Vol 2 Issue 12 March 1998 PP RERE-P-PRODUCTIONRODUCTION InterviewInterview WithWith WildWild BrainBrain onon MauriceMaurice NobleNoble FernGullyFernGully 22

RealFlashRealFlash DemystifiedDemystified

GamingGaming LucasArtsLucasArts StyleStyle Plus:Plus: OscarOscar ReportReport Table of Contents March 1998 Vol. .2 . No. 12 4 Editor’s Notebook Remembering and depicting the past...

5 Letters: [email protected]

PRE-PRODUCTION

6 FernGully 2:The Magical Rescue - Getting the Money on the Screen Wild Brain’s Dave Marshall, co-director of FernGully 2, discusses how he tailored the pre-production process of FernGully 2 to guarantee the best final film for the budget.

10 Cruddy Sketches and a Red Pen: Pre-Production on Lucas Arts’ The Curse of Monkey Island Gaming pre-production is explained by Russell Bekins who spent a day visiting the dreamlike LucasArts Entertainment in California’s Silicon Valley.

15 Maurice Noble:Animation’s “Old Rebel” Karl Cohen interviews the Disney legend, Maurice Noble, and discusses his career, working with Chuck Jones and the animation industry today.

21 Paper:There’s More To It Than You Think An article on paper? Yes. Steven Hagel takes us inside the world of paper and reveals the complexity of anima- tion’s “simplest” tool.

25 Creating Music and Imagery Together Independent German filmmaker Kirsten Winter describes her unique pre-production process of working with composer Elena Kats-Chernin, while developing her visuals.

VOICE ACTING

28 And I Get Paid!?!:The Life of a Voice Actor Is voice acting really the best job on earth? Kath Soucie thinks so and takes us through her typically busy week.

32 Mae Questel:A Reminiscence, History and Perspective Following her recent death,Andrew Lederer discusses the legendary Mae Questel, the voice of Betty Boop.

THE STUDENT CORNER

35 In the Spotlight: Creating Prime Time Animation Film Roman’s Mike Wolf outlines the pre-production process of prime time animation and focuses on the fea- tures that make prime time special.

FESTIVALS, EVENTS:

March 1998 38 The World Animation Celebration: Pasadena’s Festival The World Animation Celebration offered a number of events ranging from screenings to technology seminars to employment expos. Animation World sent a bevy of specialists to report.

49 Toy Fair:A Flood of Animated Toys Joseph Szadkowski, fresh from the annual Toy Fair in New York, details the latest and greatest toys and prod- ucts based on animated programming.

© Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE March 1998 2 Table of Contents March 1998 Vol. 2, . No. 12 REVIEWS:

FILMS

52 T.R.A.N.S.I.T.:A Delicious Sense of Understanding and Journey Emru Townsend reviews Piet Kroon’s new film, T.R.A.N.S.I.T., a fascinatingly complex journey of imagery and story.

BOOKS

54 The Enchanted World of Rankin/Bass by Rick Goldschmidt Scott Maiko isn’t so enchanted with this new “bible” of Rankin and Bass’ work. Find out why...

SOFTWARE

56 Animating the Web: RealFlash RealFlash technology can seem daunting. However, the following two articles,“RealFlash:The First Step” and “How I Learned to Stop Worrying and Love RealFlash,” will hopefully, make it less intimidating...and just in time to enter the RealFlash Animation Festival.

HIDDEN TREASURES:

62 George Eastman House International Museum of Photography and Film Located in Rochester, New York, Eastman House has an extensive and fascinating collection of films and stills. Animation highlights include retrospectives and a collection of pre-cinema animation devices.

NEWS 64 Animation World News Universal Forays Into Features, Loesch Joins Henson TV Unit, UPN to Bring Dilbert to Primetime, Disney Sets Dates For Miyazaki and DTV Titles, plus more.

DESERT ISLAND

76 On A Desert Island With. . . .Pre-Production People Maurice Noble, John Ramirez and Wes Archer.

AWN COMICS

77 Dirdy Birdy by John Dilworth

78 Next Issue’s Highlights March 1998 9 This Month’s Contributors

Cover: FernGully 2:The Magical Rescue, produced by Wild Brain, will be released as a direct-to-video title on March 17, 1998. © 1997 Twentieth Century Fox Home Entertainment,The CBS/Fox Company.All Rights Reserved.

© Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network.

ANIMATION WORLD MAGAZINE March 1998 3 by Heather Kenyon Remembering and depicting the another trend that is to document bravely the past... occurring in print truth, then we will have Historians naturally have a publications as well a more difficult time difficult time discovering the past that is disturbing. remembering and piec- for several reasons. Human nature, Magazines are going ing together our anima- politics and, of course, the all-mighty to great lengths in tion heritage tomorrow. dollar play a role. Finding anima- order to secure cer- On a completely dif- tion’s history might even be a little tain stars or proper- ferent note, I hope you more difficult because opposed to ties for their covers. enjoy this March issue of an event that many people wit- For instance, in an Animation World nessed or were involved in, the attempt to get a Magazine with its spot- early years of animation came and mega-star on the light on the art of pre- went with little documentation. cover, a magazine production. A solid pre- It is human nature to want will let the star pick their interview- production process is growing more to say positive things about people er, the subject matter to be dis- important as production work on a we admire. However, we run into cussed, etc. While this is so far only single show is being completed trouble when the people docu- happening in the more fluffy enter- more and more frequently by a col- menting history only record what tainment magazines and on the lection of studios. Having a solid their subjects want to have remem- magazine type news shows, it is a foundation certainly helps a project bered and not what is the truth. trend to watch as the line between make it through cultural bound- People writing books and articles reporting and entertainment blurs. aries, communication difficulties really have to do their research in This leads us to the thing caused by distance (is a fax really as order to guarantee delivery of the that has been called the root of all good as a one-on-one meeting?), full story. Another facet of human evil, money. Sure magazines with a and a large number of internation- nature, is, as Andrew Lederer points catchy cover sell. No one can blame al cooks without it losing its flavor out in “Mae Questel: A the publisher. If a publisher wants, and strength. Television has long Reminiscence, History and for example, a coffee table book of been shipped overseas in the Perspective,” sometimes when folks art work by a certain studio, but not United States and Europe. Plus, age, so too do their memories. One a detailed text of the production, now with the help of CARTOON, can misleadingly think they are get- fine. It is his dime and the writer will projects are being shipped in- ting information from ‘the source’ adhere. between a number of European in personal interviews. Again, I would like to take studios. Even on the feature front, The two other elements that this opportunity to encourage peo- The Lion King, for example, was ani- lead to historical twisting are poli- ple with stories to document them. mated in both the Florida and tics and money. Often the truth can- We are also interested in hearing California studios. The importance not come out because a person, stories from the past and would like of pre-production is paramount with no malicious intent, does not to encourage people to contact us when it comes to leading a solid, want to go on record with their if they would like to have their mem- on time, on-budget show. All our statements, their true feelings. On a oirs published in the form of an arti- experts agree, a little more time up much larger scale, in today’s world cle. The work of many museums, front can save a lot of grief in the of super-huge corporate news, archives, ASIFA chapters and orga- end. headlines tend to get pre-fabricat- nizations like Women In Animation ed and he who yells the loudest, are helping with this drive to pre- Until next time... wins. While fluff is hyped, the real serve history and deserve our sup- Heather stories can go unnoticed. There is port. If we do not take the time now

ANIMATION WORLD MAGAZINE March 1998 4 [email protected] Praise for the February Issue taught, stop-motion animator here • When will your book The Thanks for the great in Australia, I find it very difficult to Animation Job Hunter’s Guide February issue (2.11). I completely find good information and advice. be available? Can you provide enjoyed every article and hope as a Animation World Magazine is ‘the ordering information? new hobbyist of stop-motion ani- best’ resource I have found yet in mation you continue with more arti- my business. • Where can I find copies of other cles like “At Last, Foam Puppet articles you have written on this Fabrication Explained!” and “How’d Sincerely, subject? They Do That?: Stop-Motion Secrets Antony Bunyan Revealed.” I also hope you provide Thank you for your insight! more information on low cost Tom Brierton replies: AJ Blosser film/video systems and how to use I drill my bearings out on a them for amateurs like myself. It’s lathe, using conventional jobber drill Pamela Kleibrink Thompson replies: hard to find really timely informa- bits. This is about the only practical When you mention that you tion on systems other than way to drill the bearings, because are interested in computer anima- RealFlash. the hole needs to be dead center tion, I will go with the assumption on the ball. that you are interested in 3-D char- Thanks again, As far as obtaining detailed acter animation. If this is the case, it Kevin Stout drawings of armature parts, I pro- is important that you design a Marysville, WA vide a service of supplying either course of study that includes learn- mechanical drawings of armature ing the fundamentals of traditional Dear Kevin: parts, or, I can either machine an animation (squash and stretch, how entire armature for a client, or indi- to time a gag, overlapping action, If you would like to know vidual parts. Clients tend to opt for etc.). You should also learn about more about the stop-motion ani- individual parts, as it’s less expen- filmmaking (understand lighting, mation process from a technical sive. Then, they can see what a pro- cinematography, etc), and espe- point-of-view, read “Our Animation fessional armature part looks like, cially storyboarding. It is also rec- Process” by Mike Dietz of The and then mass-produce them them- ommended that you learn some Neverhood which was featured in selves, provided of course, that they graphics programming and UNIX. our December, 1997 Gaming issue have access to a lathe and mill. An excellent text on animation is (2.9). While we are focusing on Hope this helps. Feel free to The Illusion of Life by Frank Thomas RealFlash in this issue we will try to write back if you have further ques- and Ollie Johnston. review the latest new technologies tions. My book, The Animation Job to keep you abreast of the situation. Hunter’s Guide, will be available by More Info Needed Ms. early December. I hope to finish it Sincerely, Thompson! sooner. (Editor’s note: Animation The Editors Your article in Animation World Magazine will announce the World Magazine (Issue 2.9, publication of the book in the More Praise for Tom December 1997) “How to Find a Animation Flash newsletter.) I thought the article, “At Last, Job in Multimedia” by Pamela I have written on animation Foam Puppet Fabrication Kleibrink Thompson was excellent! for many publications including: Explained!” (Brierton 2.11), was I am a high school senior Career and Colleges, October 1991, great. However is it possible to get who plans to enter the WVU September/October 1992 diagrams on each of the armature Graphic Design program in the fall Equal Opportunity, Winter 1992 joints described? This sort of infor- of 1998 and I have a few more Hispanic, March 1992 mation is very difficult to get. Also questions for Ms. Thompson. My Apple Directions, July 1995 some parts of the article were main interest is in multimedia, elec- Women in Animation Work in unclear, especially where Tom was tronic art and specifically computer Progress, January 1996 explaining attaching the ball bear- animation. Circle K, March 1996 ing to a rod. I believe Tom drilled Animation World Magazine, June the ball bearing? Can he advise the • WVU does not offer a specific 1997 (2.3) and, of course, the best way to do this? animation program. Can you December 1997 issue too. I run a small animation busi- offer me any advice on how to I’m glad you liked the article ness. I do some basic armature con- tailor a graphics arts degree and hope you find it useful. struction but would like to construct towards computer animation? more accurate models. Being a self-

ANIMATION WORLD MAGAZINE March 1998 5 FernGully 2: The Magical Rescue Getting the Money on the Screen by Dave Marshall and Phil Robinson. Editor’s note: In 1990, Bill questions in pre-produc- and Sue Kroyer directed an ani- tion. There are several key mated feature called FernGully: The factors that are essential Last Rainforest for Twentieth to the pre-production Century Fox and Interscope process that we estab- Communications. This month, lished as priorities includ- Twentieth Century Fox Home ing: good communica- Entertainment will release FernGully tion with the production 2: The Magical Rescue, a direct-to- facility, a strong script and video sequel produced by San a great storyboard. Francisco-based studio, Wild Brain. Of course, our With the current growth in the very first priority was cre- direct-to-video animation market, ating a realistic budget for we decided to take a closer look at the job and then design- the production process. Exclusively ing for that budget! (For for Animation World Magazine, instance, if one has a low FernGully 2 co-directors Dave budget, simplify the writ- Marshall and Phil Robinson gener- ing and design, and limit ously share their experience over- the color palette, but, in seeing pre-production for the film. our opinion, do not skimp on the storyboard!) This went hand-in-hand e recently produced our with having a thorough first direct-to-video fea- understanding of our Wture, FernGully 2: The production facility’s needs, Magical Rescue for Twentieth strengths and weakness- © Twentieth Century Fox Home Entertainment, 1997 Century Fox. All pre-production es. Our expectations had The CBS/Fox Company, courtesy of Wild Brain. work including character design, to be reasonable. sible. Encourage them to be hon- layout, storyboard, timing, back- Here are some suggestions est with you about what they can ground and color key was com- we can make to help you produce do for the budget, within the sched- pleted in our San Francisco facility, the best possible final product based ule. Be clear about the production while animation production took on 17 months of that good ol’ tried standard you need to meet, and talk place at Wang Film Productions in and true combination of blood, openly about your mutual goals. Taipei, Taiwan. Wild Brain directed sweat and tears: What are their concerns? Find out. all other aspects of pre- and post- Production facilities usually have production in both San Francisco The only sure way to hit our more actual production experience and Los Angeles including editing, budget and meet the schedule than the pre-production crews. They music composition, voice talent cast- would be to solve all can help spot potential production ing and all sound recording and unanswered questions in hazards ahead of time. Do not, mixing. pre-production. however, expect them to take the leap into creative decision-making. Getting Started This is an area that often leads to We knew from experience Communicate with the disappointment. It’s up to you to that the only sure way to hit our Production Facility communicate exactly how some- budget and meet the schedule Allow your facility to become thing should look. Production facil- would be to solve all unanswered a part of the process as early as pos-

ANIMATION WORLD MAGAZINE March 1998 6 A storyboard panel from FernGully2.Also included with the on-line version of article is a supplement of several more storyboard pan- els. © 1997 Twentieth Century Fox Home Entertainment,The CBS/Fox Company, courtesy of Wild Brain. ities are good at getting the job would snarl production once it got well. The story arc must have its done, not designing the job. to the camera department. high points and low points build- Both of us have overseas We had two animation ing up to a finale where the view- production experience [Dave spent supervisors and one background er is truly interested in what will hap- eight years at Wang as the anima- supervisor in Taiwan for the dura- pen to the central characters. An tion supervisor; Phil has experience tion of the production. They worked erroneous assumption is that ani- in Korea, Taiwan and three years in very closely with the Taiwanese mation will make the characters the Philippines], so we are familiar directors in a collaborative way, not more likable and believable; that with the tendency for the American as bosses but as co-workers. There when the characters are in motion, side of production to design things was a conscious effort on the part the clichès of the dialogue and plot that are difficult for the overseas of both Wild Brain and Wang to cre- will disappear. This is wrong! artists to reproduce. In the case of ate a joint effort. We believe that We capitalized on our stu- FernGully 2, we were able to design our combined efforts, careful plan- dio’s collaborative approach to pro- the production to complement ning and close working relationship duction while simplifying the origi- Wang’s strengths and minimize the were responsible for getting a great nal script in ways that would best weaknesses. looking film for the time and bud- benefit the animating teams, design We deliberately designed get. We were a team. teams, and color designer. We the film to be fast-paced but elimi- opened our twice-weekly story nated complex sequences, crowd Of course, our very first priori- meetings to all studio personnel: scenes and scenes that would ty was creating a realistic directors, animators and designers. require good acting on the part of budget for the job and then During six weeks of “open door” the animator. We were pleasantly designing for that budget! brainstorming sessions, we made surprised, however, at how good the story objectives clear: straight- some of the animators were. Taiwan forward, action-driven sequences is familiar enough with American Scripting and sympathetic characters with culture to understand the Western If the script is weak then depth. We also aimed to establish mannerisms of the characters. We even the best animation can’t character development through tried not to add too many locations engage the audience, so we decid- visual means and not rely solely on and we limited the amount of light- ed to play on our strength as story- dialogue. ing changes which saved addition- tellers in the scripting process rather We eliminated sequences al design time as well. We also than rely on expensive production too complicated to be animated on avoided costly effects scenes and techniques down the road. our schedule. If there were action complicated camera moves that A good script must read sequences, we prioritized our loca-

ANIMATION WORLD MAGAZINE March 1998 7 color styling using this method. Working directly on the storyboards allowed us to experiment with dif- ferent color schemes before hiring top background painters. Once we were set on the colors, we then had background artists paint small, high- ly rendered location backgrounds which were then shipped to Wang to be used as guides in the actual production. This was done for every location, day and night, that would appear in the film.

Character Design The coolest looking charac- © 1997 Twentieth Century Fox Home Entertainment,The CBS/Fox Company, courtesy ters are only cool if the animators of Wild Brain. can animate them. The first film had tion designers to start on these areas story. Whenever possible, the artists a set look that we had to follow, but first. These were our first story- made requests for sequences they we still had a bunch of new char- boards. The diverse story team also were most interested in working on. acters to design. We tried to make kept us from falling into stereotypi- This was helpful in the long run these new designs simple with a cal “cute” solutions. As soon as we because they usually got the sec- definite style. We wanted to add a nailed a sequence, we put it into tions that they felt most comfortable fresh dynamic look that would storyboard. with and the end result was great. blend nicely with what had been We could not afford to wait When an artist is happy and feels done before, as well as inspire the until we had a complete script, so that their contribution is making the animators. All animators seem to we had to start storyboarding right picture better, they’re willing to go love meaty, fun characters to ani- away. We knew that storyboarding the extra distance when you really mate. before the script was complete need them to. would result in some re-do, but we We concentrated on strong had no choice. We were racing character expressions that told the We never shipped until the against the clock. In the end, we story in an uncomplicated way. work was completed to satis- were pleased with our risk-taking Rarely does a bad storyboard expres- faction.That was our golden and we did not have too much re- sion, weak pose or off-model char- rule. boarding to do. acter end up looking better after it is animated. It is most important to Color Design Storyboard keep your characters in the story- Try to limit the number of The storyboard is the visual board on model and the expres- colors in your palette. We worked blueprint of the film. Whatever sions correct. from Wang’s color palette to avoid strengths or weakness appear in the having them mix special colors for storyboard will almost certainly Background Color our film. show up in the finished film. If you Background artwork con- want to see it in the film, it must be tributes greatly to the overall Character and Model Design in the boards, every pose, every warmth and emotions of a film, as Pack expression, everything. well as adds richness to the final Basically every character, We were careful to cast the product. Color tends to dominate every object, everything that moves board artists to compliment their the frame. All background color has needs to be designed and drawn individual strengths. We gave the to be determined before the pro- from all angles. The animators need preliminary script to all of our board duction facility starts painting. We to know exactly what characters artists as early as possible. They got roughly painted the storyboard to and objects look like in order to ani- to spend this additional time famil- give us the general color direction. mate confidently. There is tremen- iarizing themselves with the whole We solved almost all of our location

ANIMATION WORLD MAGAZINE March 1998 8 dous pressure put on the animators. mal production. We were the qual- Not only are they expected to ani- ity control. We tweaked storyboards mate in the neighborhood of 50 and corrected poor layouts. We feet per week, they only get paid were involved in CG reference, loca- per foot of finished animation and tion design, color design, x-sheet not having enough information can and (exposure sheet) timing. Phil really slow them down. We supplied spent three months in Taiwan every expression, every mouth posi- approving pencil tests, reviewing ANIMATION WORLD NETWORK tion used for every character in the layouts and checking color, and he 6525 Sunset Blvd., film. This was to keep the animators even did one of the voices. We Garden Suite 10 from inventing their own interpre- worked closely with the songwrit- Hollywood, CA 90028 tations. We supplied completely ers, musicians, actors, composers Phone : 213.468.2554 detailed x-sheets (exposure sheets) and sound designers as well. Fax : 213.464.5914 with all timing, lip sync, behavior The production managers Email : [email protected] and actions clearly marked. stayed late many nights to ensure We also built our main char- that shipments overseas were made acters and vehicles with CG. We ani- on time. However, we never mated 200 scenes of the characters shipped until the work was com- ANIMATION WORLD MAGAZINE flying and vehicles moving in order pleted to satisfaction. That was our [email protected] PUBLISHER to help lighten Wang’s burden. We golden rule. Ron Diamond, President believed that by solving the flying Ultimately, we worked Dan Sarto, Chief Operating Officer mechanics and vehicular movement bloody hard and that’s the most EDITOR-IN-CHIEF for them, it would give them more important step. Heather Kenyon ASSOCIATE EDITOR time to concentrate on the acting Wendy Jackson scenes. The scenes CONTRIBUTORS : animated in CG Russell Bekins were then printed Pat Boyle out on registered ani- Karl Cohen Dresden Engle mation paper and Mark Farquhar shipped to Wang for Ben Fried clean-up and detail- Steven Hagel ing. The CG anima- Michelle Klein-Häss Wendy Jackson tion still needed facial Heather Kenyon features, hair and Andrew J. Lederer clothes added. Scott Maiko They were then Dave Marshall & Phil Robinson. Dave Marshall Shelley McIntyre inked and painted, the same as the Note: Also included in the on-line Sherry Niedelman rest of the scenes. version of this article is a visual sup- Bill Predmore plement with several storyboard Phil Robinson Other Elements panels from the film, at Kath Soucie Joseph Szadkowski There are numerous other http://www.awn.com/mag/issue2. Emru Townsend elements to a solid pre-production 12/2.12pages/2.12marshallfern- Kirsten Winter process, not the least of which are gully. Mike Wolf backgrounds, layouts and exposure OPERATIONS sheets. Without going into each Dave Marshall and Phil Robinson Annick Teninge, General Manager Chris Kostrzak, Asst. Manager one of them, we can say this: our co-directed FernGully 2: The crew worked hard and had to jump WEBMASTER Magical Rescue for Fox at Wild Ged Bauer around a lot to cover all the bases. Brain in San Francisco. DESIGN/LAYOUT : We had a small team and very few Ged Bauer/ Jeff Williams department managers. Note: Readers may contact any ADVERTISING SALES As directors, we covered a Animation World Magazine con- North America :Dan Sarto tributor by sending an email to Germany :Thomas Basgier lot of territory, more than for a nor- UK: Alan Smith [email protected].

ANIMATION WORLD MAGAZINE March 1998 9 Cruddy Sketches and a Red Pen: Pre-Production on The Curse of Monkey Island at LucasArts by Russell Bekins n the world of picious. Are to release a product before the interactive game the rumors artists involved are satisfied. Imakers, where true of roller- Most of all, LucasArts differs companies disap- skating wun- in the way they select and treat their pear and reorga- derkinds with senior team leaders. The senior nize with the speed their genius team leaders are the artistic core of of particles in a lin- spilling onto the project and are treated as such. ear accelerator, the pavement While most start as programmers, LucasArts outside their they soon become hyphenates: pro- Entertainment San Rafael grammer-writers, writer-animators stands out as a headquar- and so on. The cultivation of these model of stability ters? Or are hybrids makes it possible to move and productivity. darker forces ahead with projects with only a Though the gam- at work, such slender production book to guide ing world admires as a team of them. The actual writing of dialogue their StarWars- Malaysan pro- occurs on the fly as programming, inspired action © LucasArts. grammers artwork and animation move ahead games, I have long chained to in tandem. This method may sound admired their pioneering cartoon Silicon Graphics workstations some- like heresy in the feature animation work in adventure-animation where deep in a basement? world, but this company somehow games. Determined to get to the bottom of gets it right. With Maniac Mansion in the the matter, I set out to investigate. Writer-animator Larry Ahern 1980s, LucasArts established a new and programmer-writer Jonathan form of the cartoon interactive Ackley are exemplary hyphenates. game. Followed by the acclaimed Such unfettered creativity in a They were the co-team leaders for Day Of The Tentacle, the hilarious collective art form is mighty the recent pirate-themed satirical Sam And Max Hit The Road, and suspicious. release The Curse Of Monkey Island. the dark humor-tinged Full Throttle, Universally acclaimed by reviewers this company has been raising the The Dominion of The and game players alike, this sequel standards in this art form for years. Hyphenates to two earlier LucasArts games, They have successfully made the Actually, I was disappointed again stretches the bounds of transition in technology from the on both accounts. What I encoun- artistry in the genre of interactive very limited possibilities of early tered was a company where cre- animation games. A little over two adventure gaming platforms to ativity is fostered within a surpris- years ago, Ahern and Ackley took something that looks very much like ingly conventional structure. The the idea of this project to manage- feature, or at least television, ani- strength of the organization rests ment. mation. Their products are known instead with a rigorous peer review for their sharp-edged wit, funny system, a culture of mentoring that The Wrong Credentials visual gags and cool artistic style. gives credit where it is due, a stable Though their office is Such unfettered creativity in senior staff, a roaring production crammed with toys (including a bor- a collective art form is mighty sus- department, and a commitment not rowed Rock ‘em Sock ‘em Robot set)

ANIMATION WORLD MAGAZINE March 1998 10 Ahern and Ackley are hardly the learn the craft on the job. He did gramming and the wild sound image of goofy post-adolescent animation on Day Of The Tentacle effects on Sam And Max. He also wunderkinds. They exude profes- and Sam And Max Hit The Road, programmed on Full Throttle and sionalism and pride in their prod- and then graduated to lead ani- The Dig. uct, though the self-effacing wit that By 1995, both Larry and suffuses Monkey Island slips out at The actual writing of dialogue Jonathan had accrued enough times. As Larry Ahern admits, they occurs on the fly as program- experience to become senior team ‘have all the wrong credentials’ to ming, artwork and animation leaders. They began lunch time find themselves as senior team lead- move ahead in tandem. brainstorming sessions that summer ers, but there they are, ensconced as Jonathan was finishing up with in their own office, separated from mator on Full Throttle. The Dig. Since no one had done a the cubicles that predominate U.C. Santa Cruz alum sequel to the Monkey Island series LucasArts’ production floor. Jonathan Ackley taught himself to for several years, it seemed a nat- A fine arts graduate from program on his Atari, and came to ural. Now they had to get the idea U.C. Davis, Larry Ahern designed T- work for the company when his girl- accepted. shirts and coffee mugs before arriv- friend’s boss became angry that he ing at the right place at the right was calling her all the time at The Gauntlet time. Interviewed (“the guy just LucasArts educational division. “If Team leaders at LucasArts are flipped through my design book”) he’s got nothing better to do,” the grateful that the management is not and hired, he joined LucasArts dur- disgruntled chief reportedly com- burdened with a lot of wanna-be ing the production of the second plained, “maybe he can come up creative executives. “They’re excel- Monkey Island game. “I got lucky in here and do clerical work.” Moving lent businessmen, not closet game that the technology curve of games into programming, Jonathan did lip designers,” says Jonathan Ackley, in coincided with my learning curve sync (“a real pain to program” in the the highest praise a creative type of animation,” he admits. The ani- days before automated voice syn- can give a manager. Though a pro- mation was so limited at the time, chronization) and programming on posal for a new product goes first to Larry laughs, that it was possible to Day Of The Tentacle, as well as pro- the director of development, head

Though their office is crammed with toys, LucasArts writer-animator Larry Ahern and programmer-writer Jonathan Ackley are hard- ly the image of goofy post-adolescent wunderkinds. © LucasArts.

