janno Perlman, Derek Lamb, George public facilities. Now commercial Poldma’s 1895, which won the Griffin and Leaf’s other close providers have begun service with- Grand Prize, seems to have been friends, and features a soundtrack in the country, which changed the generally viewed as most worthy by Peter Gabriel. nature of the Internet access. of the honor. The Public Prize went Nonetheless, thousands of Croa- to American John Dilworth’s Online & Other Judging tians and other individuals were crowd-pleaser, Dirdy Birdy (1994) everal programs were dedi- able to get detailed information (his from Outer Space, cated to new technologies about the festival. By accessing the which got an Oscar nomination Sand their role in the realm of Zagreb Festival’s home page, a earlier this year, and was included animation. Playing a major role in viewer could see brief of all in the festival’s Hanna-Barbera the festival was the Croatian the films in competition and vote “What a Cartoon!” screening). Academic and Research Network for his or her favorite work. The The festival jury was quite well (CARNet), which used the latest winner of the Internet competition rounded, including Derek Lamb, technologies to provide access to was Nick Park’s who has worked extensively in the festival to World Wide Web (1995). You can see the Zagreb fes- Canada, the United States and users across the planet. I find it fas- tival’s home page at http:// Europe, Erik Roberts of , cinating to see how Croatia has www.awn.com or http://anima- Dragutin Vanuk of Croatia, Marjut

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Rimminen of Finland, who is work- mation from the United Kingdom what I would estimate to be ing in London, and Bretislav Pojar had a strong presence. In recog- between 100 and 200 official of , who has nition of the level of excellence guests, the festival is small enough worked internationally. I was found in many works from the UK, that you can get to know almost pleased that the festival added a the award for Best Producer was everyone in attendance. The city category for abstract films, which given to the Arts Council of itself offers a relaxing experience generally cannot compete with England. with plenty of interesting historical narrative films for recognition. and cultural spots to visit within a Austrian Barbel Neubauer, who The city itself offers a few minutes walk or taxi ride. One lives in , won first prize in of my companions felt the festival the category for her film, Roots relaxing experience with was a bit dull for his tastes, prefer- (1995), for which she created plenty of interesting ring instead his more energetic images directly on film and an orig- historical and cultural spots partying experience at Cardiff and inal score. Killian Dellers of to visit within a few minutes other festivals. Certainly, Zagreb Switzerland and Clive Walley of walk or taxi ride. does not offer the large-scale Wales shared second prize for their events of Annecy, Ottawa, or films, Vision (1995) and Diver- many other sites, but to be truth- timento No. 5—Slapstick (1994), It was somewhat surprising ful I hope it never does. respectively. that a film as popular as Nick Park’s Unfortunately, I am sure it is In the regular categories, Best A Close Shave was not awarded a only a matter of time before the First Film was won by German prize by the jury. Prize winners rep- presence of Disney merchandise Tyron Montgomery for Quest resented a wide range of emerges from the shop windows (1996), with second place shared approaches in terms of form and to infiltrate the festival itself—along by Kevin Richards of the UK for content, which indicate a prioriti- with the forces of other major ani- Pariah the Red Man (1994) and zation of experimentation over mation studios—beyond the Piet Kroon of the Netherlands for commercial formula and general- screenings that occurred in this Dada (1995). Best film in category ly popular approaches. Two films time. Festival organizers spoke with A (30 seconds to 5 minutes) was that did not win prizes appealed me about trying to lure more par- won by Swiss animator Georges to my interest in live-action/ani- ticipation by the larger studios, Schwitzgebel for L’Anée du Daim mation combination films and the which apparently remain hesitant (1995), with second places given surreal: 15th February (1995) by due to the local political situation to Swiss animator Jonas Raeber for the UK’s Tim Webb and Las Partes and the festival’s relatively small Gruezi (1995) and Canadian de mi que te aman son seres commercial potential at this point. Christopher Hinton for Watching vacios (The Parts of Me that Love I can understand the reasons for TV (1995). Best film in category B You are Empty Beings, 1995) by the festival wanting the support of (5 minutes to ) was Mercedes Gaspar of Spain. Both such large corporations, which can won by Russian animator Oksana films use very dark humor in deal- provide funding that the Croatian Tcherkassova for Nyurkina Banja ing with the subject of relation- government no longer can assure. (1995), with second prizes won by ships, mixing pixillated human Still, I am glad to have experienced British artists Karen Kelly for Stressed movement with object animation. the Zagreb festival as it is now. (1994) and Peter Paar for The Anyone who has been involved in Maureen Furniss is the Wooden Leg (1994). Category C, an empty, meaningless relationship Editor and Publisher of Animation for films produced on video, was or who has been disillusioned by Journal, a scholarly journal based at won by Jan Otto Ertesvag of love (and I know there are some Chapman University, in Orange, Norway for Processor (1995), with of you out there!) will find solace in , where she is an Assistant special recognition given to The these works. Professor in the School of Film and End (1995) by of Finally, I like to note the Zagreb Television. She can be reached by Canada. A number of other prizes Festival is a unique event that has email at [email protected]. were also given out. provided some of my favorite ani- Animation Journal’s home page is As in most recent festivals, ani- mation-related experiences. With http://www.chapman.edu/animation.

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The Hunchback of MTV? by William Mortiz

Quasimodo atop the cathedral in The Hunchback of Notre Dame. © ax Fleischer’s motto was “If that question about Disney’s latest mation. It’s just a good movie. it could be done with live feature, The Hunchback of Notre The adaptation of the story, M action, it’s not animation,” Dame, which has already been credited to Gorillas in the Mist and once griped to filmed several times as a live-action screenwriter Tab Murphy, cleverly me about how many thousands feature, in addition to Franz eliminated some of the complexi- of times he had to repeat that to Schmidt’s operatic treatment ties of ’s storyline, care- the animators over the years to get (which supplied some of the music fully sidestepping the brothels, tor- them to improve their work with for the Alfred Newman score to tures and philosophical intricacies those imaginative, visionary impos- ’s splendid 1939 (the two heroes, one poet and one sibilities that belonged exclusively version). The answer, however, is warrior, are condensed to one sen- to the realm of creative animation. that Disney has managed to make sitive soldier) and other aspects of What would the poor Fleischer a wonderful movie out of the original which would have brothers think about the current Hunchback (with one hideous been unsuitable for younger view- animation scene, in which almost blemish, which we’ll come back to ers. Making Clopin a narrator/mas- every animation studio is involved later), a film so moving and thrilling ter-of-ceremonies was also an in duplicating live-action stories? and inspiring that it doesn’t mat- excellent idea that allows the basi- cally adult story to become an One can hardly help asking ter whether it’s live-action or ani- excellent childrens’ adventure tale.

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the story. Key staff visited Paris to study the real Notre Dame cathe- dral and Victor Hugo’s own sketch- es of the Paris he knew and imag- ined, while Disney’s unit continued to provide authentic detail, and this all pays off superbly. The musical score also helps support this respectful treatment of Victor Hugo’s historical romance, with an almost operatic tone to the serious numbers (including real chants, and use of a hundred-year- old organ and a professional choir recorded in London). The orches- trator, Michael Starobin, also The rescue scene with and employed some genuine instru- from The Hunchback of Notre Dame. © Walt Disney Pictures ments of the late medieval period (such as hammered-dulcimer, git- ˙ Of Dieterle Born Art director Dave Goetz, layout tern and shawm) to give the pro- t must be noted that the adap- supervisor Ed Ghertner and back- fane scenes an added sense of tation is very much of Dieterle’s ground/color artist Lisa Keene authenticity. IHunchback — in particular, The computer-generated crowd ’s boyish Quas- A genuine woman of color, scenes with an active cast of hun- imodo with his one lumpy eye is dreds are duly impressive, the Feast clearly the model, just as Sir Cedric intelligent and capable. of Fools full of lively whimsy, and Hardwicke’s thin, pinched face the action-adventure scenes with inhabits the animated villain Frollo. deserve special credit for creating chases and fights very exciting. The But this doesn’t really matter, and sustaining a medieval atmos- quite effective voice talents include because the Dieterle film is so fine, phere, and a clear sense of the Demi Moore as Esmeralda (in the it amounts to good taste to imitate antithesis between the sacred and animated visuals, by the way, a it, and in most cases the Disney profane which lies at the heart of genuine woman of color, intelli- version lives up to the high stan- dard set by the earlier film. For example, the brilliant scene (not in Hugo, but created by Bruno Frank) in which Esmeralda enters Notre Dame for the first time, and prays to Mother of God to help her out- cast people while the “devout Christians” pray for money, sex and , the Disney team have sup- plied a great musical number “” with knockout color visuals, Esmeralda slowly walking through the shadows and light-shafts of the cathedral until she finally stands bathed in a man-