ANIMATION WORLD MAGAZINE March 1998 11 of marketing, and the president of the company, the really scary step is the peer review process. Senior team leaders of the 20-25 projects in development get together and scrutinize the pro- posal. “These meetings are usually spirited discussions about what is good and not so good about a proposal,” says director of develop- ment Steve Dauterman, in what is probably an understatement. With such a heavy development slate, the company is now adding only one or two projects a year. In Larry and Jonathan’s case, management was understandably sanguine about a sequel to one of their franchises. At Christmas, they took three weeks to consolidate their brainstorming sessions and presented a 15-page summary to the team leaders. They were given Concept drawings and preliminary designs are tacked on the wall during development. the go-ahead, with the proviso that © LucasArts. they consult with Tim Shaffer, a pro- Their method of tracking this was grammer-writer on the original The Map to outline the series of actions Monkey Island series, for the sake Both Larry and Jonathan are required to reach the next level. The of continuity. forceful in their assertion that care- particular form of this outline is a There was only one prob- ful pre-production is vital to a suc- LucasArts secret, though the author lem. The original Monkey Island cessful game production. Working of this article has glimpsed that care- games, while clever, funny and together over the next two months, fully guarded format. What is fasci- imaginative, were designed to play they laid out a full story outline, a nating is that it turns what is con- on computers with limited graph- game outline, a prop list (critical to sidered a non-linear storytelling form ics capabilities and looked more like adventure gaming) and a full list of into a very linear process. The game Super Nintendo graphics; they were ‘rooms’ (the environments, whether outline also details quite a number shrimpy and pixilated. This new indoors or outdoors). Out of this of the visual and verbal gags in the addition to the series was to be slender design document, the entire story. designed to play on far more CD-ROM was to emerge. “We had Note, however, that there advanced machines, capable of the entire game on paper before was no actual script, nor was the delivering far more sophisticated we started,” notes Jonathan. key art for the lead characters animation. The cover art on the This process is harder than it approved yet. That was to come. previous games had led fans to sounds. Each obstacle in the story is expect a handsome Guybrush accompanied by a puzzle element A Very Large Yellow Legal Pad Threepwood, the pirate wanna-be that involves the lead character in and Some Cruddy Sketches lead character. The artistic struggle moving around, talking to the right Map in hand, Jonathan, to nail down a new look for the cen- people, saying the right things, pick- along with fellow writer-program- tral characters would turn out to be ing up the right stuff and combining mers Chris Purvis and Chuck Jordan, one of the biggest challenges of the props. This makes for a monstrous- built the basic game using crude production. ly big story, and it’s easy to get lost. programmer art to mark their

ANIMATION WORLD MAGAZINE March 1998 12 places. Using LucasArts’ patented hand it over, and people just try to play the bad cop and that’s fine. We SCUMM (Script Creation Utility for make the visuals for it. Whereas know that’s our role.” Actually, she Maniac Mansion) game engine, some of the great old Warner Bros. wasn’t concerned that there wasn’t they had the bare bones of the pro- cartoons were a visual gag-story a script. “That’s not the way we gramming together within a process that went back and forth.” work,” she asserts. The dialogue month. In practice, the team would was not locked until over a year into Larry meanwhile, was wan- use place-holder dialogue as well the production process. dering around with a large yellow as art as the product evolved. “We’d Up to the point where the legal pad, writing up cost estimates get a red pen and write, ‘Arrgh, I design document was finished, for the art involved. He confesses, in hate you;’ then we’d go back and Boswell’s task was mainly to provide retrospect, that not all the figures expand on that to [something like], support and research for Larry and were right. “This was the first time I ‘I want you to die a thousand Jonathan. She has high praise for had done a production where we deaths,’” Larry notes. “The scope the preparation work that they put did all the animation on paper, and the size dictate that it has to be in. “They were better organized scanned it in, and inked and paint- written as it is programmed, so that than almost any project I’ve ever ed digitally,” he admits ruefully. A it is an organic process.” worked on,” Camela reports. “It was few elements of the original design, Suggestions for gags and one of the smoothest projects as including a ‘cool alligator game’ got ideas came from literally everyone well.” The ramp-up to full produc- nixed from the start due to cost. It in the producing team, including tion began four months into the was nip and tuck as to whether a the test department. The script, process. At that point, a core team shipwreck transition animation when finally written through this that eventually grew to 50 people would make it in. process, grew to a hefty 8,357 lines. was assembled, a very large project It was now time for the team “It’s like a funny phone book,” quips by any measure. to grow. “Has anyone read the Jonathan. “A single writer makes for It’s not like it was all smooth script yet?” Larry recalls someone an emptier product.” sailing, however. According to one inquiring. All of this creativity is a won- source within the production, the derful thing, but the acid test comes energetic lead and extensive plan- A Funny Phone Book when production begins. ning that Larry and Jonathan gave Both Larry and Jonathan are to the project sometimes led to inter- quick to praise the imagination of Both Larry and Jonathan personal conflicts. Unused to hav- writer-programmers Jordan and are forceful in their assertion ing team leaders who were so Purvis. The fact that the game itself that careful pre-production is hands-on, some of the creative was outlined so early in the process vital to a successful game types complained that they were meant that creativity could reign. production. not given enough artistic latitude. Within the structure Purvis and In Boswell’s view, however, Jordan could “experiment and the key obstacle in the production improvise.” Meetings expanded to Enter The Bad Cops was the debate over the look of include background artist Bill Tiller At LucasArts, the team lead- Guybrush Threepwood and the and animator Marc Overney. More ers normally concentrate on the cre- other lead characters. “We strug- gags were added as they laid out ative aspects, leaving such drudgery gled with designing the characters,” the story elements with bad sketch- as scheduling and budgeting to the Larry acknowledges. Inspired by The es on note cards. production department. The pro- Nightmare Before Christmas, he “The writing process is a duction manager for The Curse Of eventually drew Guybrush as a back and forth thing,” Larry waxes Monkey Island was Camela Boswell, pencil-necked beanpole with a philosophically after the fact. “A lot who works on as many as five pro- flounce of eighteenth-century hair of the bad stuff that comes out of ductions at a time. “I think it’s hard and a nose as vertical as the face of animation, the Saturday morning for the team to understand that Half Dome. Larry insists that the cartoon model, is often: we have a we’re not able to focus on one pro- extra time and deliberation was script writer, he writes a script, they duction,” she sighs. “We have to worth it, even though the anima-

ANIMATION WORLD MAGAZINE March 1998 13 tion staff was chomping at the bit to Larry and smiles. “We can’t even get started. Jonathan both go into his neighbor- There were also technology emphasize that during hood.” struggles. Coming up to speed on the pre-production the ink-and-paint process of the US process, it was critical Click Your Heels Three Animation System created bottle- for the production Times necks in the production pipeline. team to balance their The vegetarian cannibals in At one point in his “The animators came in for a lot of lives and their work. a scene from The Curse of career, Jonathan Ackley Monkey Island. © LucasArts. crunch time at the end,” Larry con- With the exception of left LucasArts to go fesses. Going through three differ- the final two months, they actually work for a firm that was once the ent production coordinators didn’t managed to work normal hours darling of the interactive world, help matters either. Vaguely sched- and have lives. Jonathan has since Rocket Science. Once there, how- uled on the chalkboard to be fin- married the woman he used to call ever, it became clear that the pro- ished by the summer of ‘97, The at LucasArts while unemployed. grammers programmed and the Curse Of Monkey Island hit the “There is a diminishing return to get- writers wrote, and never the twain shelves in the fall of that year ting your team to work crazy shall meet. He came back to instead. hours,” he asserts, an atypical atti- LucasArts in short order. “I just “What a lot of people don’t tude for a programmer. “I write assumed that everyone worked the understand is that dates are more bugs when I’m tired.” way LucasArts does, because it nebulous in this medium,” Jonathan makes sense,” he shrugs. “Then, in clarifies. “Interactivity cannot always Suggestions for gags and ideas the cold light of reality, I realized be scheduled precisely. We probably came from literally everyone something. There is no place like could have finished by then, but in the producing team, includ- LucasArts.” without feedback from the testers.” ing the test department. They both credit the company with Note: The on-line version of this arti- the patience to let them put the fin- “I got into some bad habits cle contains a sample page from ishing touches on the product. because I was single,” Larry agrees, LucasArts’ production book for The The efficacy of this process is recalling his late hours when he Curse of Monkey Island. http: in evidence everywhere in the prod- started at LucasArts. “Getting better //www.awn.com/mag/issue2.12/2 uct. At one point the lead charac- at planning was the next step so .12pages/2.12bekinslucas.html ter disguises himself in a large piece we could have real lives.” Still, he of squishy tofu with a mask carved points out that Marc Overney and Russell Bekins is a writer and into it and pays a visit to a tribe of the animation team took a fierce media and story analyst working ‘Vegetarian Cannibals.’ They sacri- pride in the product and recapitu- in Hollywood. He has worked for fice one of their members, dressed lated Larry’s ‘bad habits.’ “I hope such film companies as MGM, Tri- as a zucchini, into a volcano, pro- we’re getting a handle on it,” Larry Star, CAA and labored mightily claiming all the while that he is sighs and pauses. “Still, if you’re (not to mention fruitlessly) as a “high in fiber and low in trans-fatty going to spend two years on a pro- development executive at Disney- acids.” ject, you want to be sure that it’s based Tidewater Entertainment. The animation is smooth good.” Most recently, he has written for a satirical web site, and fun (especially in the cut scenes) As of this writing, Larry Betacapsule.com, detailing the and it is a joy to walk through the Ahern and Jonathan Ackley are despair of a small high-tech com- environments. The game has been working on their next project. They pany. selected by the major review mag- have their cards close to the chest azines PC Gamer and Computer about the nature of it, not even dis- Note: Readers may contact any Gaming World as adventure game cussing it with friends and col- Animation World Magazine con- of the year. leagues. “If someone begins dis- tributor by sending an email to cussing a similar idea with us, we [email protected]. Getting a Life avoid going to his house,” Larry

ANIMATION WORLD MAGAZINE March 1998 14 Maurice Noble: AnimationÕs ÒOld RebelÓ by Karl Cohen Editors Note: Whatever you us this interview about Maurice’s Century, What’s Opera, Doc? and do, don’t call him a ‘veteran.’ At 87, career, covering the ‘background’ the ever-popular Roadrunner car- Maurice Noble is the second oldest of one of the industry’s legendary, toons. person working in the Hollywood but not yet ‘veteran,’ background The self-proclaimed “old animation industry (somebody at designers. rebel” attended Chouinard Art Disney is a year older than Noble Institute in Los Angeles with the help and Chuck Jones is slightly younger of a work scholarship. One of the so Noble calls him “Junior”), but his hy is Maurice Noble con- first honors of his life was the school ideas, high energy and enthusiasm sidered a legend? Noble awarding him and Mary Blair their are that of a much younger man. Wworked for Disney on first full-time scholarships. She stayed We recently visited Maurice at his Snow White, Bambi, Fantasia and on and graduated, but he eventu- home in the hills north of Los Dumbo. During WWII, he worked ally had to leave due to financial dif- Angeles, where he lives with his for the Frank Capra film unit with ficulties caused by “the great depres- wife, Marjorie. His unpublished Dr. Seuss on Private Snafu cartoons. sion.” autobiography, co-written with In the 1950s he did the designs and Robert McKinnon, is titled Stepping layouts for Chuck Jones’ greatest First Stop: Disney Into The Picture, a fitting title which classic cartoons including Duck About 1934, Noble took a refers to Noble’s immersive Amuck, Duck Dodgers in the 24 1/2 job at Disney to get a U.S. $10 raise. approach to design. He is current- He was working as a ly developing for television or home department store design- video Noble Tales, a series of seven- er for $90 a month minute animated cartoons which when he was offered a he describes as “folktales from job at the studio for around the world told with a mod- about $100. He said, ern slant.” When he’s not working “After all $10 is $10. I on Noble Tales in his home studio, didn’t know exactly what meeting with development part- I was getting into, but I ners, or making appearances at var- was going to earn $10 ious animation events, Maurice can more a month.” be found doing one of his many The studio knew he talks with staff artists at studios such was skilled with water- as Walt Disney Feature Animation, colors as Chouinard had Walt Disney Television Animation presented a one-man and DreamWorks Feature show of his work. Noble Animation. “I don’t give lectures,” believes this was the first he said, “I give conversations.” watercolor show to be Maurice Noble was recently inter- presented by the school. viewed by Cartoon Network for a In any case Disney put program called The 50 Greatest him to work doing Cartoons Of All Time, which will air watercolor backgrounds on the U.S. cable channel on March for their Silly Maurice Noble with his awards from ASIFA-Hollywood 14 and 15, 1998. Just in time for and the Motion Picture Screen Cartoonists Union. Symphonies. He recalled our special issue on The Art of Pre- February, 1998. Photo © 1998 Animation World doing backgrounds for Production, Karl Cohen has brought Network. Elmer Elephant (1936),

ANIMATION WORLD MAGAZINE March 1998 15 The Country Cousin (1936), Snow White. Walt was rushing the ple who went on strike lost their Woodland Cafe (1937), The Old Mill film to completion so Noble said he cars and homes. He also remem- (1937), Wynken, Blynken and Nod was designing and laying out the bered soup kitchens for the strikers (1938), and many other shorts scene while he was painting it. and the Disney goon squads who before he started work on Snow As a background artist Noble went looking for trouble. He said, White. didn’t have to suffer through the “the strike was a very difficult peri- famous “sweatbox sessions,” where od.” On a different note, another Disney critiqued what was being Eventually, the strikers won important moment for him worked on by his animators. their long and difficult battle with was making the decision to go However, he often attended these the studio, but when he went back out on strike against Walt... screenings to learn how his back- to work things had changed. None grounds worked with figures over of the people who had remained The background materials them and to see what was going loyal to the company would talk used at Disney were Winsor on. with him. His new office was a for- Newton watercolors and Whatman Background artists at Disney mer broom closest and he had to paper stretched on boards. No had to go through a different form stand on a chair to reach the win- opaque paints or airbrush were per- of torture, “the OK session.” Noble dow if he wanted to open it. The mitted, not even to make a minor said some of the sessions were expe- studio didn’t give him any work to correction. He said, “A light pencil riences similar to nervous break- do so when he reported each day drawing was put onto the stretched downs. “A critical jury had to pass he would read while waiting to get paper by a tracer. Then we would on all the finished backgrounds. You an assignment. Two or three weeks look at the layouts given to us and know how difficult it is to make cor- later he was laid off for lack of work. interpret the shadows and other rections with watercolors?” A few weeks after that, Pearl Harbor details. Then we would paint the One of the great moments was bombed and three days later backgrounds. It was a very long and of his career at Disney was attend- he made the decision to join the painstaking process because we ing the premiere of Snow White. He Army Signal Corps. had to build up our colors wash said it was a miracle that he got after wash. When we got on Snow screen credit on the film and was Part of Noble’s brilliance is his White we had to match six scenes given two tickets by Walt to attend use of strong simple shapes to in transparent watercolors in some the premiere. “That was a real thrill define the spaces where the sequences.” One section of Snow and a highlight of my life. It was animation is to take place. White where he had to do six interesting to watch the audience. matching background paintings All the movie stars were there. I was- was a sequence in the interior of n’t sitting downstairs with the hoi The War Years the dwarf’s cottage. He had to paint polloi, but I had a front row seat in Noble’s war years were spent the balcony. When the picture was in the Army Photographic Signal over they all stood up and cheered. Corp. He joined at the request of He was assigned to the film It was really exciting. Walt’s folly had the Academy of Motion Picture Arts unit headed by Major Theodore paid off! A million and a quarter dol- and Sciences. Part of the time he Geisel, a man known to his lars had been put into this cartoon. traveled to different bases and readers as Dr. Seuss. It was a real turning point in the ani- helped present showings of films mation business.” produced for soldiers by Colonel the same wall and props from six On a different note, another Frank Capra. Eventually he was different camera angles. When the important moment for him was transferred to Capra’s command at action cuts from one point of view making the decision to go out on Fort Fox in Los Angeles. He was to the next, the background paint- strike against Walt, “because I didn’t assigned to the film unit headed by ings had to look the same. And they believe that the wages being paid Major Theodore Geisel, a man did. to beginners and some people who known to his readers as Dr. Seuss. An especially memorable had been in the industry a long There were about 12 men in the scene that he worked on was the time were sufficient to live on,” he unit. “We turned out propaganda moment when the Prince kisses said. Noble recalled how some peo- booklets, health things, VD posters,

ANIMATION WORLD MAGAZINE March 1998 16 ‘don’t trust the enemy’ type posters, cial one of his best maps for Capra’s films, and the works. He was glad Snafu cartoons.” finally to learn the When Noble was asked to author shared this describe Geisel he replied, “He was opinion. very neat, slender, beady-eyed and When wore his hair quite closely cropped.” Noble got out of I then asked if he was a funny per- the Army, he didn’t son and the response was, “Oh no! have a job. He lived Ted was never a funny person. at home with his There were no yuck yuck yucks to mother and took this guy. He was all business. He whatever freelance had a sense of humor and a keen work was available. In the 1960s, Noble worked at MGM with Chuck Jones on sense of story as demonstrated in Eventually, he took How the Grinch Stole Christmas. Photo courtesy of and © MGM his children’s books, but he struck a full-time job in St. Home Entertainment. me as a rather serious person. I Louis working for a company doing ground artist Phil DeGuard, and ani- knew him for many years and film strips for the Lutheran Church mators Benny Washam and Ken worked with him on a good num- and other clients. When Warner Harris. ber of his pictures.” Bros. contacted him in 1952 and Part of Noble’s brilliance is his asked if he wanted to do layouts for use of strong simple shapes to define the spaces where the ani- Noble said,“I’m often asked Chuck Jones, he happily returned the question if we knew we to Hollywood. mation is to take place. He was able were working on great car- Maurice barely knew Chuck to create unique designs for each toons and the answer is no, we Jones during WWII. They had met film on which he worked. Jones let had a job.” briefly when he visited Warner Bros. him develop whatever designs and on official business. The Snafu car- looks he thought would work best He continues, “In later years toons were written and story- with the animated action being when I worked with him he was boarded at Fort Fox and then the planned for the project. always well-dressed, polished shoes, materials were sent to Warner Bros. Noble’s layouts in the 1950s cashmere sweaters, and stuff like to be produced. Jones was one of avoided the fussy details of Disney that. I would say that he was a very the directors working on the Snafu and the over-designed look of UPA. reserved person, not much laughter. cartoon series that was being made He said the look of his layouts were As a matter of fact I can’t ever for the guys in the Army. not influenced by what was hap- remember hearing Ted laugh. Of pening at UPA. Instead they were simply his personal feelings about course, we were dealing with the The Chuck Jones Era Begins serious business of story and picture When Noble joined Chuck what would work best with the pro- development. He was a perfec- Jones’ unit, “it was a very hectic peri- ject on which he was working. He tionist. Every drawing, every bit of od. I had never laid out a picture in began to feel comfortable at dialog had to be just right. I appre- my life. When you go into a new Warners when he “started to design ciated that because I’m a little bit place you don’t want to display your stuff and they liked it.” When asked that way myself.” Noble is glad to ignorance so I just had to figure if he designed the amazing land- have had the privilege of working things out. I looked around and saw scapes in these films, or if the con- with Ted over the years. what everybody was doing.” He cepts were those of his background At Ted Geisel’s memorial ser- had to learn how they used expo- artist Phil de Guard, he said, “I vice his doctor told Noble that Ted sure sheets at Warners, all of their designed everything. I not only really loved How The Grinch Stole technical vocabulary, etc. “Little by gave Phil the layout, but the color Christmas (1966), especially his little I taught myself how to do lay- sketches as well. I designed the pic- work on it. Noble said, “he never outs.” He adds that he was very for- tures. He had to copy my sky, my mentioned it while he was alive.” tunate to work at Warners with a colors, everything.” In the book The compliment meant a lot to him lot of people who helped him Duck Amuck, Chuck Jones calls as he considers the television spe- develop his skills, including back- Maurice Noble the architect and Phil

ANIMATION WORLD MAGAZINE March 1998 17 de Guard the builder of the back- enjoyed designing the stuff. The ani- Despite all the stories that grounds in his films. mators enjoyed drawing the stuff have been told over the years about Noble explained that those and Phil enjoyed painting it. It all the gang at Termite Terrace having wonderfully strange cliffs and point- kind of rubbed off on the audi- fun on the job, Noble said most of ed spires, with rocks balancing on ence... We worked like demons.” the time it was serious work for him the tops of them, in Roadrunner car- and the people around him. Life toons are exaggerations of his child- Creative animation people in among his co-workers was very hood memories of the desert. He Hollywood really want to do informal and there were gags, in grew up in New Mexico and visited something good and their frus- the form of comic drawings, float- Monument Valley, Zion, the Grand tration comes from being ing around. Canyon, and other National Parks handed scripts that are verbal, Among his fond memories as a youngster. He said he loved not visual. are the lunches cooked by Ben doing desert settings for cartoons. (“Benny”) Washam for the group. Each time he would do one they Later in the interview he Noble said that once in a while on would become more exaggerated. returned to the topic of what made Fridays Benny would pass the hat He loved to balance big rocks on their unit great. He said, “Chuck had and then go out and buy some pro- spires or on top of small ones and a great ability to direct his charac- visions. It turns out that Washam said, “I did it for the fun of the thing. ters. He did all his character sketch- was an original partner in the Bob’s It became Roadrunner country.” es.” He also praised three anima- Big Boy restaurants. He quit and Noble said, “I’m often asked tors, Ken Harris, Ben Washam and became an animator because he the question if we knew we were Abe Levitow, who were capable of didn’t make much money in the working on great cartoons and the understanding Chuck’s notes to food business. answer is no, we had a job.” He them on the drawings about tim- Another happy memory looks back on his career and is ing and other nuances and were concerns writer Mike Maltese who amazed at the quality of the work able to turn Chuck’s ideas into Noble described as having a good Chuck Jones’ unit produced, but he remarkable performances. He is wry sense of humor. Noble said they maintains that the unit simply proud that he was part of Jones’ were very good friends and would thought of their work as a job. He small unit and that their work is now go antique-hunting together. As he describes the group as “a basic crew recognized as some of the best from talked he looked around the room of 10 or 12 people who turned out the Golden Age of animation. and pointed out a chest and other 11 cartoons a year from beginning to end.” Noble feels something’s been lost in today’s approach to ani- mation production, with “too many cooks in the kitchen.” He said, “It’s silly to have a whole crew develop a picture, then send it over to anoth- er crew, with a director who will change things.” Noble is currently working with about 10 artists on Noble Tales.