dala of light from one of the The gargoyles (Hugo,Victor, Laverne) with Quasimodo stained-glass rose windows. and Esmeralda in The Hunchback of Notre Dame. © Walt Disney Pictures

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place in the cathedral of Notre statements identify this gargoyle Dame. If I were a good Cath- episode as a link with the Disney olic, I think I would be offend- tradition, and compare it to the ed-indeed, if I were a good pink elephant sequence in pagan, I would be offended, . Certainly not the Walt since the genuine historical Disney tradition, for there are no gargoyles actually represent jalopy races (nor obnoxious creeps) the spirits of the old pre-chris- in Snow White, nor telephone calls tian religions, and are much or airplanes in or more imaginative character. Sleeping Beauty. And the pink ele- One of the gargoyles, Hugo, is particularly offensive, com- Indeed, if I were a pounding the kitsch of and the camp of Jim good pagan, I would Carrey-totally obnoxious. In be offended. the official The Making of The Frollo, narrator of Hunchback of Notre Dame phants are wholly integral to The Hunchback of Notre Dame. documentary, producer Don Dumbo’s contemporary circus © Walt Disney Pictures Hahn calls Hugo “a crazy frat ambience and the particular plot gent and capable), Kevin Kline as boy,” but what is Animal point of the accidentally inebriat- the blond-bearded soldier House doing in medieval Paris? ed heroes. I can see no real excuse Phoebus, and Tom Hulse as Where was Dave Fleischer when for the “gargoylettes” in Quasimodo. Hulse himself sings they needed him? Hunchback, except as a bid for quite well his operatic “Out The official Disney press release Broadway. Much of this same team There”, but Esmeralda’s heart-rend- calls these gargoyles “kind of the was responsible for creating ing aria “Outcasts” is supplied by Disney mortar that holds the Beauty and the Beast, which is still a professional singer, Heidi whole story together,” but the running in its hit stage version. Mollenhauer, whose voice timbre effect is quite the opposite-it makes And the press release describes this blends seamlessly with Demi the carefully built magic of the “showstopping tune” as “in grand Moore’s speaking voice. bygone era crumble. Other official boulevardier style with a touch of

Compounding the Kitsch hat a waste, what a shame, then, to find in Wthe middle of a magnif- icent, splendid film a set of char- acters and a musical number so vulgar, so tasteless and so far removed from the medieval peri- od that it completely spoils all the spellbinding adventure in this spe- cial atmosphere. I refer to the intro- duction of three gargoyle “comics,” and their song “A Guy like You,” which attempts to lure Quasimodo out of the cathedral by depicting a gambling casino (poker chips and roulette wheel) and a low-cut gowned torch-singer splayed Esmeralda and Phoebus in The Hunchback of Notre Dame. across a bar piano. All of this takes © Walt Disney Pictures