Fond Memories When asked if he could add to the discussion about where that brilliance came from he said, “I’ve often said Mike Maltese enjoyed writing the stuff. I can remember watching Chuck chuckling over his Maurice Noble frequently makes guest appearances at animation art signings around drawings - making Daffy do some- the country. Photo by Robert McKinnon, courtesy of Maurice Noble. thing silly, or insane or insulting. I

ANIMATION WORLD MAGAZINE March 1998 18 things that reminded him of his things before it became Chuck strictly a business relationship and adventures with Maltese. Jones’ studio. that’s probably why we could work At Warners only a few car- together for so long. I’d say good toons were ever given official pre- Maurice and Chuck night and he would say good night mieres, most just opened at down- Noble describes his relation- and that was it.” town theaters without any fanfare. ship with Chuck Jones as strictly Jones praises Noble’s bril- The studio made a big deal out of business. It was between two men liance as a layout artist in the book the premiere of What’s Opera, Doc? who still have enormous respect for Duck Amuck. Among the fine things because it was the only cartoon to each other’s abilities and a recogni- Chuck Jones had to say about use a 50-piece orchestra. The event tion that their skills complement Maurice is the statement, “He never was held at a theater on the studio each others talents. Noble had co- showed off, but he showed up lot. He doesn’t remember who was director credit with Jones on sever- every other layout man I have ever in the audience, but he recalled the al Warner Brother cartoons in the known by his honesty, his devotion red curtain parting and that it was 1960s. He said, “I owe a great deal to his craft, and above all, his devo- wonderful to see this great parody to Chuck because he let me do my tion to the film at hand, and this is on the screen. “It was a big event. own thing. We got to do a lot of nowhere more vividly demonstrated I was quite surprised that when I very interesting pictures together.” than in What’s Opera, Doc?” saw the picture that it turned out to be such a grand tour de force.” In essence animation is about The Present Noble was at Warners when satire, exaggeration, puns and Maurice worked at Chuck the studio closed Termite Terrace poking fun at human foibles. Jones Productions until the early and opened a new studio built for ‘90s. He then went onto Cats Don’t the animators on their back lot in Dance at Turner Feature Animation, Burbank. Beforehand, the site had Noble’s relationship with where he was reunited with his for- been a trash pile. After the studio Chuck was “nothing social.” He mer assistant, Don Morgan, who ended animation production the would attend parties for the whole he had worked with 35 years building became a music library and unit at Chuck’s house, “but never before, on Grinch and Horton at a computer center, among other any lunches or socializing... It was MGM. Noble also received a Winsor REGISTER with Animation World Network TODAY and

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ANIMATION WORLD MAGAZINE March 1998 19 McCay Lifetime Achievement Annie scripts that are verbal, not visual. simple animation, his very direct sim- Award from ASIFA-Hollywood in “They don’t explore the graphic ple dialog, his simple backgrounds 1995. potential of animation,” he said. and the choice use of the little guy Noble presently works as a Another problem he talked at the piano here and there result consultant for several Hollywood about is the present fascination with in a very consistent product. companies. He is called in to critique computers. “The way they are using Melendez is a very keen guy. He is a lot of work. He said, “I check it out this computerized stuff is the differ- one of my favorite people.” Noble with the young artists. I try to sug- ence between a lathe and a hand considers A Charlie Brown gest where they can make improve- carving. The computer is a tool. Christmas (1965) one of the nicest ments. I work with young directors. When they over emphasize it like things ever put on film. We talk over story and story points. they did in the Hunchback you feel Noble concluded by saying, In other words I’m the old guru.” like you are on a roller coaster ride “I’m known as the old rebel. I’m When asked about the train- all the time.” Talking about the invited to come talk here and there. ing of young talent today he said, growing use of computers in ani- I keep preaching the idea of full ani- “The Warner Bros. Feature mation production, Noble said, mation. Go easy on the computer. Animation Development “There’s a difference between Let’s have stories and graphics and Department has a very competent punching a button and drawing. satire and fun. The general level of training program. They have class- The computer’s a wonderful tool, acceptance of inferior animation is es, not only in animation, but in lay- but you can’t animate with it.” unfortunate. Look at some of the out and other basics. They also However, Maurice noted that a subtle animation done years ago. teach improvisation so the students computer would have been useful My favorite picture is Dumbo. It is can spontaneously react to things. in the production of the 1965 so complete. Not a bit of wasted A good animator is always a kind Academy Award-winning film, The footage. It runs the gamete from of actor. They also hold life draw- Dot and the Line, which he worked tears to outrageous slapstick with ing classes 3 or 4 times a week. In on with Chuck Jones. “We did that the crows. Each section is so well other words they are improving all with drawings, reversal film and tint- done. The business needs more car- their skills. I’ve talked with the heads ing,” he recalled of the complexly toons like this. Dumbo is a classic.” of the training department and they simple, geometric film. “The whole thing is geared say the studio can’t find enough “I know it’s very difficult to to have fun and not to be too seri- experienced help so we are going find a good story to animate, but ous. That is the essence of what to develop it ourselves.” they shouldn’t be throwing millions made a cartoon fun in the old days. One point that he stated sev- of dollars around to produce these It’s not old hat. A good laugh is a eral times is, “the studios are cursed so called epics; Gone With the Wind good laugh whether it’s an old one with live-action writers. They don’t animated features. Story comes first. or a new one. It’s just how you do have the visual writers. You say a lot Every frame should push the story. it. I’ve been very lucky to have had of things in words that you can do There are so many good possibili- so much fun.” in one drawing. They don’t realize ties in animation. I’m sure there are this. Recent features contain a good stories to be found. Why do Karl Cohen is President of ASIFA- Francisco. His first book, tremendous amount of unnecessary they insist upon ‘the cutting edge?’ San Forbidden Animation: Censored dialog and situations that don’t real- What do they mean by it? In Cartoons and Blacklisted ly present themselves in a graphic essence animation is about satire, Animators, has recently been way. This is the curse of all the stu- exaggeration, puns and poking fun published by McFarland dios.” at human foibles. Real good adult Publishers. He also teaches ani- He blames the controlling humor is subtle humor. A good, fun, mation history at San Francisco interests in the studios for wanting zany satire is wonderful. This is the State University. to do blockbuster type films and field animation should work in wanting to make millions of dollars. instead of being bad live-action.” He feels that creative animation peo- One producer that Noble Note: Readers may contact any ple in Hollywood really want to do admires is Bill Melendez. He said, Animation World Magazine con- something good and their frustra- “Bill Melendez has stuck to his sim- tributor by sending an email to tion comes from being handed ple approach to things. I think his [email protected].

ANIMATION WORLD MAGAZINE March 1998 20 Paper: ThereÕs More To It Than You Think by Steven Hagel ith all the talk and hype duces a ‘tight,’ dark line that does ‘uncultured’ pencil of the masses, concerning the latest dig- not smudge easily. Translucency this theory may be true but to the Wital technologies emerg- and ‘toughness’ may be important trained and refined pencil of the ing to ‘revolutionize’ animation, we to inbetweeners who have to ‘flip’ professional animator, layout artist, may be overlooking the most impor- or roll the sheets of paper exten- inbetweener, effects artist or clean- tant component of the entire sively. And so it goes on... up artist, these words could not be process - the paper we draw on. further from the truth. In fact, I have More specifically, the animation had conversations with artists who When it comes to defining paper we draw on. have been able to detect the slight- what is and is not a ‘true’ ani- When it comes to defining est nuances between different what is and is not a ‘true’ animation mation paper, opinion varies. papers. It is just this type of dis- paper, opinion varies. I might add cerning taste that made me believe that this variety of opinion is that ‘just any paper’ would not be matched only by the number of Dispelling Myths About Paper good enough for animation and people surveyed! Over the past The first myth I want to dis- that an ideal set of characteristics three and a half years I have made pel is the one that says, “Paper is could be combined to produce a it my mission to learn exactly what paper. What’s the big deal?” To the great animation paper. it takes to make a great animation contrary, paper is not just paper, paper. Now I am going to share my especially when it comes to anima- Setting On My Journey enlightenment with you. Before I tion! The raw materials, the tech- I am sure a lot of you have begin, I want to thank the numer- niques and the secrets behind mak- drawn on different kinds of paper ous artists who have helped me ing paper are as guarded to the and have found one or more char- along this journey. Without their paper makers as would be the story acteristics about each paper pleas- input the quest for this grail would for the next animated blockbuster! ing but others may have been less likely have eluded me. Paper makers have reputations built than ideal. Having done this you upon their processes and products may have wondered why someone A High Wire Balancing Act and ruthlessly protect the integrity of couldn’t combine all of the great How ‘heavy’ will the sheet these processes and products. The features of the papers you’d tried be? What type of surface treatments skill of the paper maker can be while eliminating the undesirable will it have? Will the sheet be ‘rough’ likened to that of any master crafts- ones. Well, you’re not alone and it or ‘smooth?’ How will it erase? How man whose wisdom and vision sep- has been tried with varying degrees will it accept pencil lines? Will it arate the inferior from the superior of success. Many different types of smudge? How translucent is the product. Much of my education “animation papers” exist in the mar- sheet? What color will it be? How about paper making has been ket today and are used by amateurs, well will it stand up to rough han- bestowed upon me by some of the independents and professionals dling? These, and many more ques- top paper makers in the United across the world. But are they real- tions, are important to answer States and I have grown truly to ly what they claim to be? when talking about a ‘true’ anima- appreciate their craft. Paper making Apart from the skill of the tion paper. is not an exact science and I am paper maker and the discerning Each of these characteristics always in awe of a paper maker’s tastes of artists, what really consti- will mean something different to ability to reproduce a standard prod- tutes a good animation paper? Let’s each artist. For example, the draw- uct literally ‘from scratch’ time after talk about what characteristics set ing style of animators has a ‘looser’ time. one paper apart from another and feel to the drawing which may lend The second myth I would how each of these relate specifical- itself to a different set of surface like to dispel is that, ‘Any paper will ly to animation. treatments for their paper. A clean- work for animation, just as long as Before we begin, the one up artist may want a sheet that pro- you can see through it.’ To the concept that you must understand

ANIMATION WORLD MAGAZINE March 1998 21 to appreciate fully what constitutes recycled paper has characteristics content of hardwood will be more a good quality paper is that ‘cause that do not lend themselves well for opaque, or less translucent, than a and affect’ really comes into play use as an animation paper. Recycled paper made with a higher content when you set out to tailor the desir- pulp is made up of numerous dif- of softwood. Fillers, depending able characteristics of a paper. ferent types of recovered paper upon what they are, can also influ- Unfortunately, every ‘ideal’ charac- products. Despite being processed ence the translucency of a paper. teristic cannot be included in the back to a raw pulp, certain charac- Basis weight, caliper thickness and paper simply because each of the teristics of the original products will color also play a role in determin- major characteristics affect one remain consistent in the new end ing a paper’s opacity. Obviously, the another in some way. Generally, this product. This is one of the reasons thicker the sheet, the less translu- affect happens to be the opposite of that certain recycled papers have cent it will be relative to its make- the one desired and some sacrifices such aesthetic appeal and value. up. must ultimately be made to find the Unfortunately, this random incon- best possible paper. sistency is not desirable in anima- Other Factors tion paper. Consistency in both The ratio of hardwood and body formation and surface finish- softwood in the paper also impacts I am always in awe of the paper ing are essentials when high quali- the surface texture of the sheet. maker’s ability to reproduce a ty line work is the desired end result. When papers are manufactured standard product literally ‘from Further, with a lot of artwork going they are rolled, dried and ‘calen- scratch’ time after time. to scanning these days, a uniform dered’ or pressed to a specified appearance is key in allowing the thickness at the tail end of the man- scanner to pick up good lines with ufacturing process. As hardwood The Foundation minimal ‘background noise’ from fibers are shorter in length than soft- When it comes to the ‘meat inconsistencies in the body of the wood fibers, fewer of the fibers pro- and potatoes’ of paper, the basic sheet. People on the technology trude from the surface of the fin- recipe of what goes into the paper’s side who scan will relate to what I ished sheet. In a similar way the construction determines a number am saying. longer softwood fibers, can pro- of different tendencies for the sheet. Another important ‘recipe trude from the smooth finished sur- Is the paper made from all virgin decision’ is the ratio of hardwood face of paper. The higher the soft- material or does it contain a com- and softwood in the paper. What’s wood content, the more obstruc- ponent of recycled material? What the difference? That depends on tions are present on the surface of is the ratio of hardwood and soft- what you’re trying to achieve. the sheet. These obstructions can wood pulps in the paper? Are there Anybody who owns furniture made lead to excessive black ‘spotting’ that any fillers in the sheet and what pur- from oak or maple will appreciate occurs in the path of a pencil line pose do they serve? Depending how heavy it is and how well it drawn on the sheet. Again, this may upon what you are trying to resists scratches and dents. On the not strike anyone as important but achieve, the raw material mix is a other hand anybody who owns users in animation from creative to critical consideration. The pulp mix- pine furniture knows that it is lighter technical require a consistent sheet ture could be considered the ‘foun- and dents easily. Hardwoods have in terms of performance. Spotty, dation’ of the paper and what hap- a denser molecular structure than inconsistent line work could cause pens to the sheet after this could be softwoods and this heavier density slowdowns for each user in the considered the ‘framing and finish- yields strikingly different character- process. Adjusting the ratio of ing’ touches to the final structure. istics from softwoods. Hardwood woods used in designing the sheet Since every sound building fibers are short and compact where- can minimize these naturally occur- is built upon a strong foundation, as softwood fibers are longer and ring inconsistencies. let’s inspect the foundation a little looser. Taking the density compari- closer to see if we can find any son forward, hardwood fibers are “With all the technology that cracks. more opaque than the less dense is available and that we rely on Although recycling is the ‘in- softwood fibers. The opacity or how ... it still comes down to just thing’, it’s not when it comes to mak- ‘translucent’ the sheet is can also be two things; a piece of paper ing specialty papers designed for determined by a number of factors. and a pencil.” an application such as animation. For the most part though, the Before you lose your faith in me for translucency of the sheet is deter- Color is an important con- not protecting nature let me explain mined by the pulp mixture. sideration for both the artist and myself. I believe in recycling but Therefore, a paper with a higher technologies used to commit the

ANIMATION WORLD MAGAZINE March 1998 22 ‘cleaned-up’ drawings to the digital and filler components, decided the manufacturing process used by information used by an increasing upon the basis weight, sheet thick- the paper maker. number of studios for completing ness and color - it becomes time to their films. From the artist’s point of ‘furnish’ or finish the surface of the Is It Archival and Acid Free? view, color is a major issue when paper. Surface texture, or ‘rough- We have all heard the words you consider the amount of time ness,’ is possibly the most important ‘acid free’ or ‘archival’ when it comes they look ‘into the sheet’ throughout factor to consider when it comes to to art materials or picture framing the day - eye strain. A softer white finishing the paper for animation. materials. Should an animation or ivory tinted sheet lessens the There is however one problem that paper be archival? That depends... effects of eye strain when compared must be overcome if the paper is to Basically, paper is made from to a stark, cold, white sheet. On the become a success as an animation wood and fillers. Wood has natu- other hand, from technology’s point paper. How rough is ‘too rough’ rally occurring chemical properties of view, a cleaner and whiter sheet and how smooth is ‘too smooth?’ which, in some cases, lead to nat- allows a greater contrast between This is probably the most difficult ural degradation of paper products. the line work and the paper thus aspect of the paper to construct. Lignin is one such chemical prop- making the ‘cleaning up’ process of The reason for this difficulty lies with erty. Other chemicals enter the scanned drawings easier. As the the different end users of the paper. sheet through the manufacturing actual line becomes a digital image, Layout and storyboard artists, along process. Sulfur and chlorine are two graphite is replaced with pixels. with animators and inbetweeners, such chemicals that can lead to When the drawings are scanned a may prefer a ‘rougher’ sheet to com- degradation of the paper. certain amount of gray scale may plement their style. Clean-up and During the manufacturing be reduced to remove unwanted effects artists may prefer a process other chemicals in the form ‘noise’ or smudging from the new ‘smoother’ sheet that produces dark- of liquid solutions or dry fillers can digitized drawing. This reduction in er, richer line work with minimal be added to eliminate the presence gray scale could remove just smudging. The challenge becomes of these and other unwanted sub- enough pixels to open the lines that finding the perfect compromise stances in the paper. Certain solu- form the corners and intersections between smoothness and rough- tions can be added to eliminate of the original drawings. These ness. chemicals within the sheet while open ‘polygons’ can cause the dig- other products can be added to not ital ink and painters untold grief by “As in all professions, the best only eliminate the internal chemi- not allowing easy flood filling of results require the best tools.” cals but also to act as a shield or color. barrier against attack from external Basis Weight, in pounds or The erasability of the sheet chemicals. The former creates what grams, is the industry standard for is another important factor. is commonly called ‘acid free’ while measuring the weight classification Animation is an intense process the latter creates what is known as of paper. Technically, it is determined requiring a great deal of durability ‘archival’ paper. The primary differ- by taking 500 sheets of the paper from the paper. Multiple erasures ence between the two is the expect- measuring 17 x 22 inches and are commonplace. The paper must ed longevity of the sheet. Acid free weighing it on a certified scale. If not only be able to erase ‘cleanly,’ it papers can have spans of up to 40 you take standard 20 lb bond paper must endure excessive erasing and or 50 years before they begin to as an example, the 20 lb descrip- still be able to ‘hold a line’ as well as degrade while archival papers can tion is the basis weight of the paper: it did when the drawing was first have life expectancies reaching up 500 sheets of this paper measuring started. Erasability is the sum of to 150 to 200 years! 17 x 22 inches weigh 20 lbs. The numerous factors but the furnish- Is having an acid free or basis weight, in turn, plays a deter- ing of the sheet is critical. archival paper important to anima- mining factor in the ‘caliper thick- ‘Re-pegging’ of drawings is tion? I believe it is for at least two ness’ or, how ‘heavy’ the sheet is to also quite common. The original reasons. First, the true art form of the touch. As the basis weight registration is often torn off the animation is the drawing. The draw- increases so does the ‘heaviness’ of drawing and the drawing re- ings are valuable both for financial the paper. pegged. This makes how well the reasons to the studios and collec- paper tears in a straight line an tors, but also for the historical preser- The Surface important consideration. How well vation of today’s ‘digital,’ cel-less films After we’ve built the ‘foun- a paper tears is a characteristic and as a reference tool from which dation’ for the sheet - that is we determined not only by the ‘foun- future animators can learn. have found the ideal mix of pulp dation,’ but also by the quality of There is no question that in

ANIMATION WORLD MAGAZINE March 1998 23 today’s burgeoning collector mar- Therefore, not just any paper will appealing drawing. We need the ketplace, animation has become do. Each department in animation paper to cooperate with us towards one of the hottest collectibles avail- has its own special demands and that end.” able. Original animation drawings requirements expected from the The feelings that Marty dis- can fetch thousands of dollars paper. As a clean-up artist or assis- cusses are, as I have found, fairly through private sales and public tant animator, it is our drawings that universal among artists in the indus- auctions. Studios are discovering the the audience sees on the screen. Of try. market value of the artwork used to course, we work directly with the When you start to consider produce their films and want to pre- animators and it is their rough draw- all of these different conditions and serve its integrity as a commodity. ings that determine the timing, act- preferences the existence of an Disney Feature Animation ing, staging and storytelling. Our ‘ideal’ animation paper may seem has taken extensive steps to pre- drawings must accurately reflect the improbable. True, it can be difficult serve the animation, backgrounds, animators’ work and must be pre- to find an ideal ‘off the shelf’ paper layouts and cels from past features. cise and beautiful to watch. The whose characteristics fit all of these The Animation Research Library cat- qualities that we require from our unique requirements. However, the alogues and stores, by film and by paper are: marketplace does contain papers scene, the available animation from that have been painstakingly Disney’s rich history of animated Durability designed with the input of profes- films. The work is made available to “We flip several drawings at sional artists from each of the disci- current Disney staffers to aid in the a time, back and forth to sync them plines unique to animation. If you’re development of today’s films and is together and to follow the flow of still not convinced that an ‘anima- occasionally put on display for the action. Also, the paper must hold tion paper’ has something special benefit of the animation communi- up to being erased and still be able to offer, try some and see for your- ty and the public at large. Disney to accept a clean pencil line. self what a difference it can make has expressed a desire to incorpo- to your craft. As Marty said, “As in all rate archival features into their ani- Opacity professions, the best results require mation paper to ensure that future “We frequently use a light the best tools.” Perhaps trying or generations of both artists and his- placed below the drawings to see switching to a professional grade of torians will be able to benefit from several drawings simultaneously. animation paper can be the step the work of today’s artists just as For our purposes we want to see that elevates your work to the next these artists have been able to ben- through each drawing to the one level. efit from the delicate lessons of the below but not to the degree of trac- likes of Frank and Ollie. ing paper. The paper must have a limited degree of opacity. Steven Hagel is the Sales and Marketing Manager for An Expert’s Opinion Chromacolour International As I draw this article to a Color “The color of the paper is Limited. He was directly responsi- close I would like to provide important. It must not be harsh and thoughts and feelings from one of ble for the development and ‘cold,’ but ‘friendly,’ off-white, warm your peers Marty Korth, Lead Key at introduction of Chromacolour’s and conducive to working with the ProGrade and ProGrade ‘Plus’ Warner Bros. Feature Animation, artists, not against them. previously with Disney Feature lines of Animation Paper. Steven was recently awarded the ‘E Animation. “In traditional animation, Finish with all the technology that is avail- “The way the paper accepts Award’ for Quality Enhancement able and that we rely on to help us the graphite is for the artist proba- by Venture Magazine in Canada create animated movies it still comes bly the most important and personal for the development of the ani- down to just two things: a piece of issue. It’s hard enough to do the mation papers in addition to paper and a pencil,” he says. drawing in the first place but if the other products Chromacolour has “If the tools that we use are actual experience of drawing introduced into the animation less than ideal, we are held back becomes an experience of frustra- marketplace over the last five from being able to attain our goal. tion, the artist can become demor- years. Our goal is that our work will be alized and the difficulty of his or her transformed from mere drawings job is compounded. Note: Readers may contact any into actual living, breathing, real car- Animation World Magazine con- toon characters; hopefully as real as Aesthetics tributor by sending an email to any living being or creature. “Our goal is to create an [email protected].

ANIMATION WORLD MAGAZINE March 1998 24 Creating Music and Imagery Together

by Kirsten Winter mash is my second film in col- posing, at the piano, and in a dia- laboration with the Russian- logue with Richard Toop (musi- SAustralian composer Elena cologist), Daryl Pratt (percussion- Kats-Chernin (born in 1957). The ist) and Elizabeth Burton (dancer). first time I met her in the fall of Sometimes the film leaves her and 1993, she was composing a piece focuses on the music entirely by of music commissioned by the ZKM using abstract paintings. The (Center for Arts and Media in viewer becomes the listener. Since Karlsruhe, Germany) for I used a piece of already com- Filmmaker Kirsten Winter has worked with Multimediale 3, an arts festival, posed and performed music, the composer Elena Kats-Chernin on two ani- which took place in November, structure was assigned to me and mated films, Clocks and Smash. © Kirsten Winter 1993 in Karlsruhe. it was my duty to support the we occasionally argued, mainly After listening to her kind of music by using images in a way no about artistic topics, Elena and I modern classical music for hours I one would recognize that the music became good friends and a pro- was bewildered: on one hand the had come first. ductive team with our opinions gen- music appeared pretty strange to erally harmonizing quite well. my ‘uneducated’ ear, on the other The viewer becomes the Therefore, we decided to collabo- hand I was really fascinated by listener. rate a second time. The ‘success’ of something I cannot precisely Clocks made it comparatively easy to describe. Maybe it was the contrast It worked as I had intended get grants, not only from Germany, between her shy and reserved ... more or less. (Prizes were won but also from Australia. We also appearance and the strength and in: Montreal, Canada; Espinho in received support from ZKM, the power of her music. Portugal; Krok in the Ukraine and Studio For Experimental Music in We decided to work togeth- the Art Award of Lower Saxony in Freiburg, and Ensemble Modern for er. I received permission from the Gremany, additionally it received the next film, Smash . composer, the commissioner, the several special mentions, The performers and the conductor to Editors. use part of the music which was Although (or because of?) Sound is as important as the performed by the Ensemble imagery Modern of Frankfurt, Germany during 1993’s Multimediale 3. SMASH:The Non-Linear Story As Don Perro wrote in his Our First Film: Clocks review (November issue of The result of our collab- Animation World Magazine, oration was Clocks , an ani- http://www.awn.com/mag/issue2. mated short film which offers 8/2.8pages/2.8perrosmash.html), an impression of Elena’s work- Smash is concerned with the ‘days ing life. Accompanied by her Elena Kats-Chernin is pictured in the film Clocks, her first collaboration with Kirsten in a life;’ especially the days in my life own music, we see Elena com- Winter. © Kirsten Winter. before they resulted in a near fatal

ANIMATION WORLD MAGAZINE March 1998 25 but an emotional reaction to from their original content, they a film. This was one of the rea- develop a dynamic of their very sons I chose to edit the film as own, which inevitably leads to a I did. I started fast and Smash, to a breakdown. increased the pace until by the An ‘after’ with its own qualities end of the first third, it is frame evolves - until the cycle threatens to by frame. No one can recog- form again.’’ nize every frame, only the rhythm. Although I used con- The Production Kirsten Winter at work, using oil paints to trans- crete, real images as a base for For Smash Elena and I form photographs into art for her animated my oil paintings, I treated the worked together from the very films. © Kirsten Winter material, the rhythm, like I was beginning to the end. Our aim was automobile accident. Smash doesn’t making an ‘abstract’ film. to produce a congenial film. On describe my life literally, but is based one hand sometimes the images on my experiences. I also figured In a review the melody Elena support the sound and sometimes out, after screening Smash several composed was called, the sound supports the music. times, it is not only my experience, ‘Frühstücksmusik’ or ‘breakfast However, on the other hand both but it could be anyone’s experience music’ which, I think, describes kinds of art are used diametrically. who is involved in an intense, busy it quite suitably. Sound is as important as the imag- career. inary. I told Elena my idea for the As Don mentioned, Smash When I send my film to fes- film and tried to give her an impres- is not a clear, linear story. My aim tivals I add the following summary: sion of the mood, images and basic was to find a way to tell a story by ‘‘In the daily cycle, even the trans- structure I intended to create. creating feelings while watching the figured images of the apparently screen. I prefer not an intellectual ‘ideal’ life lose their appeal. Severed The CD, which was recorded just for my use, formed the Learn Animation from an Industry Veteran! basis for shooting, and later editing, the film.

I joined her for about nine weeks (June to August 1996) in Sydney, Australia, where we refined the structure together. Moreover, we listened to the sounds that Elena developed, created and collected predominately during her stay in Germany (1981-1994). We were Ken Southworth shares his 50 years of experience from DISNEY, looking for a melody which reflects LANTZ, MGM, and HANNA-BARBERA in this PBS quality entertaining and educational video package designed for the the ‘daily life-cycle.’ In a review the beginner. melody Elena composed was called, Available in both VHS, NTSC, & PAL video formats. ‘Frühstücksmusik’ or ‘breakfast $50.00 S&H, Tax Included music’ which, I think, describes it SEND CHECK OR MONEY ORDER TO: quite suitably. Inkwell Images Ink After we’d roughly got it P.O.Box 3817 blocked out, I went back to Anahiem CA 92803-3817 Germany to tend to the visuals, while Elena was composing. The Call 1-888-536-2276 only thing fixed at the time was the Visa, Mastercard & American Express accepted. rhythm which was necessary for me

ANIMATION WORLD MAGAZINE March 1998 26 the basis for shooting, and later editing, the film. YYourour AdAd Four Months Later On April 16, I was in a film CouldCould BeBe lab in Berlin, waiting for my first print. I then went direct- HerHere!e! ly to Frankfurt, where the Ensemble Modern, con- ducted by Jonathan Nott, A still from Smash. © Kirsten Winter. For rate cards and rehearsed for the first time additional information to start shooting the footage. while actually watching the film. Several VHS and music tapes were about Later, we went to Vienna various opportunities sent back and forth between where the first screening with live Australia and Germany before Elena for exposure at music took place in the Concert Hall Animation World came to Karlsruhe, Germany in early on April 18, 1997. The next day November, 1996. Network, Clocks and Smash were screened contact our In the meantime it was and performed in Munich and on Los Angeles decided that Clocks and Smash April 22 in the Old Opera in office at would be screened in both the Frankfurt. The first festival screening Concert Hall in Vienna, Austria and was during the World Film Festival 213.468.2554 the Old Opera in Frankfurt, in Montreal, on August 31, 1997. Germany with live music performed or e-mail by the Ensemble Modern - in April, Smash is available on DVD any of our sales 1997! This did not leave much time through Short Film Journal out of representatives: for animating a nine-minute short Venice, California. Call (310) 821 film. 9843. The music for SMASH is North America: formed by two distinct parts. One track features both natural and arti- dan Sarto ficial sounds manipulated electron- [email protected] ically and the other is a musical com- Kirsten Winter runs a film produc- position. The tape was produced at tion company, which specializes the ZKM and the musicians received in experimental animation. She Europe: their sheets of music to rehearse recently created a short animated during November. Elena had to sequence for the Absolut Thomas Basgier Panushka web site. She is also a leave Germany to compose an [email protected] opera in Sydney which premiered part-time lecturer for animation at with praise in November, 1997. She the college of higher education in Hanover, Germany. She is came back to join the Ensemble U.K. involved in several film festivals Modern while recording the CD at and loves to leave Germany tem- Alan Smith the Studio For Experimental Music, porarily, in search of new inspira- Freiburg, Germany in December. [email protected] tions and collaborations. During this and all of the following performances the sound effects tape and the music performed by Note: Readers may contact any Other Locations: Ensemble Modern were played Animation World Magazine con- simultaneously. The CD, which was [email protected] tributor by sending an email to recorded just for my use, formed [email protected].

ANIMATION WORLD MAGAZINE March 1998 27 And I Get Paid!?!: The Life of a Voice Actor by Kath Soucie am delighted to have the oppor- pager, voice Rugrats, The tunity to brag about what a great mail - every Movie. It’s been Ijob I have. I absolutely love this possible form seven years since part of the entertainment industry of communica- my first audition and, quite frankly, I’m feeling terribly tion available - for the Rugrats clever for having stumbled across it because that which turned out in the first place. In the last few leisurely two- to be one of years, animation and voice-over job day that those shows have become a source of great you were mild- which took a interest to folks, but for quite some ly looking for- while to become time it was a niche that was enjoyed ward to last really popular. and appreciated mostly by children. night can We’ve done tons As the field has become more and become a of episodes more sophisticated and ‘toons are seven-job, through the more artfully executed, the entire three-audition years and being subject has become far more main- crunch within apart of this stream. hours. show is a privi- It’s a commonly held notion In addi- Kath Soucie. lege. It’s full of all that there is only a small group of tion to anima- the exact ele- actors who do the great majority of tion, there is an entirely different ments...vision, imagination, clarity voice-over work and I would like to part to the business centered and sharpness of observation, ten- say that, for the most part, it is true. around advertising. This can include derness and just the right amount I have spent the last 12 years of my radio and television commercials, of silliness. life voice-over-wise in the company promos and narration. Most of us The movie script is fine with of pretty much the same band of do a little of all these things and it a lot of fun scenes and plenty of thieves. I am very sincere when I say can make for a very interesting mix opportunities to ad lib and let loose. that they are among the most cre- in our day. In deciding how to go And, yes, we are given the oppor- ative, interesting and hilariously wild about giving you an idea of how a tunity to add our own spin on artists around. We all agree that we week really plays out for me, I felt it things, contribute a few lines and have the absolute best job on Earth. would be good to find one with the alter a “bit” that doesn’t seem quite Basically, you get to do all the stuff most variety and exciting projects. I authentic or true to character. This you got in trouble for in school ... settled on the last week of March, show has always been a complete- and they pay you buckets of dough 1997. ly collaborative effort, with almost to do it. It’s perfect! zero ego on all fronts, and with the In terms of the work itself, true intention to create something the variety is infinite. No two days It’s a commonly held notion unique and pure. are even remotely alike. If you are that there is only a small The session goes well. All my a fan of predictability, trust me, this group of actors who do the faves are there: Christine is not the field for you. The struc- great majority of voice-over Cavanaugh as Chuckie, E.G. Dailey ture of your week will change con- work... as the heroic Tommy and Cheryl tinuously, sometimes hourly, as your Chase as Angelica. I’m Phil, Lil & busy and frazzled agent tries to fit as Getting Started: Monday Betty. There is definitely a different much as possible into your sched- This week is of a particular feel in the booth. This is a feature ule. You need to have a cell phone, interest because we began work on after all, not just a lowly series.

ANIMATION WORLD MAGAZINE March 1998 28 Next is anoth- er cartoon: Disney’s Hercules. This show has been recorded by a celebrity cast in all the lead roles. James Woods, Jennifer Aniston, Tate Donovan and tons of others. I’m there to play a pair of slave girls and a poodle. Hmmm...sometimes Kath Soucie plays the voices of Cadpig and Rolly on Disney’s 101 Dalmatians:The Series, which airs in U.S. the college educa- syndication and on ABC Saturday mornings. © Disney. tion seems such a There’s a different energy, higher beauty to be found there is well waste, know what I stakes and better snacks! We’re worth the drive. Books on tape are mean? They record everyone sepa- scheduled from 8 a.m. to 1 p.m. my constant companion while in rately on this show because of and we make good progress for our the car! hugely divergent schedules and I first session. arrive just as French Stewart is fin- Rugrats is recorded in What A Long (Tues) Day! ishing his spot. This guy is amazing Hollywood which is about 20 min- Tuesday begins at 8 a.m. to watch. His ad libs are hilarious utes away from my next session at with more Rugrats. We work our and he just utterly and absolutely Hanna-Barbera Cartoons in North way through most of the script, plus becomes his character. He’s very Hollywood. We will be recording there are a few changes and pickup uninhibited and very imaginative. two episodes of Dexter’s Laboratory lines from yesterday’s session. A pick- My session is brief, brief, in which I play Dexter’s mother and up line is when a line from a previ- brief. A couple of “Yes, your his computer, as well as, from time ous session has to be re-recorded Highness”’s and a bark or two and to time, several incidentals. Christine due either to technical imperfections I’m out of there. This session is being Cavanaugh also plays Dexter, so or re-writing. It’s all the same crew recorded at Screen Music in North between Rugrats and Dexter we again and everything goes smooth- Hollywood which is one of my will pretty much be spending the ly. The people at Paramount have favorite places on Earth, which is a entire day together. As I mentioned sent us gift baskets to commemo- good thing since I sometimes spend earlier it is not uncommon to see rate the official start of the film. part of every single day there. As it the same actors several times a day turns out, my next session is also at both on the job and at auditions. No two days are even remotely Screen Music and also for Disney. It We’ve been working on Dexter for alike. also contains barking! It’s 101 many months now, usually com- Dalmatians, the series, where I play pleting one or two episodes a After my morning session I Rolly, Cadpig and Anita. We end up week. It’s interesting for me to do do a quick run up the street to a recording well over a hundred several shows a day. The style of recording studio called Waves episodes of this show throughout every director is completely unique where I do a fast couple of radio the year, often up to four episodes and it’s a real challenge to under- spots for Ziploc. I auditioned for a week. Also, once the episodes stand and fulfill each approach as these at my agent’s office just the come back from overseas where closely as possible. We finish up with week before. I got to do the whole they are animated, we have dozens Dexter around 5:45 p.m. which will spot as Martha Stewart which was and dozens of sessions of looping to end my Monday work day. I live a blast. She has very precise man- perfect the dialogue for broadcast. about an hour outside of town on nerisms which makes her great fun Often the animators will create “lip the Pacific Ocean which adds a con- to imitate. Of course, it can only be flaps” where there is no actual dia- siderable amount of time onto my a spoof as opposed to dead-on logue taking place or a line will be day driving-wise but the peace and mimicking...no law suits here! garbled or unclear sound-wise and

ANIMATION WORLD MAGAZINE March 1998 29 need to be re-recorded for clarity. play the part of Kat, Casper’s young the same time reining it in. Sometimes a scene just isn’t funny in human friend. We do two episodes My day is very tightly booked it’s finished form, so the writers will where Ginny McSwain directs. today so while my contract would come up with a (hopefully) more Ginny is a legend in the animation normally have me staying the entire clever series of lines. In these ses- world. We all adore her. She is four hours, my agent has arranged sions we watch the scene on a tele- hugely bright, utterly irreverent, fast, to have me released early so that I vision and drop the new line in over precise and direct. To be bossed can get everything in. My next stop the old line. This kind of session is around by her is a joy. is in Burbank at Horta Sound for an very challenging as you are trying to episode of Hey Arnold in which I feel the scene properly but in a spe- Often the scripts for the next play Helga’s mother, Miriam, and cific time frame. Also the new lines day’s work don’t get delivered Harold’s mother, Marilyn. This show can be very tricky to fit into the until the night before which makes me about as happy as I can established lip flaps (movements). means “homework” awaits. get. I can’t possibly describe to you 101 is wrapped by 6 p.m. how wonderful this set is; it is the and my day is once again done; We complete the two most creative atmosphere of which except, of course, for the two scripts Casper episodes and then I have I have ever been a part. The scripts I find waiting on my doorstep when one more thing to do before the are beyond compare. The talent is I arrive home. Often the scripts for day is done: drive to the voice cast- really original with the children’s the next day’s work don’t get deliv- ers and audition for an Airtouch parts being played by child actors, ered until the night before which Cellular advertisement. This appoint- who are refreshing and great. means “homework” awaits. There ment is in Burbank and I have to Furthermore, everyone on the pro- is also a tape that has been deliv- get there by 6:15 p.m. With a lot of duction team is a pal. They pickup ered with a rough track of a song careening around and breaking of my lines separately so I can make that needs to be learned for tomor- laws, I just make it. (I do end up my 1:30 session in West Hollywood. row’s session. booking this...several radio spots The next session is an odd and a television spot which record one. It’s at a new studio that I’ve Television Plus Some:Wednesday the following week.) never been to before that is clearly The next morning is yet set up to record music. The engi- another Rugrats session but this one One Busy Day:Thursday neer seems to have been hired for is scheduled for all day, 8 a.m. to Thursday starts with a 9 a.m. only the day. This is a pilot for a new 4:30 p.m. We complete the last session at Screen Music. This time it series which is funded by a scenes, do pickups and, in the after- is Invasion America. Steven Japanese gentleman who doesn’t noon, record songs. From this point Spielberg and Harvey Bennett are speak English and the session is run on, all ensuing work on the movie executive producing the show and by folks who have no previous will be only the occasional pickup it is a vastly interesting project. The experience in animation. Chaos session. My next session is back at vision of the show is an utterly real, would about sum it up. I play all of Screen Music in North Hollywood. very prime-time feeling science-fic- the female parts and a couple of It’s Casper for Universal Cartoons. I tion adventure. It is also a very other voices as well. Five roles in all celebrity-heavy show. We all made it a lucrative session if not a, work together at the same shall we say, easily experienced one. time which makes for some Somehow I got through it. I sur- great scene work. Leonard vived it and the subsequent ten ses- Nimoy, Kristy McNichols, sions over the ensuing weeks, even Robert Urich, the amazing though the ‘chaos factor’ never real- Edward Albert...all great ly lifted. actors. My parts on this After this session is over, I show are wonderful and have one more to do, so it is back offer me great opportunities to Screen Music for more 101 to play around. The scenes Dalmatians. This runs from 4 to 6 are taut and highly emo- p.m. and then it’s in the car and

Kat, Casper’s young human friend in Universal’s series, tional. We all have a good home. Casper , is voiced by Kath Soucie. © MCA TV time hamming it up while at International.

ANIMATION WORLD MAGAZINE March 1998 30 Commercials Abound: Friday and I thoroughly enjoy ourselves partners in crime. This show is The last day of the week was with a lot of improvisational work another that employs children play- more of a commercial day than the which we love. Phil also plays my ing children and the writing is previous ones. The day starts a lit- husband Howard on Rugrats; yet superb as well. I am guessing on tle later than usual — 10 a.m. I am another instance of how actors’ this show and I’m playing a sort of not an early riser by nature and any days can often intersect. “dooms-day” little boy whose job is extra time to be had sleeping in the When this session wraps, I to warn all the other little kids on morning is hugely appreciated. My drive to Margarita Mix and do a the playground about how awful first call of the day is a quick stop to series of commercials for it’s all going to be. He has just seen record a television spot for Mattel’s Greyhound. This is a national cam- his big brother kissing a girl for the Rapunzel Barbie. Apparently, Barbie paign that is a new account for me. first time and is appalled at the now has really, really, really, long I very much enjoy working with heinousness of the sight. He warns hair that she can just pull right out these people. They are a different all of the boys that this is a terrible of her head so old Ken can climb breed from most other people in event that awaits them in their up it and rescue her. Not to men- their part of the industry. They are future. There’s no escaping it. Then tion a castle with a turret and a cool very earnest and meticulous and he describes the kiss in graphic medieval dress and shoes - that girl every possible interpretation is tried detail, giving all the little boys terri- has everything! And I get to tell the on each spot. There are some ble nightmares and hives. Paul and world about it on national televi- instances where this approach can I have a great time with this and I sion. I couldn’t be more proud... be tedious and mind-numbing but get to play the thing to the hilt. We Next is a radio spot at Bell with this particular group, there is wrap at 5:30. Sound for Eckerd Drugs. Phil Proctor such a very good feeling about the So, that’s about the size of and I have been doing a campaign project that it proves to be inspiring my week, guys. When I was a little for Eckerd for about a year or so. and a challenge. girl, I only knew that I wanted to We play your typical Mad About You The final session of the week do something absolutely unique, bantering couple whose conversa- is another Disney cartoon, Recess, be around fascinating and dashing tion seems to center around what directed by Paul Germain. Paul was people all day long, and never be great stuff they’re going to buy at one of the original creators of bored. Mission accomplished. Eckerd that week and how much Rugrats and directed all of the early they’re going to save doing it. Phil episodes so we are old friends and BonusBonus HTMLHTML FeaturFeatureses Kath Soucie is a Los Angeles- based voice actor. Her animation Every online (HTML) issue of Animation World Magazine contains additional features not found in credits include voice work on the download or print Acrobat version, such as Quicktime movies, links to Animation World Network sites, extended articles and special sections. Don’t miss the following highlights that are Disney’s Beauty and the Beast, showcased exclusively in this month’s Animation World Magazine HTML version: 101 Dalmatians, Jungle Cubs, http://www.awn.com/mag/issue2.12/2.12pages/2.12cover.html Quack Pack, Gargoyles, Pepper Ann and Recess; Nickelodeon’s • FernGully 2: The Magical Rescue - Getting the Money on the Screen This article by Dave Marshall and Phil Robinson includes a visual supplement with several Rugrats and Hey Arnold; storyboard panels from the film. http://www.awn.com/mag/issue2.12/2.12pages/2.12mar- DreamWorks’ Invasion America shallferngully. and Toonsylvania; Universal’s ¥ Cruddy Sketches and a Red Pen: Pre-Production on Lucas Arts’ The Curse of Monkey Casper, Earthworm Jim and Island Savage Dragon; Hanna-Barbera’s Russell Bekins’ article contains a sample page from LucasArts’ production book for The Curse Dexter’s Laboratory; HBO’s of Monkey Island. http://www.awn.com/mag/issue2.12/2.12pages/2.12bekinslucas.html Spawn; Warner Bros.’ Space Jam, ¥ T.R.A.N.S.I.T.: A Delicious Sense of Understanding and Journey and Lucas Arts games Full Emru Townsend’s review includes a Quicktime movie of T.R.A.N.S.I.T. directed by Piet Kroon. Throttle, Outlaws and Mortimer. http://www.awn.com/mag/issue2.12/2.12pages/2.12townsendtransit.html

¥ The Oscars Report Note: Readers may contact any We take a closer look at this year’s five Academy Award nominees for Best Animated Short Film with information, images and Quicktime movies about the selected nominees. We also invite Animation World Magazine con- you to vote for your Oscar pick in AWN’s “unofficial Oscars survey.” tributor by sending an email to http://www.awn.com/oscars [email protected].

ANIMATION WORLD MAGAZINE March 1998 31 Mae Questel: A Reminiscence, History and Perspective by Andrew J. Lederer n February 1995, animation his- birthday cake at the front of the ball- vagaries of normal aging. Questel, torian Jerry Beck curated a room, while at a nearby table, Jerry with her protective husband Jack IMuseum of Modern Art tribute to Beck and I were attempting to glowering nearby, chatted happily the cartoons of Paramount’s Famous extract from Ms. Questel the secrets with fans and signed autographs Studios. At a party related to the of the Fleischer and Famous stu- well into the night and we most event, Jackson Beck, most famous dios. assuredly did not recognize in her as the voice of Bluto in many of the Questel was a sparkling din- behavior any ominous indications Paramount cartoons, was peppered ner companion, but I remember the of imminent decline. with questions about the vocal his- evening more for what she didn’t tory of the east coast animation stu- tell us than for what she did. We Questel was a sparkling dinner dio. His response was something were endeavoring to learn the companion, but I remember like, “There’s only one person alive extent of the credited directors’ the evening more for what who was there from the beginning involvement in Famous Studios’ she didn’t tell us than for and she can’t tell you anything.” The recording sessions. We repeatedly what she did. person Beck was referring to was asked her who had directed the pioneer voice great Mae Questel voice actors during the Forties and Sadly, Ms. Questel’s recent (Betty Boop, Olive Oyl, etc.) and he Fifties. She kept asserting that Dave death at the reported age of 89 will was confirming recent rumors that Fleischer had directed the sessions, leave some questions forever unan- she had descended into the depths even though Fleischer had left the swered. Grim Natwick has passed of Alzheimer’s disease and could no operation during the first half of on, as have Walter Lantz and longer issue accurate reports from 1942. Regardless, she was so clear Shamus Culhane, and so many oth- animation’s past. and direct during the remainder of ers from animation’s early days. the conversation that we chalked Whatever it is that only they knew An Enchanted Evening up her mistaken insistence to the and no one ever asked, is now per- Just four and a half years ear- manently lost. lier, at Betty Boop designer Grim The people who lived the Natwick’s hundredth birthday soiree, history of the medium we love, are Questel had been in high spirits and both our best and worst sources of had charmed the large crowd with information about its past. They both story and song. While in Los know things that no one else can, Angeles, she was in discussions with from a perspective that is theirs Paramount about a role in its alone. But, like most people, they upcoming production, The take a less than academic approach Butcher’s Wife, and she was thrilled to the details of their own lives and to have the opportunity to attend thus, are often wrong when we the gathering in Natwick’s honor. desperately need them to be right. The banquet hall was filled with ani- The following is a brief and loving mation veterans dating back to the bio of Ms. Questel. Much of it is medium’s pre-World War I begin- culled from her own recollections. nings alongside contemporary tal- Some of it may be wrong and much ents from such projects as The of it is right but all of it was Mae. Simpsons. Nonagenarian Walter Lantz took Natwick’s hand and prac- Mae Questel. Photo courtesy of Leslie Her Early History tically danced around the large Cabarga. Mae Questel was a natural

ANIMATION WORLD MAGAZINE March 1998 32 “ham,” born into a tors, Mae decided to Paramount cartoons second to family that didn’t watch Kane’s act none in the field of vocal charac- believe show business before the contest terizations. With the addition of Jack was a suitable profes- began, and as a Mercer (Popeye) in the mid-1930s, sion for a respectable result emulated the the Fleischer cartoons began fea- girl. The young New star with greater turing top-quality vocal tracks long Yorker had obvious accuracy than any of before most other cartoons from talent and performed the other contestants. either New York or Hollywood frequently at charita- Combined with her could even come close. Mae’s abili- ble and community natural oomph, Mae’s ty to ad-lib helped the cartoons functions. However, dead-on mimicry tremendously as did her magical professional opportu- earned her a contract way with a song. In due time, Mae nities were rejected by Questel, with her experience with the RKO vaude- added other Paramount characters, both her parents and in radio and vaudeville perfor- ville circuit which both male and female, to her reper- grandparents. mance, was a perfect match finally kicked off her toire, voicing Olive Oyl, Pudgy and In retrospect, it for the voice of Betty Boop. © King Features professional career. a host of other creations. seems inevitable that Syndicate/Fleischer Studios Mae quickly devel- Mae would eventually oped an act (“Mae In short, it was a marvelous enjoy a professional theatrical Questel - Personality Singer of career and, seemingly, a mar- career. While still a child, for Personality Songs”) that included velous life. instance, her talent brought her into impersonations of such other the circle of famed violinist Mischa celebrities as Eddie Cantor, Ruth When Fleischer Studios Ellman, who introduced her to Etting and Maurice Chevalier. She moved to Florida in the late 1930s, many important people. Her career began appearing on radio pro- Mae, who had a young family in came about, however, not through grams and in short order was cho- New York, decided to stay behind. the intercession of the powerful, but sen by cartoon producer Max As a result, she did only a little work through a confluence of talent and Fleischer to be the voice of his ani- for Paramount’s cartoon unit during pure happenstance at a time when mated Helen Kane look/sound-alike, the early 1940s. However, when she thought she had given up her “Betty Boop.” the studio returned to New York theatrical aspirations for good. sans the Fleischers in 1943, Mae Mae had embarked upon a returned to her position as its pri- Taking the role of Betty Boop career in teaching when some of mary female actor. Jackson Beck, made Mae Questel immortal ... her friends, knowing her to be a Arnold Stang and Sid Raymond natural mimic, entered her in a were added to the ensemble dur- Helen Kane impersonation contest ing the ‘40s and ‘50s and this tight- at the RKO Fordham Theater where An Animated Career ly-knit vocal unit turned out some Miss Kane was appearing. Mae was Taking the role of Betty Boop of the most satisfying voice tracks concerned that such a public dis- made Mae Questel immortal (and of animation’s golden age. (Mercer, play would be inappropriate for a perhaps vice-versa), but the Questel and Beck also did a series of teacher, but she participated in the Fleischers got something out of the more than 200 Popeye cartoons competition and was, of course, vic- bargain as well – the first in a sta- made directly for television that torious. Alone among the competi- ble of voice actors that would make were syndicated in the early 1960s.)