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I should have guessed by the way the gargoyles are being pushed in the print ads and other promotional materials that at some level “Disney” suffers from a real lack of confidence in the true excel- lence and virtues of their Hunchback of Notre Dame—even though the same team did pro- duce a Best Picture Oscar nominee without any obnoxious anachro- nisms. Or is it just a triumph of an MTV era sensibility that doesn’t shrink from snatching images and ideas from any source, and does-

Esmeralda greeting Quasimodo during the Festival of the Fools. n’t care if the mood and tempo © Walt Disney Pictures changes completely every five min- utes, with no unity or direction Broadway panache.” If that was Broadway was their last concern beyond the pleasure of the the case, it seems quite misguid- while working on a film, when moment? In either case, it’s sad, ed to me, since the audience for their only care was making the because without the gargoyles, Broadway shows is vastly different best film possible. Why, I asked, did Disney’s Hunchback of Notre and more sophisticated than the gargoyle Hugo have to be so Dame would have been a great very much younger audiences for obnoxious, since no one else in film; with the obnoxious anachro- Disney movies. The number the film, even the villains, were nisms it becomes an average com- should be cut from the film and really obnoxious? They said they promised committee-assembled saved for the Broadway version of believed Hugo was in a Disney tra- piece of commercial mishmash. Hunchback, when it would be eli- dition of “loudmouth sidekicks” of Too bad. gible for a Tony as an original which they offered the examples song. of Baloo in Jungle Book and Jiminy In a mad hope that I could con- Cricket in Pinocchio. Hugo reminds vince someone to cut the gargoyle me more of Lampwick in Pinoc- number before Hunchback open- chio, so much so that during the ed in movie theaters, I wrangled climactic (genuinely touching) a phone interview with directors and . They Don’t get mixed up with adamantly defended the gargoyle sequence, insisting that it was him; he hangs out with “deliberately anachronistic,” and really bad friends. since gargoyles were fantastic crea- William Mortiz teaches film and tures anyway, that seemed to give moment in Hunchback , when a “a crazy license for them just to go little girl reaches out to touch animation history at the nuts for a minute.” Dramatically, Quasi, I felt like warning her, “Don’t California Institute of the Arts. they said, it also set Quasimodo get mixed up with him; he hangs up for the disappointment he was out with really bad friends.” In any about to encounter in the next case, the directors suggested I wait scene. They seemed peeved at my until the film came out on video suggestion that the number might or laserdisc, and then I could just have been inspired by thoughts of cut out or skip over the abom- a Broadway version, and said inable gargoyle sequence.

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The Olympiad of Animation compiled by Frankie Kowalski This time ’round, I reminisced with animators who produced short animated films for The Olympiad of Animation—Melinda Littlejohn (Breath of Seth), Raul Garcia (Animarathon), George Schwizgebel (Hors- Jeu), and Jonathan Amitay (The Spirit of the Olympics).

Melinda Littlejohn’s Raul Garcia’s picks... desert island picks... When I was invited to I love the idea and participate in The Olym- energy behind the pics of Animation I felt real- 10. Olympiad of Animation. ly honored and decided It built up to a wonderful to make the most amaz- frenzy of animators and ing animated film ever artists descending upon done—Hollywood here I Los Angeles from all over go, ok back to reality. I the planet. We closed a ended up with the few bars and opened a longest animated film that few breakfast joints $150 can buy. Two min- before it was over—alot utes and 12 seconds and of those people still a cast of animators worth remain my dearest of a feature film. Necessity

friends and networks! I Olympiad of Animation film, Breath of Seth is the mother of all inven- think the funniest thing by Melinda Littlejohn. tions and having no that happened was money to produce the when the sound track failed on a rather politically film, I asked every friend working in animation to ani- graphic European film and the animator kept yelling mate a scene. I shot the whole film by using the stu- CONSPIRACY! (that guy went on to work for Disney— dio I worked at as an animator in the middle of the embracing the LA lifestyle wholeheartedly.” night and using leftover film and tails from my part- time job as a cameraman. When the film was final- 1. The Rainbow Bear by Bill Melendez ly finished, I had an opportunity to come to L.A. and 2. The Bead Game by Ishu Patel present it. It was very exciting.” 3. Anything by Oskar Fishinger 4. The Ladykillers by Alexander McKendrick 1. The Tell Tale Heart by Ted Parmelee 5. The first hour of The Black Stallion by Carroll 2. Pas de deux by Norman McLaren Ballard (produced by Francis For Coppola) 3. One Froggy Evening by Chuck Jones 6. Anything by Emory Hawkins (especially the candy 4. Little Red Hot Riding Hood by Tex Avery monster in Raggedy Ann & Andy) 5. Anna & Bella by Borge Ring 7. Burden of Dreams by Les Blank 6. by Nick Park 8. The Ghost of Rome by Antonio Pietrangeli 7. What’s Opera Doc by Chuck Jones 9. Anything animated by (especially 8. Getting Started Snoopy flying his dog house) 9. The Man Who Planted Trees by 10. All or Nothing by Frédéric Back 10. 2001: A Space Odyssey by Stanley Kubrick

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George Schwizgebel’s picks... Jonathan Amitay’s picks...

Je ne pratique pas beaucoup de sport mais je Spirit of the Olympics” ... wow! 1984. And it was suis impressionné par la beauté des mouvements des my first film to be shown internationally. I had no idea athlétes, les ombres portées et la couleur du gazon. of the importance of such events. While making the C’est cela, et aussi l’idée naive que l’on choisi tou- film for the Olympics I used sand and shot the film jours son équipe quand on regarde un match, qui with a very old animation camera that was on it’s last m’a incité à réaliser Hors-jeu..” sprockety legs. It would jam, oh would it ever jam, and mostly on the most important jobs. By the time (I do not practice sport very much but I am impressed I’d finish almost ANY job with that camera, all I was by the beauty of athletic movements, the shadows left with was the feeling of relief of having managed that they projects and the lawn color. It is for this rea- to make the deadline. Other than that I was too fraz- son, and also because of the naive idea that one zled to think about anything else. Even today I find always picks a team while watching a match, that I it difficult to watch my works from that period seeing decided to make Hors Jeu.) the jump-cuts and remembering that dreaded ‘click,’ and then opening the camera body and the film 1. Tango by Zbigniew Rybcynski spilling out like bloody spaghetti!” 2. The Tale of Tales by 3. Damon the Mower by 1. The Mighty River by Frédéric Back, for its awe 4. Le jeu des anges by Walerian Borowczyk some beauty and grand execution. 5. Dream of the Sphinx by James Gore 2. The Street by Caroline Leaf. What can I say ... it’s 6. Refleksy (Reflections) by Jerzy Kucia so fantastically imaginative. 7. The Comb From the Musuems of Sleep by the 3. The Yellow Submarine by George Dunning Brothers Quay 4. Ivan The Terrible by Sergei Eisenstein. A grandiose 8. Creature Comforts by Nick Park film and you don’t have to understand a word 9. Blinkity Blank by Norman MacLaren of Russian to be mesmerized by it. It’s like “watch 10. The Passing by Bill Viola ing” a Rembrandt, a J.S. Bach or a Beethoven. 5. Seven by David Fincher —it’s opening title which I found to be a unique piece of artistry and “branded itself” on my artistic psyche. 6. The Electric Blanket by Asi Dayan, which is gut stuff and Israeli to it’s last frame, and contains a controversial and unforgettable scene about dying and death. 7. Manufacturing Consent: Noam Chomsky and the Media by Mark Achbar A film that will leave no doubts in the minds of the mad dogs on the island (and even islands have their mad dogs) as to my political/social leanings. 8. Unconscious Civilization by John Ralston Saul, which is a piece of the most brilliant reasoning. 9. For music ... There’s so much ...! On the spur of the moment I would probably grab any one of Mozart’s piano concertos. His “Heavenly” music contains every possible human emotion. 10. I must admit that I would take one of my own films, Nukie Takes A Valium to remind myself that I’m not as lousy as I make myself to be sometimes ... ha ha.