Ancillary Antics Mae had a related career in radio that included both after- noon and evening Betty Boop broadcasts, as well as appearances on such programs as Questel styled the voice of Olive Oyl, the whiny girlfriend of Popeye, after Zasu Pitts. © King Features The Green Hornet and Syndicate/Fleischer Studios

ANIMATION WORLD MAGAZINE March 1998 33 Perry Mason. Her early television toons, commercials, radio. Feature However, Mae had to have work included a stint as a panelist films weren’t really a factor until they known that Betty was based on on Stop Me If You’ve Heard This began to move east in more recent Helen. Her entire career was built One and as the voice of the inter- times. on her original impersonation of active cartoon sprite, Winky Dink. Furthermore, Mae retained Helen Kane. On the night of that She did commercials for Bromo her authenticity as a character by fateful contest, Kane had auto- Seltzer, Nabisco Honey Grahams remaining in the east. Her later on- graphed a photo to Mae that said, and Yuban Coffee and was the camera roles felt very real. Mae’s “To Another Helen Kane.” Mae took memorably helpful Aunt Bluebell in most natural voices were always great pains later on to explain that a series of Scott Towels spots dur- maternal and Jewish. Her Olive Oyl, Betty was drawn to look like her, ing the 1970s. originally styled after Zasu Pitts, ulti- but Mae wasn’t even the first actress She made records as Betty mately became very “Aunt Bluebell.” to voice Betty. Others, including Boop, Olive Oyl and Little Audrey Betty Boop was also very much a Little Ann Little, had earlier played and even a novelty item called, Mrs. “Jewish mother.” It was, I think, the the role. Portnoy’s Retort. She also had a sig- genuineness of her exuberant por- No one that I know of, in nificant on-camera career in motion trayals that made Mae Questel a telling this tale, has ever called into pictures. success. question Mae’s having taken part in this lawsuit, which Kane actually It was, I think, the genuineness lost! In the final analysis, it’s just one Celluloid Capers of her exuberant portrayals more incident in a life full of inci- During the ‘30s, a live-action dents both professional and per- that made Mae Questel a suc- Mae portrayed a Boop-ish charac- sonal. It demonstrates though that cess. ter in several Paramount short sub- no story is fairy tale pure. Everyone jects and was also in a Paramount is just a person. We often choose feature called Wayward. The studio But if her humanity was her our heroes based not on what offered her a Hollywood contract secret, it did not render her flaw- they’ve done, but because we like in 1932 but typically, she turned it less. The story has oft been told them. We liked Mae Questel. I have down and remained in New York about how Helen Kane sued Max no doubt she deserved it. at the request of her first husband. Fleischer over the theft of her per- As with most of her ambitions, film sona for his Betty Boop series. Many The author would like to success did ultimately come to Mae. witnesses, including Mae, were trot- thank Leslie Cabarga for his contri- All she had to do was live her life ted out by Fleischer to claim that bution to and assistance with this and wait for it. Betty was not based on Kane. article. His book, The Fleischer Story During the ‘60s and ‘70s, is available from DaCapo Press, or she appeared in It’s Only Money in autographed form directly from with Jerry Lewis, Move with Elliott the author (contact lescab@earth- Gould and Funny Girl with Gould’s link.net). ex-wife Barbra Streisand. She became familiar to audiences, who Andrew J. Lederer has been a may not even have known she was writer and editor for Wild Cartoon Betty Boop, as a quintessential Kingdom, Sci-Fi Universe, Film Jewish mother. In the late 1980s, Threat and The Elmo Aardvark she played her most important Newsletter. He recently con- Jewish mother in Woody Allen’s tributed to an essay on the history Oedipus Wrecks segment of the film of Paramount cartoons that New York Stories. accompanies a just-released CD featuring music from the films. Quintessentially Mae In short, it was a marvelous Note: Readers may contact any career and, seemingly, a marvelous Animation World Magazine con- life. Certainly it was a quintessen- The world said farewell to the voice of Betty Boop when Mae Questel passed away on tributor by sending an email to tially New York career – stage, car- January 4, 1998 at the age of 89. © King [email protected]. Features Syndicate/Fleischer Studios

ANIMATION WORLD MAGAZINE March 1998 34 AnimatingAnimating inin thethe Spotlight:Spotlight: CrCreatingeating PrimePrime TTimeime

by Mike Wolf

Editor’s note: Due to put, it’s “smart” animation. bet on the writers. They know the Twentieth Century Fox’s legal restric- In the eyes of the network writers and they’re comfortable with tions about publishing art on the brass, a prime time cartoon has to writers. In TV sitcom-land the writer Internet, this article does not con- compete. It has to compete with is king. tain any images. Seinfeld, Frazier and Home Improvement. It has to appeal to For this reason, the networks adult demographics. It has to hold bet on the writers ... in TV sit- n terms of large-scale animation an audience throughout the sea- com-land the writer is king. production, the industry has long son and not get stale and pre- Ibeen divided between features dictable. Prime time is the major All too often in children’s ani- and “Saturday Morning.” The last leagues. It’s not just kid’s stuff, any- mation, the writer is a lonely, under- ten years, however, has seen the more. paid soul who bangs out a script in emergence of a new genre, “Prime a couple of weeks and hands it over Time.” While there has always been Script And Recording: Prime to the producer, never to lay eyes the occasional prime time animat- Time Writers, Prime Time on it again. At the prime time level, ed special (most often around the Actors the writer is the producer, the exec- holidays), it wasn’t until The Market shares? utive producer! Usually hired away Simpsons debuted in 1989 that any- Demographics? Counter program- from another hit series for a small one had tried to produce at the ming? Hey! Whatever happened to fortune and handed the keys to the prime time level on a weekly sched- sight gags, delayed takes and over- store. The writer rules so by exten- ule, at least not since Hanna- the-top, cartoony animation? sion, the script is golden. Nobody Barbera did The Flintstones, more The differences between messes with the script. It is the prod- than 30 years before. prime time and Saturday morning uct of a dozen or more equally high- animation start at the network level. paid and talented scribes who’ve No, prime time animation is a A network risks a lot on an animat- put in many long weeks of crafting matter of style and content. ed series. Initially, animation is much characters and fine-tuning jokes. Simply put, it’s “smart” more expensive to produce than Voice talent is another area animation. live-action sitcoms - at least until the where the producers try to separate show’s a hit and the stars’ salary prime time from all the other fare So what, you are asking, demands start to escalate. Also, the on television. The community of does he mean by “prime time level?” network executives have to wait six voice actors who specialize in ani- How is that different from any other months to see the first show, which mation is small, and if you watch television animation program? It is means they have to commit them- enough Saturday morning car- not a measure of the quality of the selves early and all the way. There is toons, their voices start to become animation. We are still in the televi- no pulling the plug after two or familiar. So, there has been a con- sion medium with all the limits of a three episodes die on the air, scious decision to look for acting tal- television schedule that preclude because the others are already in ent with a different sound. With The the kind of fluid, full animation that the pipeline. These are very scary Simpsons originating on The Tracy one would expect to see in a fea- thoughts in their high-stakes busi- Ullman Show, the voice talent was ture. No, prime time animation is a ness. drawn from the ensemble of regu- matter of style and content. Simply For this reason, the networks lars in the live-action skits, mostly

ANIMATION WORLD MAGAZINE March 1998 35 stand-up comics. If you look at the assembled voice recording. As most the design of the show and remain cast of The Critic or King of the Hill, half-hour sitcoms are written in a integrally involved throughout pro- you will find it is mostly made up of three-act format, the director usu- duction. Every character, prop and television or film actors or stand-up ally divides the work between him- background is approved or comics, but not professional voice self and two other board artists. This changed to their specifications. actors. This choice of actors reflects is not unlike how Saturday morn- While some may bemoan the loss of the desire to move away from the ing cartoons are boarded. What’s creative control, it remains the price over-the-top nature of cartoon act- different is the style of boarding. of admission to working in prime ing and towards a more clever, time. insightful and witty, dialogue-driven “Where have all the artists show. gone? Gone to features every- Layout:The Lost Art of TV one, long time ago.” Animation? The Director: Really, a Director? “Where have all the artists Let’s move onto the anima- Think of a one-camera live- gone? Gone to features everyone, tion production process. action television show and you will long time ago.” We start with a director. No, start to have a sense of the think- Excuse this terrible para- not a sheet timer, a director, just like ing behind prime time boarding. phrasing of an old folk song, but it a feature director. He is charged There’s less emphasis on ambitious, points out a trend in the industry with pulling together board artists, showy staging that you’ll find in a that presents a problem to anyone designers, layout artists, sheet timers feature, but it is also a far cry from trying to produce quality television ... all the creative choices funnel the proscenium approach that is animation. When Hanna-Barbera through him. It’s his name on the found in much of children’s car- first started shipping animation over- screen and it’s his vision. The direc- toons. Making the camera work for seas, they created a paradigm shift tor answers only to the executive you is also a key factor, not only in in the industry. Soon there would producer. terms of placement, but movement. no longer be jobs for animators, It’s a big job. The director is There is a lot more camera action assistant animators, inbetweeners, only asked to direct one show at a in prime time whether it’s a subtle painters or layout artists in television time over a four-month schedule, camera adjust or a big match-cut animation. There was a period of but he has to look at every last pull out. Keeping the camera in widespread unemployment as drawing and in most cases, he goes motion and quick cutting keeps the everyone scrambled either to land over every one personally to make pace up. Prime time scripts are a job on a feature or learn a new it just a little better. Therefore, he densely packed with “A,” “B” and skill such as storyboarding, design or has to be an expert at every step. sometimes even “C” story lines, mul- timing. He has to be a board artist, a tiple character arcs and side jokes designer, a layout artist, a timer. But in every scene. Packing this all into Layout has become an entry- he is not alone, don’t worry. The 22 minutes and not losing the audi- level position in the animation director is usually one of ten, shar- ence is an art. industry. ing a staff of over a hundred, try- ing to put out a series of 24 to 26 Design: Hands-On Producers and As a result, ten years later shows a year. For the director, each Creators when Klasky Csupo tried to put episode is a prime time special. He Another key difference together a layout team for The is generally not juggling multiple between Saturday morning anima- Simpsons, they were forced to cob- episodes and is thus able to focus all tion and prime time reveals itself in ble together a crew consisting most- his attention on just one story, one the design area. Network executives ly of students or other artists new 22-minute film. hold all of the approval rights for a to the industry and train them. Since show’s design in Saturday morning then, this has become standard Storyboard: This is a Sitcom. but they rarely get involved with the practice. Layout has become an Think Seinfeld, Not Batman or design once the initial style has entry-level position in the animation Garfield been set and production is under- industry. The Simpsons, now in its The storyboard artist starts way. In prime time, the executive tenth season and King of the Hill, when he gets the script and the producers (writers) hold sway on in its third season, are almost entire-

ANIMATION WORLD MAGAZINE March 1998 36 ly staffed with artists with no other animation? The answer turned into pieces. The rest was provided either industry experience. They’ve learned what we call the “animatic,” which by the many layout poses or addi- their craft working on the show. is a film of the key pose animation tional poses written on the sheets These shows have now become and layouts synched to the dialogue themselves. Breakdowns and inbe- feeders to the feature houses at track. This animatic is then screened tweens were indicated by tick marks Warner Bros., Disney and for the writers and producers who so that the Korean animator was left DreamWorks. in turn give notes on staging, acting with little or no room for interpre- Layout is taught and prac- and timing as well as rewrite the tation. ticed a little differently on today’s bits that need punching up. In fairness to the Korean prime time shows than it used to Sometimes as much as 50% of a artists, a lot of what they were used be in the old days at Hanna-Barbera script can be rewritten. It’s an expen- to was not relevant to prime time. or Filmation, or is currently done for sive process, but one that pays off Cartoon takes and broad acting features. Typically, after a rough is not only for the writer, but for the wasn’t wanted. Instead, the writers produced, the finished background director as well. were asking for a subtlety of acting layout is drawn by one artist while to deliver their punch lines, jokes another sketches out the key ani- Because the substance of that were often hinged on cultural mation poses. In order to produce prime time is about dialogue reference points that only the an “animatic,” layouts are usually and acting rather than move- American television audience was posed out with every animation ment, the demands of timing going to appreciate. extreme required by the scene, not are a little different. just a first and last position. All the Prime Time Results scene mechanics are also worked While the use of an animat- So, what makes prime time out as would normally be done by ic may have originated on The animation special? It’s certainly not a scene planner. Simpsons it has quickly been taken feature in either the quality or com- up by other productions, and not plexity of the animation, nor does Animatic:The Walk-Thru only in prime time. Producers, who it try to be. But, it is in a class by One innovation that was uti- have the luxury of affording it, see itself as far as television animation lized for the production of The the opportunity of bringing back and this is due to the time, care and, Simpsons was the animatic. some of the control that was lost by most of all, thought that goes into On a feature, they build a shipping the animation out to off- this deceptively simple style. Like I leica reel so the director can get a shore subcontractors. said, it is smart animation. sense of the flow of the film while it You can’t argue with success. is still being animated. Problems can Timing: Sell The Joke. Stand-Up The animation that has succeeded then be easily headed off early in Comedy, Not Kung-Fu Fighting in prime time has all been produced the production in case anything isn’t Because the substance of in a similar fashion. These shows working. This isn’t being done in prime time is about dialogue and have competed with the best of television because the animation is acting rather than movement, the television and won out. That satis- all done out of the country. demands of timing are a little dif- faction is the reward for those who However it wasn’t done in the early ferent. Recognizing early on that work so hard to do their very best. days of television either when the they were not going to get brilliant animation was all done in-house. animation from the overseas pro- Mike Wolf, a 20-year veteran of Jim Brooks, one of the cre- duction houses, directors started the animation industry, is current- ators of the show, was also a high- writing exposure sheets that called ly producing the animation for ly successful television producer. He for very specific and precise (to the both The Simpsons and King of was used to having a “walk-thru” frame) moves with very clear instruc- the Hill for Fox at Film Roman. by the actors a day before taping tions to the animator not to do any the show in order to give the writ- more than for what was called. “Ad Note: Readers may contact any ers an opportunity to see and hear lib” was banned from the vocabu- Animation World Magazine con- their work play out. Jim felt this was lary. Instead, a series of coded tributor by sending an email to an essential tool for a writer-driven abbreviations were devised to call [email protected]. show, but how to accomplish this in out a variety of pre-set animation

ANIMATION WORLD MAGAZINE March 1998 37 The World Animation Celebration: Pasadena’s Festival by Heather Kenyon

he World Animation the festival. For example, Celebration (WAC) crept into filmmakers are not asked TPasadena rather slowly for a to stand after their film week of activities from February 16- is screened, which is a 21, 1998 with a large number of customary courtesy at events. The New Animation most festivals. While Technology Exposition and those filmmakers from Conference was a well-organized California are probably success and so were the panel dis- not that disgruntled, cussions included in the one has to think about International Business Conference how the filmmakers The MTV/Nickelodeon development panel was one of of Television Animation (IBCTA) and attending from farther the more informative corporate-sponsor programs at the World Animation Celebration. Front row, left to the World Summit for Feature Films afield like New York and right: Rebecca Poole (Nickelodeon), Melinda Toporoff and Visual Effects. While this festi- Europe feel. Also, the (Nickelodeon), Machi Tantillo (MTV) and back row, left val doesn’t have a market or pro- selection of films were to right: Kat Fair (Nickelodeon), moderator Sarah Baisley (Animation Magazine) and Eric Calderon vide the type of business opportu- not strong and the pro- (MTV). nities like MIFA at Annecy or NATPE, gramming of some spe- try to do as much homework as it does offer executives a chance to cial screenings, like The World’s possible to ensure that they are schmooze with one another and Funniest Cartoons, was very going to get the biggest bang for hear their peers discuss ideas and uneven. Once, again the filmmakers their buck. It is hard in the midst of points of view. WAC also did a good suffered. Those that had their films pre-festival chaos to do research but job at providing learning opportu- screened in programs that didn’t in the long run a little homework nities and classes to students and match their film’s style and tone would save time and disappoint- folks wanting to break into the biz were unfairly criticized by audience ment. through the classes offered at the members who were justifiably Please read the following New Animation Technology expecting different content. For bet- reviews to learn more about this Exposition and Conference and the ter or worse, depending on whom year’s World Animation Celebration: booths at the ASIFA-Hollywood one asks, WAC focuses on studio In “The New Animation Opportunities Expo. A frustration showcases. While some of these Technology Exposition and with the Celebration, however, was were quite exciting and informative Conference Viewed and Reviewed,” the feeling that the different events overviews, others did not present Ben Fried reveals that this event was were spread out and disconnected. certain promised treats. For well worth his while. There wasn’t a list of attendees and instance, many attended the contact information, mailboxes or DreamWorks/PDI Studio Salute strict- “Tuning in to the IBCTA” by Sherry a central location to meet people, ly to catch a moving glimpse of Niedelman reviews this executive like a festival bar or restaurant. Prince of Egypt. This was the hot pow-wow, the International The meat and the potatoes ticket (and with a $10 price tag!), Business Conference for Television of most festivals are the filmmakers but not only was a clip not shown, Animation. and their films. This is not the case DreamWorks did not make a com- at WAC. The competition screenings plete presentation. Costs run high Mark Farquhar found the World at WAC are not the centerpiece of at this festival so participants should Summit for Feature Films and Visual

ANIMATION WORLD MAGAZINE March 1998 38 Effects to be quite inspiring. Find Beauty and the Beast: out why... • Best Music Video: Beyond by Enchanted Christmas by Walt Nathan Vogel, Sherri Sheridan, Disney Television Animation. In “Thinking About the World Mind’s Eye Media. Animation Celebration ‘98,” Michelle • Best Animation Produced for Klein-Häss reviews the screenings • Best Public Service CD-Rom/Games: Titanic- and retrospectives, including the Announcement: The Right to Adventure Out of Time by Bill WAC Lifetime Achievement award Express Yourself by Amy Appleton, Andrew Nelson. winners. Friedman, Nickelodeon. • Best Animation Produced for the The Winners Are Announced • Best Showreel: Pascal Blais Internet: Protozoa’s VRML Skits The winners of the World Animation Productions. by Dan Hanna, Emre Yilmaz, Celebration are as follows. All prizes Steve Rein. are credited as they are on the offi- • Best Title Sequence: One cial list of winners, however, only Saturday Morning by POP • Best 2-D Computer Generated first place is listed. Animation. Animation by a Professional: The Conference of the Birds by • Grand Prize: T.R.A.N.S.I.T. by Piet • Best Animation Produced for a Zoltan Lehotay, C4/S4C/Varga Kroon. TV Special: Flatworld by Daniel Studios. Greaves. • UNICEF Prize: When Life Departs • Best 2-D Computer Generated by Karsten Kiilerich. • Best Animation Produced for a Animation by an Independent: Daytime TV Series: Angry Plug by Meher Gourjian, Jamie • Special Student Jury Prize: Over Beavers: Born to be Beavers by Waese. the Hill by Amanda Enright. Mitch Schauer, Mary Harrington, Nickelodeon. • Best 3-D CGI Effects by a • Special Jury Prize: Everybody’s Professional: Geri’s Game by Jan Pregnant by Debra Solomon. • Best Animation Produced for Pinkava. Primetime: The Simpsons , “22 • Best Theatrical Feature Film: I Films About Springfield” by Bill • Best 3-D CGI Effects by an Married a Strange Person by Bill Dailey, Josh Weinstein. Independent: Bunkie and Plympton. BooBoo by Terrence Masson. • Best Direct-to-Video Production: • Best Use of Animation as a Special Effect in a Theatrical Feature Film: Contact by Sony Pictures Imageworks.

• Best Use of Animation in a Motion Picture Trailer: Space Jam by Warner Bros. Feature Animation.

• Best TV Commercial: Dagwood Clay by Luis Cook, Aardman Animations.

• Best TV Commercial Campaign: At the World Animation Celebration, the closing night awards ceremony was the one “Animate Your World” by Curious opportunity for filmmakers to be recognized on stage. Photo courtesy of Michelle Pictures. Klein-Häss.

ANIMATION WORLD MAGAZINE March 1998 39 • Best 3-D CGI Character/Creature 15 Minutes: T.R.A.N.S.I.T. by Piet Animation by a Professional: Kroon, Iain Harvey. • Best Animation for Theme Park Anaconda by John Nelson, Sony Ride Simulation: Race for Atlantis Pictures Imageworks. • Best Animation Between 15 and by Rhythm & Hues. 30 Minutes: Survivors by Sheila • Best 3-D CGI Character/Creature Sofian. • Best Director of Animation for a Animation by an Independent: TV Commercial: George Evelyn, The Physics of Cartoons by • Best Performance Animation: (Colossal) Pictures for Coca-Cola Steph Greenberg. We Should Go by Emre and Lev Factory. Yilmaz, Protozoa. • Best Use of Computer Animation • Best Director of Animation for a in a Traditional Film by a • The Jim Henson Award: Best Daytime TV Series: Robert Professional: Mousehunt by Stop-Motion by an Independent: Hughes for Angry Beavers, Rhythm & Hues. Clops by Corky Quakenbush. “Born to be Beavers,” Nickelodeon. • Best Stop-Motion Produced • Best Work by a Student: Unborn Professionally: “Animate Your Baby Blues by Mark Levine. • Best Director of Animation for a World: Bob” by Meredith Primetime Series: Mike Anderson Fierman & Bee Murphy, Cartoon • Best First Work by an for The Simpsons, “Homer’s Network. Independent: Spring by Silke Phobia.” Parzich. • Best Animation Produced for • Best Director of Animation for a Educational Purposes: When Life • Best Animation for Children: The CD-Rom Game: Lorne Lanning Departs by Karsten Kiilerich. Adventures of Sam Digital in the for Oddworld: Abe’s Oddyssey. 21st Century by Adam Shaheen, • Best Animation Under 5 Dorothy Engelman, Steve Angel, • Best Director of Animation for a Minutes: The Ambiguously Gay Cuppa Coffee Animation. Home Video: Andy Knight of Duo, “Safety Tips” by J.J. Walt Disney Television Sedelmaier Productions. • Best Experimental Animation: Animation, for Beauty and the The Dowager’s Feast by Joan Beast: The Enchanted Christmas. • Best Animation Between 5 and Gratz. Animation World SStore http://www.awn.com/awnstore

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

ANIMATION WORLD MAGAZINE March 1998 40 Thinking About the World Animation Celebration ‘98 by Michelle Klein-Häss ell, here I am after a week entire day hearing tech speak, it was films in competition screenings, but of WAC and I’m pretty very handy to get some perspective was driven out by the quality, or Wmuch none the worse for from those who perhaps aren’t as rather lack thereof, I observed. What the wear. Then again, I spent a full technically inclined as myself and clinched my disgust was Shikato, a day at the Internet Pow-Wow on the majority of the presenters. seemingly interminable (It was Monday, took Tuesday completely almost 8 minutes in reality.) series off, went to only a few events on Wednesday, February 18, 1998 of blackout skits featuring some Wednesday and Thursday then The screenings and events I primitive, sub-Atari animation of attended solid screenings between attended ranged from the great to mooses who bump into each other 1 to 9:30 p.m. on Saturday. Some of the so-so. Wednesday brought a in slightly different ways. Perhaps my friends who attended the festi- tribute to Speed Racer (Mach Go the folks who enjoy those home val did a lot more and they had the Go Go!) which featured an episode video shows of people falling down blood-shot eyes and stooped, of the classic 1960s animated series; in slightly different ways would find pooped bodies to prove it. the Dexter’s Laboratory homage it funny...I just found it tedious. One observation comes to “Mach 5;” a peek at the absolutely Thursday concluded for me mind immediately...if WAC ‘97 was hideous 1980s-vintage Speed Racer with two screenings: the 1981 semi- a well-oiled machine, WAC ‘98 was series made by Fred Wolf, and classic adult animated feature Heavy sort of like a car that needs a tune- about half of a newly dubbed Metal that was introduced by its up. Perhaps it was the fact that the episode of the upcoming Speed supervising director Gerald second one happened less than a Racer 2001 series. I have a soft spot Potterton, and a tribute to the wiz- full year after the first, perhaps it for Speed Racer, although it took a ard of dimensional animation, Ray was too few people riding herd on recent marathon on The Cartoon Harryhausen. The former is some- too many events, perhaps it was the Network to remind me exactly why thing I have seen a few times in the Sophomore Curse. I liked the show in the first place. past. The sophomoric humor does- Speaking of The Cartoon Network, n’t really stand up well, but the final vice president of original program- If WAC ‘97 was a well-oiled ming (and confirmed Animation machine,WAC ‘98 was sort of Nerd) Linda Simensky hosted this like a car that needs a tune-up. event. Also on Wednesday, Bill Plympton’s I Married A Strange Monday, February 16, 1998 Person unspooled. Early mentions The Internet Pow-Wow was of the show claimed this was the a splendid event, although I sup- Plympton feature’s “West Coast pre- pose I would have to reply “guilty miere,” but the feature had already as charged” if someone accused me screened at Sundance weeks earli- of bias. After all, it was the day the er...technically Utah is part of the New and Improved Animation West. I Married A Strange Person Nerd’s Paradise was officially has its moments of hilarity, but launched, and it was also a day full unfortunately it simply goes on for of wonderful information I intend far too long and repeats itself a lot. to put into practice on ANP and You get the idea that Strange Person other web sites of which I am in would have made a great short or Ray Harryhausen, who brought puppets from the production of his stop-motion charge. The highlight was a panel featurette, but as a feature it suffers. visual effects, was presented a Lifetime which paired Internet pros with ani- Achievement Award by modern-day mation artists like Christine Panushka Thursday, February 19, 1998 counterpart, Ken Ralston. © Craig and Corky Quakenbush. After an Thursday I took a peek at the Skinner/Celebrity Photo, courtesy of WAC.

ANIMATION WORLD MAGAZINE March 1998 41 sequence, Ta’arna, still is as fresh as animation, when Heavy Metal premiered so whether using clay many years ago. One complaint or latex models or about the Heavy Metal showing: even existing, the sound system in the Pasadena unmodified toys Civic Auditorium is not up to the and dolls, is still a task of playing high-quality multi- vital and thriving channel stereo sound. One hopes art form. that THX or some other profession- al theater sound company would Friday, February step up to the plate next year and 20, 1998 donate a decent stereo system for Friday I use during the festival in the Civic attended two and also in the Gold Theater more events: a Animation legends Joe Barbera, left and William Hanna, right upstairs. screening of the gathered with several of their former colleagues, including The Harryhausen tribute was first episode in the Margaret Loesch, Jean MacCurdy, Lucille Bliss and Iwao wonderful. The master showed clips Japanese original Takamoto. © Craig Skinner/Celebrity Photo, courtesy of WAC. from his work, ranging from his animation video (OAV) series The ed to see, the Corky Mother Goose shorts from just after Peacock King and a salute to Quakenbush/Space Bass presenta- World War II all the way to Clash Of Hanna-Barbera Studios and its tion, got under way. Luckily, I didn’t The Titans. With most of the Golden founders Bill Hanna and Joe miss much beyond that annoying Age animation directors no longer Barbera. The Hanna-Barbera event WAC intro bumper and a few intro- among the living and many of the audience was full of H-B alumni and ductory words. Those who think remaining ones in very poor shape, was a symphony of nostalgia. The Quakenbush’s career started with it was thrilling to see and hear that clips shown were almost exclusive- MAD TV got an eyeful of his earlier Mr. Harryhausen was still very much ly from the “classic” H-B series of the work, plus a good chunk of his alive, well and mentally sharp. late ‘50s through 1966. The MGM MAD TV-related shorts. Interspersed Thanks to the use of projection years were represented by the Tom with the screenings were giveaways video, everyone in the house got a & Jerry short, The Cat Concerto. The of Space Bass-related goodies. chance to see Harryhausen’s amaz- event ended with the presentation Quakenbush is a real talent, and will ingly detailed sketches and original of a WAC Lifetime Achievement probably make an impact on the models from his movies. One hopes Award to Bill Hanna and Joe animation industry to rival fellow that a publisher would approach Barbera. animation iconoclasts like Danny Mr. Harryhausen with an offer to do Next came The Peacock Antonucci, John Kricfalusi and Ralph an “art of Ray Harryhausen” book King...a mess, but a beautiful mess. Bakshi. in the near future. Harryhausen was We were shown the first episode of presented with a WAC Lifetime this anime OAV effort: a tale which It was thrilling to see and hear Achievement award for his vast cat- mixes Japanese and Tibetan that Mr. Harryhausen was still Buddhist mysticism, evil neo-Nazis very much alive, well and men- from Germany on the loose, and tally sharp. The screenings and events I the time-honored story of the young attended ranged from the hero and his elderly mentor into a As soon as the Space Bass great to the so-so. chaotic stew. I’d probably want to show ended, the big Cartoon seek out other works by the creators Network event in the main Civic alog of work. of The Peacock King, but as far as Auditorium venue beckoned. Plans One thing that rankled, the rest of the episodes of this OAV for a quick jaunt around the ASIFA however, was the characterization series, I don’t think I’d be too inter- Animation Opportunities Expo were in some of the festival materials of ested. dashed as I had to choose between dimensional animation as an “archa- the one screening I really, really was ic” form of animation. Yes, 3-D com- Saturday, February 21, 1998 looking forward to all through the puter animation is thriving and the Saturday, the last day of week and the Expo. By the time the means of making 3-D computer ani- WAC, was a real busy one for me. I Cartoon Network show would be mation are becoming more and got to the festival about ten min- over, the Expo would be closed. more accessible, but dimensional utes after the first screening I want- However, I learned from friends

ANIMATION WORLD MAGAZINE March 1998 42 who were attending that Expo ‘98 were not shown. All Submarine clips Beavis and Butt-Head, South Park, was significantly smaller than the were as I remembered them from and Daria? Why did the plug-ugly previous year’s event, and that most several viewings. Also The Beatles Beauty And The Beast: The of the studios were not being very animated series was barely touched Enchanted Christmas win anything? aggressive in their hiring. upon and nothing from that series The mind boggles. The Cartoon Network event was shown. Most of the clips were was the worthy decision. This show from Coates’ output as a producer Pixar got an award for Geri’s was also hosted by Cartoon and were his latter works like The Network’s Linda Simensky, and fea- Snowman and When The Wind Game in advance of its proba- tured a lot of material from the Blows to his most recent short, the ble win at the Oscars... vaults of the first cable network Elvis-as-cat opus Famous Fred. devoted entirely to cartoons. It Coates was awarded the third of included a hilarious Dexter’s the three “Lifetime Achievement At Week’s End... Laboratory short, “Rude Remover” Awards” given at the festival. Summing up? WAC has a lot which like the legendary Ren & After the Coates salute, we of work to do in tightening its focus Stimpy episode “Man’s Best Friend,” were ushered out only to have to and getting a better grip on the will never be shown on television. get back into line for the penulti- technical and organizational prob- Also in the “forbidden” category mate event of the evening: the lems it faced this year. Perhaps WAC were a couple of WWII-vintage clas- World Animation Competition should be a biennial, along the lines sic shorts, Tex Avery’s Blitz Wolf awards. The big winner of the night of Ottawa and programmed for the which was his first cartoon for was Piet Kroon and his short years that Ottawa doesn’t happen. MGM, and Friz Freleng’s 1943 T.R.A.N.S.I.T. This gorgeous evoca- WAC should also consider pushing Looney Tune Daffy The Commando. tion of the Art Deco and Streamline the next Celebration to a Summer It was good to see these cartoons Modern art styles of the 1920s and date. Apparently, a lot of the art stu- on the big screen, and only Coal 1930s tells a tale of skullduggery dent population could not get this Black and De Sebben Dwarves and sex amongst the Beautiful non-vacation time off. A Summer would have been a better choice People of Europe. It won both the date would also give WAC the among the “banned 12” Warner “Best Animated Work Longer Than advantage of having its pick of the Bros. cartoons. 5 Minutes But Shorter Than 15 best student works from schools like However, the event did not Minutes” category and the Grand Cal Arts, UCLA School of Animation totally revolve around forbidden Prize of the show. Bill Plympton’s I and Art Center College of Design. If delights. We got to see the premiere Married A Strange Person won the NATE isn’t going to come back to of another Dexter’s Laboratory car- coveted “Best Animated Feature” WAC next year, why not call on the toon, “Dee-Dee and The Man,” a award, beating out the somewhat organizers of AniFX and have them bunch of Cartoon Network more deserving (and Annie-award- exhibit? bumpers which as you know are ed) Cats Don’t Dance. Corky I wish I could call WAC a suc- often funnier than the program- Quakenbush’s Clops short for MAD cess. I cannot say it was a failure ming, and the unveiling of a work TV won for best dimensional ani- because a lot of fun events hap- in progress, a pencil test of one of mation, and got some of the loud- pened and I took home some great Spümco’s new Ranger Smith shorts. est applause and cheers from the memories. But it could be a hell of The latter was great; a classic John audience. Pixar got an award for a lot better. Mr. Thoren and Ms. K. moment, full of over-the-top ener- Geri’s Game in advance of its prob- Sullivan, the ball is in your court. gy and theatrics. This and another able win at the Oscars, and Steph Ranger Smith short will be seen Greenberg received the award for sometime this year on the Cartoon “Best 3D CGI Character/Creative Michelle Klein-Häss is a San Network. Hang on to your Ranger Animation by Independent” with his Fernando Valley-based writer, hat! ‘Net-influenced short, The Physics Associate Editor of Toon After the Cartoon Network of Cartoons. Magazine and Editor/Webkeeper event, I got a little time to catch my But the disappointments of Animation Nerd’s Paradise. breath and grab a quick bite before continued...Why did The Simpsons, the John Coates event started. The a show long past its prime and Note: Readers may contact any Coates salute was nice, although hanging on strictly due to goodwill Animation World Magazine con- the promised “clips from Yellow and the King Of The Hill’s audience, tributor by sending an email to Submarine never seen in America” prevail not only over King but also [email protected].

ANIMATION WORLD MAGAZINE March 1998 43 The New Animation Technology Exposition and Conference Viewed and Reviewed by Ben Fried nce again the World Animation Celebration has Ocome and gone, trans- forming the Pasadena Civic center into an extremely happy (but not “The Happiest”) place on Earth. For many Los Angeles-based industry professionals the Celebration is like an animator’s New Years, a time to reflect and take stock of progress and change, as well as set resolu- tions and goals for the next Celebration. One indispensable ele- ment of the Celebration is the New Animation Technology Conference and Exposition, a selection of work- shops, seminars and presentations designed to help the industry pro- fessional keep abreast of this rapid- Pixar technology chief and executive vice president Ed Catmull gave an early morning ly evolving field. keynote address at the New Animation Technology Expo. Photo courtesy of Pixar. this information. because they gave a broader The exposition I enjoyed overview of a topic. Jill Smolin, I generally preferred product presentations on the exposi- mostly for the personalized one-on- event organizer and also the train- tion floor to their counterpart one demonstrations provided, as ing and artistic development man- conference class... well as the freedom to hop from ager at Cinesite, explained, “The presentation to presentation in rel- whole focus [of the courses] was to Like many traditional anima- ative anonymity. I could ask the establish the foundations.” She tion artists, I have felt the pinch of questions I wanted without risking wanted to “get away from the ‘learn encroaching technology, and have the group contempt of a classroom a package in an hour and get a been simultaneously intimidated of more advanced users, as well as job’” mentality of many events. “The and awe-inspired by the expanding grill demonstrators on specific items fundamentals are imperative,” she visual parameters in this new era of of interest without delaying any par- said. digital animation. I found both the ticular schedule of topics. For these During the conference class- exposition and the conference sem- reasons I generally preferred prod- es, I also learned from the mostly inars to be helpful in demystifying uct presentations on the Exposition intelligent questions posed by a rel- new advances in digital animation, floor to their counterpart atively well informed audience. as well as informative on a variety of Conference class as many compa- However, what I really enjoyed business topics. However, each had nies did both. about the classes were the more their own strengths in presenting Conversely, I benefited from conceptual business topics covered, the conference class presentations where nothing was being sold or

ANIMATION WORLD MAGAZINE March 1998 44 computer techies whose presenta- tions were real snoozers. I particu- larly enjoyed the speakers who used quirky, whimsical anecdotes to underscore their point or whose bubbling enthusiasm and excite- ment for their topic became conta- gious.

The only drawback ... was the excess of different events simultaneously competing with each other.

The only drawback to the New Animation Technology Conference and Exposition was the More than 60 companies exhibited at the New Animation Technology Expo, which will move to Silicon Valley in 1999. Photo courtesy of Michelle Klein-Häss. excess of different events simulta- neously competing with each other. promoted, merely taught. Many of the quality of the conference class- If a presentation didn’t capture a these business classes covered a es depended heavily upon the cho- person’s interest or teach them any- scope much broader than the dig- sen speakers. I preferred the pro- thing within the first ten minutes ital animation realm and both fessors and similarly experienced they left because they were proba- enlightened and inspired. Finally, speakers over the programmers and bly missing something else more enlightening. On the last three days there were six Conference classes simultaneously competing for each AAnimationnimation hour and a half time slot, not too mention the Exposition floor. If you orldorld tortoree go next year choose wisely, plan WW SS ahead, and if at all possible wake http://www.awn.com/awnstore up early; coffee is still a legal stimu- lant in this country, so use it.

Ben Fried is a Los Angeles- based freelance graphic design- er and animator who works for many of the major television animation studios. He also cre- Classic Limited Editions Limited Editions signed by ates independent animated your favorite athletes. films and has supervised ASIFA- Hollywood’s life drawing work- Available on-line shops for over two years. exclusively at the ANIMATION WORLD Note: Readers may contact any STORE Animation World Magazine con- tributor by sending an email to Original Animation Art [email protected].

ANIMATION WORLD MAGAZINE March 1998 45 World Summit for Feature Films and Visual Effects by Mark Farquhar ver the course of two days ple are thinking. If you have been to and six panel discussions, a good L.A. SIGGRAPH panel you Osome of the most influential have a pretty good idea what the people in live-action effects and ani- summit was like. The scope of the mation shared their views on where discussions were fairly general and they think the animation industry is the usual kinds of concerns were today and what its direction will expressed, such as the rising costs of take in the future. These panels production, particularly the increase marked the first meeting of the in artist salaries over the past few World Summit for Feature Films and years, and the consequences of the Panelists at the Summit included, front Visual Effects. The summit is a new increased saturation of the market- row, left to right: Ron Thornton, Eric annual event being offered as part place of animation and effects-laden Armstrong,Terrence Masson, Sylvia Wong, Kelly Asbury, and back row: Mark of the World Animation Celebration. movies and entertainment. Other Gustafson, Kevin Kutchaver, Kevin O’Neill Its purpose is to provide a forum for questions posed were, ‘Can the and Henry Selick. Photo by and © Craig animation professionals to reflect on audience base for animated features Skinner/Celebrity Photo, courtesy of and consider the effects of tech- be expanded into a wider range of WAC. nology and market changes on the genres?’ and ‘What effect will com- judged less on their technical abili- animation industry. puter technology have on our ty as the tools become easier to use The conference was able to industry?’ and more powerful. There was also attract an extraordinary group of the feeling that audiences would people as panel members. The pan- support the quality projects even if els included the heads of several The quality of an artist will be there is an over-saturation of prod- studios, independent producers and judged less on their technical uct. Everyone agreed, projects with directors, and an impressive list of ability as the tools become eas- a good story will always do well. effects supervisors. Every major ani- ier to use and more powerful. This conference was a great mation studio and production com- opportunity to gain some insight pany was represented on the pan- into what is going on in the ani- els. Some of the more interest- mation community. There was def- ing ideas during the conference initely a positive buzz around the Every major animation studio concerned the role of people and Animation Summit. The first World productions in the coming years. and production company was Summit for Feature Films and Visual The idea that with more competi- Effects had plenty of moments to represented on the panels. tion and greater availability of com- inspire. puting technology that the best pro- It was fitting that they chose jects and the most talented artists Mark Farquhar is a CG character one of the pioneering entrepre- will continue to thrive. It is not the animator currently working on neurs of computer animation, tool that is important. It is the artist the Iron Giant project at Warner Robert Abel, to be the using the tool Bros. Feature Animation. His cred- first keynote speaker for that con- its include Batman Forever, the summit. Having tributes to the Marvin the Martian, Mars Attacks, someone like Robert quality of the Jonny Quest, and commercial Abel, who has played work. With work. He is also an instructor in such a key role in the increasingly the Warner Bros. training pro- early development of cheaper and gram and continuing education the computer animation more accessi- courses at Glendale Community industry, give the ble equip- College. address was one of the ment, compe- conference’s high points. Robert Abel’s keynote speech was tition among The value of the confer- one of the highlights of the World artists is going Note: Readers may contact any ence was getting a Summit for Feature Films and to increase. Animation World Magazine con- Visual Effects. Photo by and © Craig tributor by sending an email to sense about what some Skinner/Celebrity Photo, courtesy The quality of of these influential peo- of WAC. an artist will be [email protected].

ANIMATION WORLD MAGAZINE March 1998 46 Tuning in to the IBCTA

by Sherry Niedelman s I, a hopeful creator/future Central’s taste in wit and humor was places animated programs on a late filmmaker for non-violent revealed when they showed Alison night track in a non-traditional prime Amedia, planned my trip to Snowden and David Fine’s hysteri- time slot, whereas Fox has animat- the second year of the World cal and eccentric short, Bob’s ed shows starting at 8:00 p.m. Animation Celebration, there were Birthday. When Bob & Margaret, its There was some disagree- a variety of topics at this year’s spinoff series, hits the air it will give ment among panelists on the future International Business Conference competitors a wake-up call. Klasky- of prime time in regards to the of Television Animation (IBCTA) that Csupo’s new The Wild Thornberrys extreme political correctness of our caught my eye. Abuzz with energy, looks like it will cross over from kids times. Some felt that a tricky button a standing room only crowd of peo- to mainstream, and hopefully the is being pushed as everyone busts ple from as far as Puerto Rico, story lines will emerge to be as excit- out of social norms. However, I Portugal, Canada, Italy and Brazil, ing as the detailed visuals. agree with David Pritchard, presi- hushed as the IBCTA kicked off its Prime time content is geared dent & CEO of Film Roman, who, in two-day event with a screening of for those of us who grew up mes- reference to MTV’s Deathmatch., prime time animation. The first merized by Saturday morning car- asked, “Why tune in to someone panel then tackled the question, toons, opening entirely new mar- getting killed each week?” “Why is Animation Suddenly kets and distribution channels for Working in Prime Time?” the up-and-coming creator to pur- Pushing the boundaries and sue. The emphasis is on comedy creating fresh comedy is a dan- Prime Time Animation and drama that is visually advanced, gerous thing that hinges on a Leading the panel screen- striking and often crude and shock- hotbed of first amendment ings was MTV’s Celebrity ing; which offers plenty of room for issues. Deathmatch, a clay-animated show the unbounded artist to create an with a rather violent theme, target- impact. David Simon, the co-head Overall, the panel agreed ing 18-24 year-olds. Comedy of DreamWorks Television that formulated ideas are foul, and Animation, stated that anyone seriously interested in pitch- grown-ups want more ing a concept must know the devel- of a challenge to inspire opment process. A pitch must have and stimulate their a concept that stands out, strong minds versus Saturday characters and good writing. If the morning’s simple physi- executives laugh during a pitch, it is cal gags. This is where a good sign! the telling of a good story appeals to a wider, Finding Your Niche more mature viewer. In the panel on “Finding Another interesting Your Niche: Creatively Getting Your point that was brought Show On the Air,” there was a up is that ‘prime time’ is diverse blend of humor presented becoming different from Mad TV, Blues Clues, Pepper The IBCTA panel on “Finding a Niche.” Front row, left- places on the clock Ann, Tales from the Crypt, and right: moderator Fred Seibert, panelists Bill Kopp, Sue Rose, and back row: Corky Quakenbush, Brown Johnson depending on the chan- Space Ghost Coast to Coast. and Mike Lazzo. Photo by and © Craig nel. For instance, HBO Mike Lazzo, the visionary Skinner/Celebrity Photo, courtesy of WAC.

ANIMATION WORLD MAGAZINE March 1998 47 flair, opening with the fact that Producer Gordon Hunt of Hanna- Comedy Central is “willing to probe Barbera made a point, “Social where everyone else is afraid to go.” responsibility sounds forbidding. His manner kept the room going as Your package should be wrapped he wowed and wooed about their in humor. Don’t ignore that in social new hit, South Park. He said that responsibility or you won’t get any Comedy Central is willing to go the response from kids.” Cassandra distance with a humor brand for Schafhausen of CINAR Films said, the 18-49 male/female split, which “We want kids to learn to be better makes up 75% of their audience. citizens out in the world, with more Herzog went on to a Q&A and control over their lives and their feel- defended Comedy Central’s ings, and to feel good about them- approach to promoting South Park. selves. What we look for is an effort- They do not run commercials dur- less frame of reference.” ing the day and run the program- When Cartoon Network ming at the responsibly late hour of asked children what they liked in a 10:00 p.m. “If your kids are watch- cartoon, the focus groups said that Doug Herzog of Comedy Central deliv- ing South Park at 10:00 p.m. at they like to relate to the characters ered a keynote address. Photo by and © night, where are you?” he said. and learn new facts, see reflections Craig Skinner/Celebrity Photo, courtesy Pushing the boundaries and creat- of justice in heroes and the heroes of WAC. ing fresh comedy is a dangerous in themselves. Perhaps children will behind Cartoon Network’s Space thing that hinges on a hotbed of end up dictating their own morali- Ghost Coast to Coast talk show, first amendment issues. ty. believes enthusiasm, passion, and A few conference-goers an experimental ‘try this’ attitude Social Responsibility complained about how the pan- gets things done. Space Ghost ‘s Dialogue was quite heated elists did not cover the promised crew had to experiment in order to among panelists and attendees set- topics but rather used the forum to learn how to cheaply create the ting out to define “social responsi- talk about themselves. There was- outrageous live-action/animation bility” in an FCC-mandated climate, n’t much in the way of receptions show that features interviews in in the panel “Can Social for socializing. However, the clos- outer space. Sue Rose, creator of Responsibility Lead to Success on ing reception on Friday night was Disney’s Pepper Ann, described how Television?” The FCC qualification intimate and pleasant, though a bit she made the show she wanted to states that a show has a board-cer- cold due to El Niño’s rain. I am quite make. As she said, “It’s about time tified educational consultant, which satisfied with this year’s IBCTA, and girls got the show they deserve.” is at times skirted around and not feel there was a well-rounded menu Today 40% of Pepper Ann’s audi- necessarily de facto. Nickelodeon, of topics that gave dimension to the ence is made up of boys, which Cartoon Network and all other animation industry. questions that old belief that girls cable stations do not have to com- will watch boys shows but not vice ply with the FCC mandate. On all Sherry Niedelman is a Los versa. of the stations, what is considered Angeles-based independent artist, educational has become rather sub- writer and educator, who pro- motes non-violence in media “It’s about time girls got the jective in terms of actual program- through affiliation with the show they deserve.” - Sue ming. Hopefully, good program- Violence Prevention Coalition of Rose, creator of Disney’s ming is going to have social respon- Greater Los Angeles County. Pepper Ann. sibility baked into it. There was disagreement on this topic among panelists who Keynote noted how kids want to be enter- Note: Readers may contact any Doug Herzog of Comedy tained at home and learn at school. Animation World Magazine con- Central, and previously of MTV, gave The difference of opinion appears tributor by sending an email to the keynote address with quippy to be in the hook of the medium. [email protected].

ANIMATION WORLD MAGAZINE March 1998 48 Toy Fair: A Flood of Animated Toys by Joseph Szadkowski t this year's Toy Fair, compa- white face, red lips and a hint of nies offered more products eye shadow. (MSRP $20.99). Abased on animated proper- Also from Disney will be A ties than South Park's Kenny has Bug’s Life scheduled for holiday lives. Over 40,000 attendees release. Developed with Pixar stopped by the Big Apple to get a Animation Studios (Toy Story) this peak at approximately 5,000 new animated feature follows a misfit toys. Here is a rundown of some of young ant named Flik as he tries to the toon-related merchandise com- save his colony from a gang of ing consumers’ way this year. grasshoppers. Mattel unveiled a deluxe Flik that comes to life with Combining Toy Story with sound and motion (MSRP $19.99) Rambo, Hasbro's Small Soldiers and the large playset where chil- figurine sets (MSRP $9.99) will dren can play out the movie’s final bring the action from the battle scene (MSRP $31.99). Also in movie to life. the Bug’s Life line are the micro play- sets (MSRP $9.99) featuring three scenes from the movie and Micro Features Battle for Attention Figure Packs (MSRP $3.99) with The Super Singing Tommy doll will sing Quest for Camelot is Warner tunes from The Rugrats Movie and tell bug-sized figurines. A line of unique Bros. first full-length animated fea- stories. © Nickelodeon. learning toy based on A Bug’s Life ture film, scheduled for release July Also in 1998 look for is also coming from Uncle Milton 1, 1998. It tells the story of a strong- Disney's feature Mulan, the story of Industries, Inc. Eight new sci- willed teenager, Kayley, who lived a Chinese girl who dons a boy’s ence/nature products are being pro- in England over 1,000 years ago. clothing in order to join the army, duced including live insect habitats Toys from Hasbro to support this film saving her elderly father from hav- and adventure toys. include: the Dream Seeker Kayley, ing to serve. Mulan is expected in dressed in a tunic and carrying her theaters this July and in April, Mattel Arthur and D.W., aardvark sib- father's shield (MSRP $15.99), and will be releasing a line of toys includ- lings, were probably the most exciting, yet eerie, toys of this Kayley's love interest, Brave Knight ing the 11-1/2'' Mulan doll attired year’s fair. Garrett (MSRP $15.99) who, dressed in Chinese dress (MSRP $10.99) and in ceremonial garb, is ready to aid the Secret Hero Mulan doll (MSRP his lady in her quest to save $15.99), who will come dressed in Small Soldiers is Camelot. Plush toys include the talk- a village outfit that when removed DreamWorks’ computer-animated ing Devon and Cornwall (MSRP reveals her military fatigues. A film for summer release that features $19.99), the mismatched two-head- unique Mulan doll will be the toy soldiers inadvertently implanted ed dragon that recites some of the Matchmaker Magic. Apply warm with computer chips. These ani- films more memorable dialogue. water to Mulan's face and it will mated toys then stage a battle on Camelot will be available on shelves miraculously transform her into a their owner's street pitting the in April. Chinese princess complete with Commando Elite against the

ANIMATION WORLD MAGAZINE March 1998 49 ing eating, sleeping, tickling, story movie as well as tell stories. (MSRP telling, smelling and hugging. Real $39.99). Look for these dolls, as well Live Babe comes with the three as playsets, vehicles and more to singing mice that gained certain release in the fall. notoriety in the first film. Real Live Babe (MSRP $40.00) will be on the The Power of Preschool shelves in fall 1998. Nickelodeon is also banking Rugrats, the No. 1 kids show on their top-rated preschool cartoon on television, has an animated Blue's Clues to be a marketing movie scheduled for Thanksgiving bonanza. Tyco Preschool, a division release bringing the popular char- of Mattel has been granted the mas- acters to the big screen. Paramount ter toy license and promises a com- Pictures and Nickelodeon have plete line by 1999. Look for every- entreated the award-winning Klasky thing from Colorforms to CD-ROM Csupo animation studio to create a games this year. TV play-along kit is among the new Blue’s Clues toys available from Nickelodeon. © whole new story for the little, well, One of the hottest animat- Nickelodeon. Rugrats. The movie is sure to be a hit ed properties today is the PBS show Gorgonites. with celebrity voices by Whoopie Arthur. A best-selling children's book Combining Toy Story with Goldberg, David Spade, Tim Curry for over 20 years, the Arthur televi- Rambo, Hasbro's Small Soldiers fig- and Busta Rhymes, along with a sion show boasts over 11 million urine sets (MSRP $9.99) will bring soundtrack packed with musical viewers aged 2 to 11. Arthur and the action from the movie to life. 6 artists such as Lenny Kravitz, Lisa D.W., aardvark siblings, were prob- 1/2'' figures are loaded with battle Loeb, Devo, Iggy Pop and the B- ably the most exciting, yet eerie, features and include all of the key 52s. toys of this year’s fair (MSRP $109.95 characters from the movie, such as each). Microsoft has taken the con- the Gorgonite leader Archer and How do you hide a monster as cept of interactive play to the nth the Commando Elite head Chip tall as New York City’s Chrysler degree with these two characters Hazard. The entire line will include Building? Ask Sony. that have vocabularies of over 40 new toys in all including vehi- 4,000 words, and through sensors cles, playsets, micro figures and role Nickelodeon has planned a on their ears, hands, feet and play items. multi-category merchandising pro- watches, play 12 games and activ- Babe, the award-winning gram for the movie and hot holiday ities, say more than 100 phrases film that combined live-action and gifts for fans will and questions and animation with farm animals, is include toys, games, help children tell time. scheduled to release its sequel, apparel, gifts and All without any com- Babe: Pig in the City for even home furnish- puter assistance! Thanksgiving 1998. The Universal ings. Mattel will Add in the ActiMates Studios property is enjoying exten- release four movie PC Pack (MSRP sive licensing including a line of the featured character $54.95) and Arthur rubbery Koosh-haired toys by dolls: ‘To The Rescue and/or D.W. can play Tommy Pickles,’ ZOOB, an interlocking construc- along with three OddzOn and the Equity Toys inter- tion toy from Primordial, has active Real Live Babe. This pig may ‘Going Bananas been animated in ZOOB Toons, scheduled software not work with the computer, but Chuckie Finster,’ a stop-motion video which will releases (MSRP be available to consumers in the she does have her own internal ‘Roller Skating fall. © Primordial. $34.95). The final body clock and computerized chip. Angelica Pickles’ and peripheral is the Once she is activated, she knows ‘Together Forever Phil and Lil ActiMates TV Pack (MSRP $54.95). the time of day and interacts with DeVille’ (MSRP $19.99). Also from This add-on works with the VCR's the child accordingly. Real Live Babe Mattel will be the 15'' Super Singing radio frequency transmitter to send has eight basic play patterns includ- Tommy that will sing tunes from the a specially encoded signal and ani-