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Virgil Ross – In Memory by Tom Sito aster animator Virgil Ross down the street to “Rosie O’Grady” died on May 15, 1996 or cakewalked on the vaudeville M from complications of a circuit, even pausing to wrestle a stroke suffered in March. He was Japanese Sumo wrestler, that was 88. His 60 year career began in Virgil’s work (he was a darn good 1930 at Mintz-, where dancer himself). A virtuoso of tim- he was hired as a trainee for $6 a ing and gesture, he animated a week. Tex Avery made him an ani- great deal of Friz Freleng’s mator at Lantz in 1935, and Ross ; his other credits then followed Avery over to include Tex Avery’s and Schlesinger’s (Warner Bros.) six Egghead, Freleng’s A Hare Grows months later. He became one of in and . the legends of his profession, work- Virgil was generous with his ing at , Hanna Barbera, time for young fans. While some Filmation, DePatie-Freleng, Chuck animators at his age withdraw into Jones, Sam Nicholson and Marvel. solitude, he made himself available In 1984 he was one of the first for numerous events, where, sur- artists to receive the Motion Picture Virgil Ross (left) with animator rounded by people, he would sign Screen Cartoonists Golden Award Warren Batchelder in 1945, autographs and do drawings. And and in 1988 was honored with from That’s All Folks by Steve Schneider. he was never too busy to talk to ASIFA-Hollywood’s Winsor McCay people. Award for Lifetime Achievement. Virgil was the dance At the end, he was in his room, propped up in his specialist. Thus, whenever Bugs Bunny tap-danced bed, looking out at his beloved garden, surrounded

Animation drawings by Virgil Ross from Mississippi Hare (1949). © Warner Bros.

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by hundreds of get well cards and is currently a Senior VP of Physical Aladdin and the King of Thieves, drawings sent by all those he Production at Fox, is negotiating which features the voice of Robin made memories for. out of his contract to work on Williams as Genie. The co-promo- So, as long as there are people Ants. tion with McDonald’s and General who break into a smile at the Mills is valued at $70 million. antics of Bugs and Daffy, Virgil Ross’ memory will live on.

New Line Television Syn- dicates The Mask. In an effort to strategically market the CBS #1 rated Saturday morning series The Mask, the series will be stripped Monday through Friday beginning this September in addition to its weekly CBS network broadcast. The showis based on the original feature film of the same name from . The series is produced by New Line Televsion and Film Roman (The Simpsons, Garfield).

DreamWorks Lights Fire Under Ash. DreamWorks has The Mask. © New Line Productions acquired the feature film rights toJoe Quesada and ’s new comic book hero, Little Orphan Annie Finds Festival Note: Sarah Watt Ash,. in which the company is tar- A Home In TV. One of the just won the Special Achievement geting as a franchise for its ani- most popular strips in comic art Award for Animation at the San mation unit. Ash tells the story of annals, Annie is being recast as a Diego Film Festival for her film, a firefighter who miraculously sur- new, contemporary character in Small Treasures. vives a blazing inferno and comes an animated, action-adventure to realize he was spared by a force series. Now in development, the The following items are from the future that has given him weekly, half hour show will be co- extraordinary powers. It will be from AWM’s June 7, 1996 produced by Abrams/Gentile adapted for the screen by Rand Email News Flash Entertainment (Sky Dancers and Ravich. Dragon Flyz) and the Fremantle Files For Corporation (international distrib- DreamWorks And Pacific Chapter 11 Bankruptcy. The Data Images’ First Project utor for such shows as Grace Un- der Fire and 3rd Rock From the troubled San Francisco-based stu- In The Works. The film,Ants, Sun). dio, known for such TV shows as will be produced by Eron Warner, Aeon Flux and , Brad Lewis and Wooten Disney Campaigns With has sought protection from its through PDI. Though specific creditors while seeking to overhaul details of the story line are being McDonald’s and General its operations. Previously, it had kept under the wraps, Ants is Mills For Aladdin Video. stopped producing TV commer- described as a computer-generat- Buena Vista Home Video is putting cials, despite being one of the top ed animated feature similar in theatrical style promotion behind studios in the field and announced process to . Warner, who its direct-to-video premiere of that it was concentrating on devel-