ANIMATION WORLD MAGAZINE March 1998 50 mation technology to the toys. This by Mattel brings the funny little bear far the most exclusive and elusive allows the characters to interact to life. The CD-ROM games includ- property at this year's Toy Fair. The with the PBS program broadcasts. ed with the plush doll bring the green monster has a major film When your children sit down to other characters that inhabit 100 release in May and cartoon series watch this week’s episode, Arthur Acre Wood into play through fun in the fall but Sony kept the beast and D.W. will sing along with them, learning activities. This has to be the under wraps. Trendmasters, Inc. is laughing and commenting on the most interesting and cutest toy, seen the primary toy licenser and promis- show that they are watching at the show. es a load of plush toys, playsets and together. If this is not enough, action figures befitting this gargan- Arthur and D.W. will also be able to Where Is The Action?! tuan. interact with the official Arthur Web How do you hide a monster From the animated New site. as tall as New York City’s Chrysler Batman Adventures are new basic Disney's My Interactive Pooh Building? Ask Sony. Godzilla was by (MSRP $6.99) and deluxe (MSRP $6.99) figures and the new Crime Solver Dynamic Decoder Gear cour- tesy of Hasbro. Also new is an updated Animation Batmobile CAREERCAREER (MSRP $21.99) with a hidden blaster under the hood and a special cus- tom decal kit. Collectors will also CONNECTIONSCONNECTIONS want the new 12'' animated figures (MSRP $25.99) featuring Batman, Animation World Network’s Nightwing and Joker all with spe- recruiting section offers free postings cial accessories. Marvel Comics' Silver Surfer is and access to artist resumes flying high again thanks to a pop- as well as recruitment advertisements ular cartoon series on the Fox Kids Network. Toy Biz's response was “ immediate and swift with a com- The recruiting site reaches plete line of action figures. The thousands of artists from all favorites are a tie between 14'' Electronic Light and Sound Galactus disciplines, quickly and (MSRP $12.99) and the 5'' Cosmic efficientlly AWN certainlly llives Power Blasters (MSRP $5.99) that shoot light-up projectiles. up to its name World-Wide” All in all, it’s a great time to be --Machi Tantillllo a media-consuming kid. Director of MTV Animation Joseph Szadkowski writes on vari- ous aspects of popular culture and is a columnist for The - RECRUIT TOP TALENT Washington Times. AT A FRACTION OF THE COST OF PRINT ADVERTISING Note: Readers may contact any Animation World Magazine con- www.awn.com/career tributor by sending an email to [email protected].

ANIMATION WORLD MAGAZINE March 1998 51 TT.R.A.N.S.I.T.R.A.N.S.I.T.:.: A Delicious Sense of Understanding and Journey film review by Emru Townsend

T.R.A.N.S.I.T. by Piet Kroon.All images ou know how that Hollywood second viewing will probably make herein are courtesy of Iain Harvey and © self-referential game goes? The things clearer, as you pick up on the 1997 Illuminated Film Company/Picture Start. Yone where you describe more subtle clues you missed the something by comparing it to some- first time. thing else, like, “It’s Star Trek crossed with My Best Friend’s Wedding,” or T.R.A.N.S.I.T. is a 1920s Æon “It’s Sailor Moon meets The Spice Flux crossed with an episode of Girls?” (Say, that’s not bad ... better Seinfeld and mixed with Anijam. call my agent.) Well, I can do the same thing to describe T.R.A.N.S.I.T. Finally, like a recent episode Ready? Here goes: T.R.A.N.S.I.T. is a of Seinfeld, the entire story is told 1920s Æon Flux crossed with an backwards. Sort of. The segments episode of Seinfeld and mixed with are shown in reversed chronologi- Anijam. cal order before jumping back to Wait! Don’t leave! Let me the beginning/ending, leaving us explain. to watch the effects before learning the causes. Understanding the Comparison T.R.A.N.S.I.T., you see, is the Blinding Art story of a woman, Emmy, tragical- From an analytical view- ly intertwined with two men, Oscar point, what makes T.R.A.N.S.I.T. so and Felix, in the late 1920s. The fascinating is that these three unusu- story takes place in seven locations al elements aren’t just there for (Venice, the Orient Express, show. The film needs them in order Amsterdam, Cairo, Baden Baden, to work. St. Tropez, and on board an ocean First, the art styles. Though liner to the Americas), which are sig- the film was written and directed naled by stickers on a suitcase by Piet Kroon, director of DaDA, pro- which follows the characters duction designer Gill Bradley actu- throughout this trans-oceanic tale. ally created the designs for each Each location has its own self-con- segment based on art styles popu- tained story and definitive art style, lar around the time of T.R.A.N.S.I.T.’s animated by a different artist, much setting. The result: seven examples like Anijam and other collaborative of individual artistic sensibility uni- films. Each segment is bracketed by fied by the vision of one person. As close-ups of the stickers on the suit- well as a different location, each case. segment also uses a different palette Much like the first six Æon and evokes a different mood, pro- Flux shorts, the 12-minute film is viding a kind of visual barometer of completely without dialogue. The the emotional ups and downs of story is told entirely with visuals and young Emmy’s life. What’s amazing audio, such that you have a good is that despite the different styles idea as to what’s going on — but a and directors, a casual viewer could

ANIMATION WORLD MAGAZINE March 1998 52 look at any two sequences and and actively think about the events never doubt that they’re from the on the screen, rather than have same film. everything spelled out. Revelation and understanding are earned as the mysteries of the past are peeled Revelation and understanding away. It’s a feast for the mind as well are earned as the mysteries of as the eyes and ears. the past are peeled away. The Journey of T.R.A.N.S.I.T. All of this leads to my disap- A Unique Structure pointment with the film’s end, Next, the reversed story- which I won’t reveal here. First, we telling. Whereas Seinfeld used this see the seemingly immortal suitcase device for comedy, T.R.A.N.S.I.T. meet its demise. Second and more uses it for tragedy. In the first (last?) importantly, subtitles come up to tell four segments, we see three lives us a little about Emmy and Felix, being destroyed; in the last (first?) and what happened to them. After three, we see the events that led up brilliantly unfolding the events over to it all, and experience a certain ten minutes without titles or dia- sense of inevitability. We want to logue, to have this final morsel warn Emmy of what her actions will revealed so blatantly is just out of bring. As more is revealed, we also place. It doesn’t exactly wrap things want to warn Felix, then Oscar. up, but it detracts from that ingre- However, like some mythical dient we had savored throughout prophet, we’ve seen the future and the rest of the film; that delicious all we can do is observe. sense of gradual, though madden- Reversed storytelling is a ingly incomplete understanding. wonderful device when it works, Ultimately, the real pleasure of and it works well in T.R.A.N.S.I.T: T.R.A.N.S.I.T. is not in the destina- seemingly straightforward events tion, the film’s ending, but rather in are all the more significant because the journey we took to get there. we know the consequences of the characters’ actions. T.R.A.N.S.I.T. A second viewing will probably combines many of my favorite make things clearer, as you pick aspects of Peter Chung’s Æon Flux, up on the more subtle clues not the least of which is stellar, non- you missed the first time. linear, dialogue-free narrative. It’s rel- atively easy to find films that effec- tively tell stories without dialogue. The on-line version of this article What’s harder is finding films that includes a Quicktime movie of tell complicated, emotionally laden T.R.A.N.S.I.T. directed by Piet Kroon. Emru Townsend is a freelance films without dialogue. Narrow http://www.awn.com/mag/issue2. writer who won’t stop talking those down to the few that use 12/2.12pages/2.12townsendtran- about cinema, animation and unconventional structure, and sit.html computers. He is also the founder you’re left with a scant handful. and former editor of FPS, a maga- T.R.A.N.S.I.T. is one of them. Visit the T.R.A.N.S.I.T. web site on- zine about animation. T.R.A.N.S.I.T. also features an line at http://www.awn.com/tran- evocative score which wraps sit Note: Readers may contact any around the viewer and draws him Animation World Magazine con- into the story; a story which requires tributor by sending an email to the viewer to pay attention to detail [email protected].

ANIMATION WORLD MAGAZINE March 1998 53 The Enchanted World of Rankin/Bass by Rick Goldschmidt book review by Scott Maiko

hat the publishing indus- Rankin/Bass’ history but about why the-scenes info, anecdotes, and try needs is a some guy named Rick Goldschmidt photos. While the animation was WBurgermeister likes Rankin/Bass. done in Japan, we still want to Meisterburger-type executive to pass know the production details. Who an edict whereby no over-zealous Aside from the poor writing and made the puppets and how were fans may write books about the sub- lengthy synopses of each of Arthur they made? How big were the sets? jects on which they obsess. Either Rankin, Jr. and Jules Bass’ larger pro- How long did it take to film an aver- that or we need Mad Monster ductions (Do we really need to age Rankin/Bass special? While Party’s evil scientist Baron Von know that, “[The character named] Goldschmidt concedes that fans of Frankenstein to clone the very com- Blarney uses many Irish sayings like, the Animagic (R/B’s trademark for petent Jerry Beck and let their stop-motion him (them?) write all such process) productions are books. most fascinated with the stop-motion figures, his Case in point: the new only remarks about Rankin/Bass (R/B) book. them are contained in Fan-turned-writer Rick two succinct sentences Goldschmidt might have (eighteen words!) noting been more accurate in that the puppets are in titling it, “The Enchanted Rankin and Bass’ private World of collections. End of story! Rankin/Bass/Goldschmidt.” What of that reasonably Goldschmidt admits that he well-known account focused the book toward that many of the pup- the fans. “Rankin and Bass pets were in fact thrown deserve a book and a larg- out in the mid-1980’s? er place in animation his- Why is a book about the tory,” he stated. His love is production company fairly clear by the illustra- whose hallmark is a tions peppered throughout stop-motion reindeer the book, like the Jack Davis with a light bulb nose so drawing of Rick and his quick to brush off this wife, the photos of him entire subject? with his collection of Rankin/Bass memorabilia, Speaking of Rudolph, and his awkward writing what happened to her? style which often falls into ‘Her’ being Billie Mae the first person (such as Richards, the woman when he notes which of the ani- ‘Don’t chew your cabbage twice’ who voiced the red-nosed reindeer mation team’s productions are and ‘Begorrah,’” in The in the original special and two among his favorites), that this is a Leprechaun’s Christmas Gold ?), the sequels, not to mention other char- book not so much about book is amazingly short on behind- acters in numerous other R/B pro-

ANIMATION WORLD MAGAZINE March 1998 54 ductions. Where is she today? Her unlicensed, fan-compiled vintage Goldschmidt for including a few only “appearance” in the book, commercial collections) is a disap- interesting tidbits, including photos aside from her name listed in the pointment. of the numerous recent unlicensed credits of various specials, is in a resin kits of the more popular char- small photo, showing her leaning acters and a side bar and two stills on a piano with the rest of the The book is illustration-heavy from MAD TV’s hilariously violent Rudolph cast. Is she even still alive? with numerous stills from the and profane Rudolph parodies How hard could it have been to productions. [Ragin’ Rudolph by Corky include some info on or quotes Quakenbush]. Unfortunately, from this woman, who most cer- despite this, the book still comes up tainly would have a few interesting On the plus side, the book is illus- short. anecdotes to share? Instead, tration-heavy with numerous stills Goldschmidt manages to contact from the productions. It covers the Still, points must be given to one-time R/B voice actors Morey aforementioned Animagic films, Goldschmidt for including a Amsterdam (who offers us the fas- their numerous cel-animated spe- few interesting tidbits... cinating insight, “It was a pleasure to cials and series, and even their less- work on Rudolph’s Shiny New er known live-action works. Plus, Year...”) and Art Carney (“It was a yes, there is pre-production artwork Perhaps King Moonracer, the benef- pleasure working on something a lot of which was executed by fre- icent leonine monarch of the Island that children can quent R/B collaborator and MAD of Misfit Toys will bend the rules and enjoy...Rankin/Bass should be artist Paul Coker, Jr., images of old give this unfortunate book a home proud of what they have been able and new Rankin-Bass related mer- until the more thoroughly- to accomplish in family entertain- chandise, lobby cards, ads which researched and more professional- ment.”). ran in Variety , and some behind ly-written second edition makes its the scenes photos. All are fascinat- way to bookstores. This is a book not so much ing to see, but a lot of these illus- about Rankin/Bass’ history but trations aren’t documented very The Enchanted World of about why some guy named well. A photo of sheafs of sheet Rankin/Bass by Rick Goldschmidt, Rick Goldschmidt likes music from Rudolph implies that Tiger Mountain Press, 1997. 176 Rankin/Bass. there was an ‘Abominable pages, illustrated. ISBN: 0-9649542- Snowman’ song that was appar- 8-1. (U.S. $18.95) ently cut from the final version of Adding insult to injury, there’s not the special, though the author Scott Maiko is an LA-based free- even a cursory explanation of the makes no mention of this anywhere lance writer having been pub- stop-motion animation process. in the text. In fact, there’s a lot about lished in such obscure zines and Sure, such a side bar may seem to Rudolph that was left out. A short magazines as MOO juice, Thrift be extraneous information to most quote from Larry Mann, the voice SCORE, Wild Cartoon Kingdom, A readers of this review, but the gen- of Yukon Cornelius, hints that Burl to Z, and Snackbar Confidential. eral public, who probably got this Ives was brought in after the origi- Time, The New Yorker, and book as a Christmas present, would nal soundtrack was recorded. This Variety are but a few of the much have appreciated some insight into would explain why the Sam the more widely-known publications the actual physics of making the Snowman character has no inter- for which he’s never written. In Animagic films. action with the other characters; his his spare time, Scott enjoys writ- scenes were filmed later. But ing short, three-sentence-long While the author explains in his Goldschmidt never follows through bios about himself in the third introduction that the book to follow on this, nor are we given any idea person. is not a “complete personal history” of what was snipped from the hour- of Arthur Rankin, Jr. and Jules Bass, long special to make room for Ives’ Note: Readers may contact any the fact that he glosses over their narration scenes. Animation World Magazine con- early commercial work (examples of tributor by sending an email to which exist at least on VHS tapes of Still, points must be given to [email protected].

ANIMATION WORLD MAGAZINE March 1998 55 RealFlash: The First Step by Pat Boyle & Shelley McIntyre

et’s say you’ve got a great piece the video can be grainy and jumpy. of animation that you want to While the quality of video contin- Lpost on your web site. You ues to improve, the challenge is to advertise. You get your audience identify new “datatypes” that will excited. They go to your site, and work well with audio, and that then...they wait. As incredible a tool deliver rich multimedia experiences as the Web is, its “instant commu- over low bandwidths. nication” feature is obliterated if your audience has to wait ten minutes Just as the technical quality of to download a file. More often than radio and television content not, a viewer will become frustrat- improved during its develop- ed and leave your site before seeing ment period, so shall streaming the piece you’ve worked so hard to media. create.

South Park characters have been brought Enter Streaming Media to the Web by Smashing Ideas Animation, Advantages of RealFlash When a file is streamed by a user using RealFlash. © Comedy Central. RealFlash is a big leap forward in over the Internet or a corporate LAN RealAudio/RealVideo program- delivering high-quality multimedia. (local area network), it starts to play ming are available each week Jointly developed by Macromedia instantly without the wait associat- over the Internet. and RealNetworks, RealFlash is a ed with downloading large files. combination of vector animation Until recently, only audio and video Just as the technical quality of radio technology from Macromedia, and files could be streamed over the and television content improved streaming technology from Web, using applications like during its development period, so RealNetworks. Specifically, it’s a Flash RealNetworks’ RealAudio and shall streaming media. The Internet file synchronized with a RealAudio RealVideo. as a new mass medium is still devel- file, and played back in a RealPlayer. oping and new innovations in It’s the first of a few applications that There is a strong case for entertain- streaming media are driving it fur- RealNetworks is adding to its ment programming on the Net ther. Sound quality has been client/server RealSystem to improve today: improving steadily since RealAudio the end user experience. • There are more than 600,000 was introduced in 1994. Currently RealPlayers being downloaded audio works so well with a 28.8 Authoring is done in the Flash Tool from RealNetworks’ web site Kbps modem that more than 35 from Macromedia where animators weekly to view RealAudio, record labels are using the Internet can edit the animation and syn- RealVideo and RealFlash content as a promotional tool for their artists chronize it with audio. To publish such as news, music, entertain- and over a thousand radio stations to the Web, the final production ment, education and training. broadcast over the Net. must be hosted by a RealServer, • Some of the more popular which is available from RealFlash clips on the site are Internet video, although superior to RealNetworks. playing over 8,000 times daily. what was available just a year ago, With over 240,000 viewings still faces limitations. The experience Vector-based animation is well-suit- monthly, that’s close to the size is far from full-screen. Most Internet ed to streaming media. The anima- of a television audience. video over a 28.8 Kbps modem is tion software defines a shape, and • More than 100,000 hours of live presented in a small window and uses x-y coordinates to move the

ANIMATION WORLD MAGAZINE March 1998 56 shape from place to place on the These two qualities combine for an screen. Since it doesn’t save images extremely powerful Internet appli- of each frame, the file size is sub- cation. Authors benefit from the stantially smaller than frame-based most advantageous features of animation. Maintaining a small file streaming media: the instant and size is essential to stream animation random access of a media clip, effectively, as most viewers use 28.8 while preserving the detail of the Kbps modems. illustrations in a large window, with great audio quality and a high frame rate. When a file is streamed, it starts to play instantly; no Putting It To Use downloading, no waiting. This presents a great opportunity for animators and producers of origi- nal content on the Internet. Moe, a RealFlash animation from Snap! Another terrific feature of RealFlash RealFlash is well-suited for story- Media in Toronto was created for the is presentation size. Gone are the telling, cartoons, music videos, launch of RealFlash in 1997. © Snap! days of the two inch screen. advertising, and training and mar- Media. RealFlash allows content creators to keting presentations: web site. Then, visit our animation display animation in a 320 x 240 · Storytelling because producers showcase for a mix of productions pixel box or larger, depending on can have detailed storyboards ranging from movie trailers to car- the system. Also, you can embed while letting the quality of toons to product training. RealFlash animations in a HTML RealAudio drive the experience. page. The RealPlayer 5.0 can be · Cartoons because of the ability There are many more innova- implemented as a stand-alone play- to stream compelling artwork tions to come for producers as er, a Netscape Plug-in and an Active- over a 28.8 kbps modem to an streaming media continues to X Control. Given the ubiquity of audience of millions. evolve. these applications, a RealFlash ani- · Music videos and movie trailers mation can run on any machine. because the image handling, transitions, effects and color There are many more innovations capabilities of Flash can deliv- to come for producers as streaming er television-quality produc- media continues to evolve. tions with RealAudio. RealNetworks is developing new · Advertising because compa- features for existing products, as nies can create dynamic well as new products for Internet “infomercials” using com- programming, such as streaming pelling graphics and audio. images and text. RealFlash is the first · Training and illustrations step in bringing high quality ani- because of the powerful mation and audio to the Internet. drawing capabilities of Flash.

Animation companies such as Pat Boyle is the Product Disney, Warner Bros., and Manager for RealFlash at MGM have already demon- RealNetworks. Shelley McIntyre strated uses of RealFlash in is the Project Coordinator for the entertainment realm, as the RealFlash Animation Festival. have numerous design com- panies. You can check out Note: Readers may contact any Art3, a RealFlash animation piece by Gennady RealFlash animations by Animation World Magazine con- Troinin, is entered for competition in the downloading the RealPlayer tributor by sending an email to RealFlash Animation Festival. © 1998 Art3. 5.0 from the Real Networks [email protected].

ANIMATION WORLD MAGAZINE March 1998 57 How I Learned to Stop Worrying and Love RealFlash by Bill Predmore ast October we an education in audio can be used to score a scene. received a call from web-based anima- Using Flash alone, it was simply LRealNetworks ask- tion production that impossible to produce pieces that ing if we’d be interest- would have other- contained anything close to pro- ed in creating content wise been impossi- fessional quality audio. for the upcoming ble to get. Although launch of their new Comic Book won’t In the month following our meet- Using Macromedia’s Flash 2, streaming media solu- POP! and Spümco partnered be available to the ing with RealNetworks, we pro- tion, RealSystem 5.0. to create some of the most public, John K. has duced several pieces for the Specifically, intriguing animations the web produced his own RealSystem launch, most notably has seen to date. © Spümco. RealNetworks was Internet cartoon two cartoons featuring Warner Bros. searching for a company to create series, The George Liquor Program, Looney Tunes characters, as well as animation sequences in RealFlash which can be seen on the Spümco a rendition of Edgar Allan Poe’s The streaming animation based on web site at www.spumco.com. Tell Tale Heart for the Sci-Fi Channel. Macromedia’s Flash technology, syn- When we started, the process chronized with RealAudio. We were RealFlash:The Next Step seemed a bit more complex than in the process of wrapping up a It was during our first face-to-face simply authoring in Flash. However, long project for the Microsoft meeting with RealNetworks that we as we got deeper into the project, Network (MSN) that was entirely found out exactly what RealFlash we realized that as long as one fol- based in Flash, so the chance to was and what it could do. RealFlash lows some straightforward guide- transition into this project seemed combined a Flash .swf file (a com- lines, creating content in RealFlash like a golden opportunity. piled Flash animation) and a .rm or is actually quite simple. .ra file (a RealAudio file) into a For the previous six months we’d synched stream that would play For the first time it was possi- been working on what was billed as through the RealSystem 5.0. For the ble to send streaming (read: no the world’s first interactive web- first time it was possible to send waiting) animation with high- based cartoon, slated for launch in streaming (read: no waiting) ani- quality sync audio to users who late fall 1997 on MSN. The project mation with high-quality sync audio had only a 28.8 modem. was a dream come true. We were to users who had only a 28.8 responsible for taking artwork pro- modem. vided by Spümco (creators of Ren Choosing Between Flash and & Stimpy), and building out 5-7 RealFlash solved many problems we RealFlash minute fully-animated “episodes” had encountered when using audio As you begin a new project, its using Flash. However, due to the in Flash 2.0. Although Flash allows important to note that while both recent restructuring at MSN, audio to be placed at specific points Flash and RealFlash are effective Weekend Pussy Hunt, later in an animation sequence, it is dif- tools for producing web-based ani- changed to the more consumer- ficult to maintain sync throughout mation, you’ll find that there are friendly Comic Book, is unlikely to long passages of audio, especially some projects which are better suit- ever make it to the Net. The project lengthy sections of dialogue. In ed to one than the other. did have its benefits: the chance to addition, using long passages of work with Spümco’s John Kricfalusi, music underneath a scene is almost Flash vs. RealFlash and the hundreds of hours we impossible due to file size limitations, RealFlash offers excellent quality spent using Flash provided us with so in most cases only “looping” sync audio and requires hosting on