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opment projects. The company Harvey 10% of the profits. Harvey the lives and work of Disney con- said that the latest move will allow further charges fraud, breach of cept artists from the thirties to the it “to reorganize its business in a contract and copyright infringe- present; Tex Avery (Turner profitable direction.” Part of the ment. Court date is set for Publishing) presents a candid reorganization involves a shakeup December 3rd, 1996. assessment of the innovative ani- of its management team. Thus, mation director during his work at Chairman and co-founder Drew New Line Cinema Selects MGM Studios from 1942-1955; Takahashi is said to be “refocusing Screenplay For Cross, A and Felix: The Twisted Tale of the his efforts as Colossal’s Chief Dark Horse Comic Book. World’s Most Famous Cat (Da Creative Director”; in addition, Jan Capo Press), which is a paperback New Line has added Cross to the Bauman, previously Controller at reissue of Canemaker’s 1991 list of comics being developed into , has been appointed Chief account of pre-Disney animation features due to the drive of Financial Officer; and former Pacific as seen through the most popular acknowledged comics fanatic Data Images Executive Producer, silent cartoon character of the Michael De Luca. Other projects Jana Canellos, is Director of Sales 1920’s. Canemaker, who heads the include, , Blade, and and Marketing. animation program at New York . The studio’s last hit The University, is also an accomplished Mask which grossed more than filmmaker and frequent lecturer on Buena Vista Home Video $300 million worldwide, was also the art and artists of animation. Releases In Indonesia. Walt based on a comic. Cross which is Disney home video will be released based on an unpublished novel by legitimately in Indonesia starting Andrew Vachss and James Colbert Film Roman To Produce next month with PT Vision called Cross , is about a Richie Rich TV Series In Interprima Pictures. Indonesia was family of misfit mercenaries and Association With Harvey off limits to the U.S. majors until childhood friends who fight urban Entertainment. The 13 half- last year. The market was 100% crime. hour series will be syndicated by pirated until 1991, when the gov- Claster Television. Film Roman will ernment cleared the shelves of be producing new shorts for each video stores and burned stacks of episode, which will also feature cassettes. After that, the business films from the Harvey library. This consisted largely of imported is a similar strategy Harvey fol- laserdiscs. The first package con- lowed in their popular tains the animated feature The Show. Richie Rich, known as “the Goofy Movie and Disney indicat- richest kid in the world,” is, of ed it will start dubbing Pocahontas course, a popular comic book star for sell through, once it has been and recently was the basis of a live- able to cast suitable voice-over tal- action feature starring McCauley ent. Culkin.

Trial Date Set For Betty To Pro- Boop Cartoon Copyright. duce Dramatic Animated Harvey Entertainment sued Has Three Series For The WB Net- and its attorney Animation Books For Fall work. The fledgling network Stanley Handman, charging that Release. John Canemaker will announced that it will be adding they failed to pay Harvey royalties have three books dealing with the Invasion America, a new prime for the use of . Harvey art and pub- time animated serial to its sched- seeks to void a 1980 agreement lished later this year; Before the that gave Fleischer the rights to ule. The show is the maiden effort Animation Begins: The Art and from DreamWorks’s new television the cartoon character in return for Lives of Disney Inspiration Sketch animation division, in which managing them and paying Artists (Hyperion Books) chronicles, Spielberg is closely involved with.

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WB programming head Garth Beast, Toy Story Distributed To Ancier described the show as, “an and The Lion King, has entered Chinese Audience. Shanghai animated dramatic series with the- into an exclusive seven year agree- Film Studio will distribute Disney’s atrical scope and primetime qual- ment with Walt Disney Feature Toy Story next month, making it ity.” Animation.. Hahn who has been the first Chinese film studio to dis- associated with Disney for 20 tribute a foreign movie. China has Invision Entertainment years, produced the current ani- decided to allow its studios to do Joins Production Team Of mated musical The Hunchback of so as a trial scheme to boost their Sandbox Entertainment Notre Dame. Under terms of the coffers. Actual film imports are still On Pillow People. InVision, the new arrangement, he will contin- controlled by the state-run China new startup company that recent- ue to produce animated fare on Film Import and Export Co. ly took over production of USA an exclusive basis for the studio, Disney’s Lion King earned about Network’s popular Street Fighters but he will also venture into live- 30 million yuan ($3.6 million) at show, announced that it will be action or live-action/animation the Chines box office. working closely with Banana- combos on a first look basis. Mation, Sandbox’s newly formed Nickelodeon To Produce animation subsidiary. The project Pipkin Promoted To Vice First In-House Project For will use traditional cel animation President Of Production By Pre-schoolers. The net- (provided by Invision) as well as 3- Klasky Csupo. Margot Pipkin in work has made a 20-episode D (by her new role, will oversee the pro- commitment for the computer ani- BananaMation). The series will duction of the company’s TV series: mated Blue’s Clues, a show in debut nationally in syndication in , and Aaahh! which an animated puppy helps September 1996. Real Monsters. Pipkin, who was solves the day’s puzzles, with the previously producer on Duckman, help of host Steve Burns using Casemiro To Head Creative will oversee budgeting, talent and non-verbal clues. It will be shown Affairs At Klasky Csupo, studio relations with Paramount as part of the network’s Nick Jr. Inc. Eryk Casemiro comes to Television Group. Pipkin joined Programming block, which is tar- Klasky Csupo following his work at Klasky Csupo in 1987 as a pro- geted to the 2-5 age group. as Director of ducer of the prime time series The Creative Affairs, where he partici- Simpsons. Comedy Central Makes pated in the development of Deal With Fox For The Wayne’s World and produced the Disney Pacts With Creative Tick. The agreement, which will CBS holiday special Capers. Disney Interactive has include 10 new episodes, involves with renowned animator Bill signed an exclusive multiyear deal airing the shows on The Comedy Melendez. His responsibilities at with Creative Capers Entertain- Channel the day after they air on Klasky Csupo will include manag- ment, the Glendale-based anima- Fox Children’s Network. The deal ing development of television tion and design studio. Capers is the latest example of giving cable series, specials and special projects. principals Sue and Terry Shake- exposure to a series shortly after speare and David Molina have its broadcast run. While The Tick is The following items are been associated with Disney on a a Saturday morning children’s pro- from AWM’s June 21, 1996 number of film, TV and consumer gram, the takeoff on the cartoon Email News Flash: products over the years. Under the genre has a large pact with Disney’s year-old inter- young adult following, which Hahn Gets Animated Deal. active division, Creative Capers will Comedy Central believes can make Disney-based producer , continue to work on projects with an attraction in prime time. who worked on Beauty and the other divisions at Disney.

66 ANIMATION WORLD MAGAZINE July 1996 Animation World Magazine 1996–97 Calendar

With the Hiroshima Animation Festival on the horizon in August, we thought we would take the opportunity to take an extended look at Japanese animation, and anime in par- ticular. Thus, our theme is “Anime, Anime, Anime—A Worldwide Phenomenon.” We will lead off with an authori- tative survey by Fred Patten, Mark Segall will profile (the leading international distributor of anime), and John Gosling will report in from the UK.

In addition, we will have an interview with Raoul Servais, who is being honored at Hiroshima, Mark Langer will report on Shanghai’s Animation Fiesta, and Aaron Burger looks at the state of the (animation) art. Look for these and other items in the next issue available online on August 1, 1996.

International Television (September)

Politics & (October)

Theme Park Animation (November)

Interactive Animation (December)

Animation Festivals (January ‘97)

International Animation Industry (February '97)

Children & Animation (March '97)

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