ANIMATION WORLD MAGAZINE March 1998 58 special server. Flash does not require all of which is available on the converted into vector-based artwork a special server, but audio quality is RealNetworks web site. and re-saved as .ai files. Next, we poor and sync audio is extremely • Macromedia Flash 2.0 (which can opened each file in Macromedia limited. be downloaded from Macromedia Freehand and manually removed for a ‘points’ to clean up the line, as well Which one to choose? It depends 30-day trial) as to reduce the eventual file size of on the nature of your project. Audio • Real Player 5.0. the Flash file, i.e. the fewer points, issues aside, the two main features • Real Encoder 5.0. the smaller the file. Finally, the which differentiate these products • RealFlash Optimization Toolkit. cleaned-up artwork was imported are interactivity and hosting. Flash into Flash, and we were able to allows for non-linear animation with Using our work on the Warner Bros. begin coloring the art according to interactivity, while RealFlash requires animation as an example, you can color keys provided by Warner Bros. animation sequences that are lin- follow these steps as a guideline to ear, but does allow some very lim- create your own RealFlash content. Once the coloring was complete, ited interactivity. Flash content can I’ve purposely skipped over the actu- we needed to address audio in our be placed on any type of web serv- al animation process in Flash, as this piece. We received music and mul- er and still stream to the client is something you’ll already need to tiple sound effects from the Warner browser, while RealFlash requires know before beginning a project. sound library as .wav files. To import that the content be hosted on a In addition, this outline describes them into Flash, we first needed to RealServer 5.0. the process as it occurs on the convert them to .aiff files, which was Macintosh platform, so PC users done using Macromedia Many Internet Service Providers may find that some file types differ SoundEdit16. PC users can skip this (ISP’s) can now host RealFlash clips on their systems. step, as Flash supports .wav files on without an additional charge the PC version. Finally, all of the beyond normal account fees. This Your Software Toolbox pieces we needed to complete the consideration aside, one is left with Required: piece were in Flash, and we were a fairly simple decision: use Flash if • Macromedia Flash 2.0 ready to begin work on the anima- your project includes interactivity, • RealPlayer 5.0 tion sequence. use RealFlash if it doesn’t. • RealEncoder 5.0 • RealFlash Optimization Toolkit Step Two: Creating the As we got deeper into the pro- Animation Sequence ject, we realized that as long as Useful: As with all content created for the one follows some straightfor- • Adobe Photoshop 4.01 web, bandwidth must be a consid- ward guidelines, creating con- • Macromedia Freehand 7.02 eration in nearly every decision that tent in RealFlash is actually • Adobe Streamline 3.1 is made. Our target audience for quite simple. • Netscape Navigator 3.0 or high- this piece were users with a 28.8 er modem, so we needed to limit the • Macromedia SoundEdit16 2.0 entire RealFlash sequence to a The RealFlash Process streaming rate of 20 kbps (kilobits Building RealFlash content requires Step One: Creating the Artwork per second). To manage that, we either knowing or learning and Sequence Elements needed to limit our animation to 12 Macromedia Flash. Although you’ll The artwork in the Warner Bros. kbps, leaving 8 kbps for audio. make specific decisions about your piece came both from existing animation knowing that its final for- Adobe Illustrator .ai files, as well as To keep our animation at 12 kbps, mat will be in RealFlash, most of the new artwork that was drawn specif- we made some specific choices work to create a RealFlash sequence ically for the project. To begin, all about how the piece would be is done after your work in Flash is existing .ai files were imported built. We decided, as RealNetworks complete. directly into Flash. The new artwork recommends, on a frame rate of 7 was scanned and saved using frames per second. We also tried to To begin creating RealFlash content Adobe Photoshop, and then be realistic about the amount of art you’ll need the following software, opened in Adobe Streamline and and animation that would be used

ANIMATION WORLD MAGAZINE March 1998 59 to tell our story, as the fewer pieces the buffer time. Your only concern .ram file looked like this: file:warn- of art that are used, the smaller the is to insure that the animation er.swf+warner.rm eventual file size. In addition to the streaming rate plus the audio bandwidth concerns, we knew that streaming rate does not exceed 20 As you can see, the majority of the large-frame animations have diffi- kbps when targeting 28.8 modems. time it takes to create RealFlash con- culty running on machines with a tent is taken up in slower processor, so we made our Step Four: preparation and the movie dimensions fairly small (358W Putting it all Flash animation x 240h). Together process. Once your To finally see and work in Flash is com- Now that the parameters of our hear the RealFlash plete, you should sequence were set, we were final- piece, we had to have no problem cre- ly able to begin the animation create one last ating the RealFlash process in Flash. thing - the .ram file. Edgar Allen Poe’s The Tell Tale files in under an hour. A .ram file is the file Heart. Developed for the Sci-Fi Step Three: Creating the that actually tells Channel exclusively for the Need Some More launch of RealNetwork’s RealFlash Sequence the server to play RealFlash Player, POP! used Help? Check out these Once we were satisfied with our your RealFlash con- original illustrations and narra- pages for some handy animation sequence, we began the tent. We created tive to create this streaming 17- tips and tricks in creat- minute Flash animation. ©1998 process of creating the files to be the .ram file in POP! Multimedia, Inc.All Rights ing RealFlash con- used in the RealFlash animation. SimpleText, and it Reserved. tent:RealFlash Zone, First, we exported the movie with- only contains the RealFlash Tutorial and out audio as an .swf file, following line: pnm://www.pop- RealFlash Guide. warner.swf, making sure to remove multimedia.com:7060/warner.swf+ all frame actions. We then export- warner.rm Pushing the Boundaries of ed the same movie as a quicktime RealFlash .mov file with the audio set at 44.1 The experience with the Warner khz 16 bit. Double-clicking on the Bros. piece led us to experiment One is left with a fairly simple .mov file allowed us to open the file with some ways to test the limits of decision: use Flash if your pro- in MoviePlayer, where we could the RealFlash process. In our most ject includes interactivity, use export the audio as an .aiff file. recent project, The Silicon Jungle, RealFlash if it doesn’t. we took a vastly different approach We were then able to use the to the audio production. Knowing RealEncoder to open up the .aiff file The file simply tells our RealMedia that this project required a higher and encode it as an 8 kbps .rm file, server (pnm://www.popmultime- quality audio mix than we could do saved as warner.rm. This step left us dia.com:7060) to play the RealFlash in Flash, we decided to do all audio with two files to work with: warn- piece (warner.swf+warner.rm). production outside of Flash, taking er.swf and warner.rm. the project to a local recording stu- We were now ready to upload our dio for scoring and sweetening. To complete our work on these two content to the server. We FTP’d the files, we ‘tuned’ our .swf file using .swf and .rm files to a special direc- Although we weren’t sure if it would swftune.exe, which is included in tory on the RealMedia server, and work when we started, the process the RealFlash Optimization Toolkit, then uploaded the .ram file on our ended up being quite simple. When making sure that the buffer time normal web server. To test things building our animation sequence, was no more that 15 seconds. out, we just opened up a browser, we dropped in scratch audio to get Although this tuning process is at typed in the address of the .ram file, the piece timed correctly. Once we first somewhat unintuitive, you’re and watched our piece play were satisfied with the animation, basically setting a buffer time for the through the RealPlayer. RealFlash we exported the entire movie as a sequence by adjusting the stream- content can also be played back quicktime .mov file. This file, which ing rate of your animation. The locally without a RealMedia server ended up at around 85mb, was higher the streaming rate, the lower by building a .ram file. Our local transferred to a zip disk and taken to

ANIMATION WORLD MAGAZINE March 1998 60 the audio post facil- ity. The file was RealAudio, RealSystem, then imported into RealPlayer, RealServer, ProTools, where and RealEncoder are YYourour AdAd we were able to trademarks or registered build multiple lay- trademarks of CouldCould BeBe ers of audio, create RealNetworks, Inc. All HerHere!e! an original score, The Silicon Jungle.This piece was other companies or and get a profes- produced using RealFlash incor- products listed herein sional mix that left porating animation, images, are trademarks or regis- text, and streaming audio for For rate cards and us with audio per- RealNetworks Human tered trademarks of fectly prepared for Resources Department. © their respective owners. additional information the encoding RealNetworks. RealFlash™ is a trade- about process. mark of Macromedia various opportunities and RealNetworks, Inc. Flash © for exposure at To complete the piece, we encoded 1997 Macromedia, Inc. Animation World the .wav files as 8 kbps .rm files, and Macromedia, the Macromedia logo, Network, repeated step four as described and Flash are registered trademarks contact our above. Although it added a layer of of Macromedia, Inc. Los Angeles complexity to the project, we were office at excited by the possibilities: the pic- Related Web Sites ture capabilities of Flash were RealNetworks web site. to 213.468.2554 already fantastic; the audio stream http://www.real.com in RealFlash is great; now we had RealFlash Zone: or e-mail found a way to produce our audio http://www.real.com/dev- any of our sales track at the highest possible level. zone/flash/ representatives: RealFlash Tutorial: The Future of RealFlash http://www.real.com/dev- zone/flash/tutorial.html North America: Over the past few years we’ve RealFlash seen dozens of ‘hip’ new tech- Guide:http://www.real.com/dev- Dan Sarto nologies make grand promises, zone/flash/guide/index.html [email protected] only to disappear after a few short months. Bill Predmore works as Creative Europe: As you might imagine, there’s real- Director on a team of award-win- ly no limit to the type of content one ning on-line designers and pro- Thomas Basgier can create using RealFlash. Movie grammers at Seattle-based POP! [email protected] trailers, cartoons, training, promo- Multimedia. POP! specializes in tion, entertainment can all take the production of web-based advantage of the unique capabili- Flash and RealFlash animation, U.K. ties of RealFlash. working with clients such as PBS Alan Smith On-line, The Microsoft Network Over the past few years we’ve seen and Disney’s Bill Nye to create [email protected] dozens of ‘hip’ new technologies some of the coolest stuff on the make grand promises, only to dis- web. appear after a few short months. For us, RealFlash has been one of Note: Readers may contact any Other Location: Animation World Magazine con- the few products that has lived up [email protected] to its billing and has exceeded our tributor by sending an email to expectations. [email protected].

ANIMATION WORLD MAGAZINE March 1998 61 George Eastman House International Museum of Photography and Film by Dresden D. Engle eorge Eastman House anthropists of the 20th cen- International Museum of tury — contributing more GPhotography and Film in than $100 million to char- Rochester, New York, combines the itable causes. Mr. Eastman world’s leading collections of pho- died in 1932 at age 77. His tography and film with the stately 50-room mansion was pleasures of the landmark Colonial opened to the public as a Revival mansion and gardens that museum in 1949, and the George Eastman called home from museum will mark its 50th 1905 to 1932. anniversary next year. An The George Eastman House in Rochester, New York. addition, the 12.5 acre Photo courtesy of The George Eastman House. museum complex was lion film stills, including an impres- George Eastman House...shel- opened to the public in 1989, ters a school of film preserva- sive number of star portraits; one of which offers new galleries and stor- the world’s most important collec- tion, which attracts students age facilities for the archives. The tions of early silent films; hundreds from throughout the world. Museum also houses two theaters of Hollywood classic and early for screenings: the smaller Curtis Westerns; documentaries from Theater and the 500-seat Dryden Germany, Italy, France, the United George Eastman, the founder of Theater. The latter offers screenings States and the former Soviet Union; Eastman Kodak Co., is the father of six nights a week of films from the plus the personal film collections of popular photography. He revolu- Museum’s vast motion picture Cecil B. DeMille and Martin tionized photography by simplify- archives. Scorcese. ing cameras and film. In 1878, Mr. Eastman, who was working as a Animation in the Archives bank clerk, experimented with pho- The Museum’s extensive archives cover the entire 100- The Museum’s extensive archives tography, but found the equipment cover the entire 100-year history of year history of motion pic- available at the time to be compli- motion pictures, as well as pre-cin- tures, as well as pre-cinema cated, awkward, and expensive. ema and animation. Much of the and animation. This led him on a quest to make animation collection is currently cameras and film that anyone could being inventoried, a project that will use. be completed by June, and thou- The Film Archives sands of items have been uncov- Three years later, Mr. Eastman George Eastman House, an inter- ered. These items include shorts, founded the Eastman Dry Plate Co., national leader in the cause of film features, prints, and pre-cinema precursor to Eastman Kodak Co. preservation, shelters a school of pieces, according to Edward E. With a series of landmark innova- film preservation, which attracts tions, his company created portable, students from throughout the easy-to-use cameras like the “Kodak,” world. The Museum is also one introduced in 1888, with the pop- of the world’s great film archives. ular slogan, “You push the button, we do the rest.” The company also The motion picture department invented a flexible film that helped houses more than 21,000 film launch the motion picture industry. titles from 1895 to the present (the Museum has the fourth Mr. Eastman’s inventions brought largest nitrate holding archive in A pre-cinema animation display in a George him fame as well as fortune, and he the United States); 3,000 movie Eastman House gallery. Photo courtesy of is noted as one of the greatest phil- posters; 1,000 press books; 5 mil- The George Eastman House.

ANIMATION WORLD MAGAZINE March 1998 62 world premiere of the newly restored The Lost World (Harry O. Hoyt, U.S. 1925), which took George Eastman House Zoetrope strips are an example of pre-cinema animation. Photo courtesy of The George six years to restore painstak- Eastman House. ingly. Other screenings in Stratmann, assistant curator of Sciences is working with George 1997 included Hare-Do (Friz motion pictures. The collection’s Eastman House to preserve some Freleng, U.S. 1947), Elixir (Irina interesting cross-section of anima- of these early disks. Evteeva, Russia 1995), Bimbo’s tion includes claymation and pup- Initiation (Fleischer Studios, U.S. pet animation from a host of U.S. The largest collection of ani- 1931), Lady and the Tramp (Walt and international filmmakers, shorts Disney Productions, U.S. 1955) and from Warner Bros., plus actual cels mation at George Eastman House is the pre-cinema ani- Peter Pan (Walt Disney Productions, from the 1939 animated classic U.S. 1953). Gulliver’s Travels (Dave Fleischer, mation (pre-1895) and early cinema animation. U.S.). George Eastman House is open year-round, from 10 a.m. to 4:30 The Eastman House boasts a large p.m. Tuesday through Saturday, and Fleischer collection and animated See the Animation 1 to 4:30 p.m. Sunday. The titles like Popeye, Felix the Cat, and Visitors to George Eastman House Museum is closed Mondays, Betty Boop. Of the 5 million film stills can view that the Museum boasts, thousands and depict animation. demon- strate many The largest collection, however, of of these animation at George Eastman pre-cinema House is the pre-cinema animation devices in a (pre-1895) and early cinema ani- semi-per- mation. These include more than manent The George Eastman House is currently restoring its large collection of 100 lantern slides, 1,200 muto- exhibition pre-cinema artifacts, including several phenakistoscope animation disks. Photos courtesy of The George Eastman House. scope reels, and several hundred titled animated strips and disks (zoetropes, Enhancing the Illusion: The Origins Thanksgiving, Christmas Day, and zoopraxiscopes, praxinoscopes, filo- and Progress of Photography, New Year’s Day. Extended hours in scopes, thaumatropes, phenakisto- which opened in 1991. The exhib- the month of May are 10 a.m. to scopes). it showcases the museum’s exten- 4:30 p.m. seven days a week. Tours sive early technology and motion are offered daily of the mansion, A phenakistoscope (“vision picture collections. with garden tours offered daily May cheater”), for example, was a device through October. for cheating the effect of moving Visitors can also enjoy occasional pictures. By viewing 12 or more screenings of animation in the For more information about George sequential drawings, intermittently Dryden Theater. A year-long series Eastman House, please call (716) through slots of a spinning disk, the on animation was featured through- 271-3361. Our web address is illusion of movement is created. out 1997, titled Blinkity Blank: www.eastman.org. Various methods were used to Norman McLaren, The Genius of move the images of the optical pro- Animation. The film series was jector by employing cranks, gears, accompanied by a museum exhibi- Dresden Engle is Public Relations levers, and sliding elements. In these tion that demonstrated the fasci- Coordinator for George Eastman ways, pictures were given the illu- nating world of McLaren’s visual House in Rochester, New York. sion of life, and also established a imagination. More than 50 of model for photography to follow. McLaren’s works, ranging from Note: Readers may contact any 1930 to 1971, were screened. Also Animation World Magazine con- Currently, Sony’s High-Definition featured was an anime festival enti- tributor by sending an email to Center in Los Angeles and the tled, the Seventh Annual Medicine [email protected]. Academy of Motion Picture Arts and Wheel Animation Festival, and the

ANIMATION WORLD MAGAZINE March 1998 63 Business

Toon Union Pickets Nick. On Monday, February 9, approximately 35 people walked in a picket line on the sidewalk in front of Nickelodeon’s “brand spank- ing new” animation studio at 231 Olive Avenue in Burbank, California. The picketers, comprised mostly of members of several unions under the I.A.T.S.E. umbrella of motion picture- Union supporters carried signs and formed a picket line in front of the new Nicktoons studio in related Union chapters 767, Burbank last month. Photo © Animation World Network. 871, 705, 44 as well as the Motion computer in early February under ernmental agencies such as The Picture Screen Cartoonists (M.P.S.C.) the name of Pixar CEO Steve Jobs, Ministry of Radio, Television & Film Union local 839, were there “to let who has denied sending it. Pixar, a and The Institute of Foreign Affairs, Nick understand that in Los Angeles, publicly-traded company, is con- as well as private industry broad- animation is done by union labor,” cerned that the message could casters. Other industries are repre- said M.P.S.C. president Tom Sito, have a negative effect on employee sented on the panel by Iwerks who works at DreamWorks Feature relations and recruiting efforts. Pixar Entertainment (themed entertain- Animation. Nickelodeon represen- officials were not available for com- ment), The International Channel tatives declined to comment. ment. (cable TV), Paramount International Nicktoons, a Viacom company, Television (distribution), Creative employs approximately 300 people L.A. Mayor Brings Industry Execs Artists Agency (talent), ARCO (ener- in the Los Angeles studio, which to China. Eight delegates have gy), Lowe Enterprises (theatres), produces animated series such as been selected to travel to China Bank of America (banking) and Angry Beavers, Hey Arnold, Kablam! with Los Angeles Mayor Richard J. Hughes (aircraft). and Oh Yeah! Cartoons! The Riordan, to promote business devel- M.P.S.C. Union local 839 currently opment between L.A. and China. 7th Level Alums Form Zoom has more than 2,500 members, Included in the delegation are rep- Cartoons. Two employees of 7th working at 12 studios including resentatives from several entertain- DreamWorks, Disney and Warner ment companies interested in cre- Bros. ating original programming for the Chinese market. Among them are Perpetrator Posts Private Pixar Terry Thoren, CEO of Klasky Csupo, E-Mail. Richmond, California-based Michel Welter, president of interna- computer animation company, Pixar tional production for Saban Animation Studios, has reportedly Entertainment and Charles Rivkin, filed a law suit over an anonymous president and COO of Jim Henson e-mail message that accurately Productions. With Mayor Riordan and a group of his statesmen, they names some 400 Pixar employees’ Zoom Cartoons Entertainment created names, positions, and respective will travel to Beijing and Shanghai animated sequences for IBM which were salaries. The e-mail was sent via in early March to meet with gov- showcased at the 1998 Winter Olympics in Nagano. Image © and ™ 1993 NAOC.

ANIMATION WORLD MAGAZINE March 1998 64 Level Studios have announced their Mary Shelley, Alien Pet Store, with who will be based in the bi-coastal exit and the formation of a new dig- illustrator Keith Graves and producer company’s Los Angeles office. Lee ital animation company, Zoom John Williams, and Miss Spider, Berger has been named vice pres- Cartoons Entertainment. Former 7th based on the popular children’s ident, Production [division] and Level producer Susan [Deming] books by David Kirk. Universal is executive producer. Berger’s back- Bernstein and vice president of ani- close to signing a deal with a lead- ground includes work with Blue mation Dan Kuenster, have set up ing computer animation studio for Sky|VIFX as a visual effects produc- shop in Los Angeles. Zoom production of Frankenstein, but no er, and with Apogee Productions. Cartoons’ first project is a spot for production deals have been In addition, Deborah Giarratana IBM which is being presented at the announced. Universal expects to has been hired as vice president, 1998 Olympic Games in Nagano, have its first film from this new ven- Filmed Entertainment. She was Japan. The studio is currently in pro- ture ready for release by summer of most recently director of marketing duction on a 30-minute animated 2001. for the Feature Film and Theme Park sequence for Bandai Entertainment’s division at Digital Domain, and prior direct-to-video feature based on the People to that she was head of sales and Tamagotchi toy, Now Museum, marketing at PDI. . . . Iain Now You Don’t, which will be Musical Chairs. Fox Kids Greenaway has been named vice released this year. Worldwide will have to wait at president, creative director of the least until July 1, 1998 for Rich New York-based broadcast design Universal Forays Into Features. Cronin to join the company as pres- studio TZ (formerly known as Universal Pictures has confirmed the ident and CEO of Fox Family Telezign). He was previously creative formation of Universal Pictures Channel and Fox Kids Network, director for the BBC. . . . Kenneth Animation and Visual Effects, a new according to a ruling issued by the Abrams has joined Marvel division dedicated to developing New York State Supreme Court. On Entertainment Group as vice pres- and producing fully animated fea- February 5, a judge ruled that the ident of the company’s consumer ture films, with a particular focus on former MTV Networks executive products division. In this role, he will CGI. Co-heading the division are breached his contract, which ran concentrate on domestic licensing John Swallow, senior vice president through June 30, 1998, when he for Marvel’s film and TV properties of production technology and for- signed a deal with Fox in October such as Silver Surfer and The X-Men. mer Warner Bros. Feature 1997 (AF 11/4/97). Meanwhile, Fox Previously, Abrams was director of Animation development executive is required to pay Cronin under the domestic licensing for Viacom Doug Wood, who joined Universal terms of his prior MTV Networks Consumer Products. . . . MGM in November 1997 as vice president contract. . . . Blue Sky|VIFX has Animation has hired writer Ruth of animation production and cre- created two new positions in the Bennett as executive producer and ative affairs for the new division. company, and has hired executives head writer for The Lionhearts, an Other than the two executives’ assis- tants, Universal intends to keep the new division a “lean operation,” said Swallow. While other major studios have created large feature anima- tion divisions (Warner Bros. or Fox) or formed partnerships with pro- duction studios (Disney/Pixar or DreamWorks/PDI), Universal’s approach to feature animation is unique in that they will outsource all production work to external com- panies. Three projects have been announced, all of which are in development: Frankenstein, a Lee Berger and Deborah Giarratana both recently joined Blue Sky|VIFX’s Los Angeles remake of the classic horror tale by office.

ANIMATION WORLD MAGAZINE March 1998 65 animated series to run in syndica- Curious in 1996 as assistant anima- Rivkin, COO of The Jim Henson tion this fall. Bennett’s credits include tor. Lee, 35, is a Cal Arts graduate Company. “I’ve long admired the live-action TV sitcoms, writing expe- who was previously an animator at integrity and passion of the team at rience which MGM expects to bring neighboring (Colossal) Pictures. . . . the Jim Henson Company,” said an edge to the show, which fea- Laura Citron has been named cre- Loesch. “One of the most gratifying tures characters in the entertain- ative director at Crawford experiences of my career was the ment industry. . . . John Andrews, Intermedia, not production man- six-year collaboration I enjoyed with formerly vice president of animation ager, as was mistakenly printed in Jim Henson while we were pro- at MTV Networks in New York, has AF 1/13/98. ducing Muppet Babies,” she added. joined Klasky Csupo Alex Rockwell, previously executive Commercials in Los Angeles as Menken Signs For a Decade at vice president of creative affairs at executive producer. Also recently Disney. Eight-time Oscar-winning Henson, will remain with the com- promoted to executive producer for composer Alan Menken has entered pany in a long-term exclusive con- the division is Liz Seidman, who a long-term contract with Walt sulting and producing relationship. has been with the company for Disney Studios to compose songs The Jim Henson Television Group three years. . . . Jackie Edwards and/or scores for animated and live- will also include Marcy Ross over- has been promoted from merchan- action films. Menken has composed seeing prime time television, Halle dising manager to producer at music for six Disney animated fea- Stanford Grossman heading up chil- London-based Hibbert Ralph tures: The Little Mermaid (1989), dren’s development, and Angus Animation, filling a position vacat- Beauty and the Beast (1991), Fletcher who will be responsible for ed by Karen Davidsen. Edwards, Aladdin (1992), Pocahontas (1995), international television develop- who joined the studio in 1995, will The Hunchback of Notre Dame ment. “Margaret is a visionary,” said produce The First Snow of Winter, (1996) and Hercules (1997). His Rivkin, “We are confident that hav- a half-hour film currently in pro- four Oscar-winning Disney songs ing Margaret as part of the team will duction. . . . Christopher Oarr has from those films are: “Under the greatly accelerate the growth of our been chosen as the new executive Sea,” “Beauty and the Beast,” “A company on a global basis.” Brian director of the Comic Book Legal Whole New World” and “Colors of Henson added, “There are few peo- Defense Fund (CBLDF), suc- the Wind.” Menken also composed ple in the television industry who ceeding Susan Alston who resigned the score for the Broadway pro- can claim the extraordinary success in September 1997. He is currently duction, Disney’s Beauty and the that Margaret has...Her energy and director of the Small Press Expo (SPX) Beast. While the contract is exclu- and will begin as director of CBLDF sive with Walt Disney Feature in March 1998. . . . Visual effects Animation for a total of ten years, it supervisor Doug Smith has joined does allow Menken the option to Rhythm & Hues as senior visual compose scores for one non-Disney effects supervisor. His credits include live-action project every two years. an Oscar for effects work on the fea- ture film, Independence Day. . . . Loesch Joins Henson TV Unit. Hot commodities Trey Parker and Margaret Loesch, former CEO of Fox Matt Stone, the very “in-demand” Kids Network, has joined The Jim co-creators of South Park, have Henson Company as president of signed a $1.5 million deal with New its new Jim Henson Television Line Cinema to write a prequel script Group. In this position, she will be to the live-action feature film, Dumb responsible for the company’s world- & Dumber.. . . . Curious Pictures’ wide television operations, includ- San Francisco studio has signed ing development, production, dis- Holly Edwards as producer and tribution, acquisitions, video, and a added directors Nick Hewitt and soon-to-be announced general Steward Lee to its roster. Hewitt, entertainment cable channel. She 25, graduated from Emily Carr and will report directly to Brian Henson, Margaret Loesch has been named presi- Sheridan College and joined president and CEO, and Charles dent of Jim Henson Television Group.

ANIMATION WORLD MAGAZINE March 1998 66 spirit have been instrumental in less “E3D” elec- shaping today’s family television tronic headsets industry.” with alternating liquid crystal Places shutters that, when synchro- Simpsons House Winner Found. nized via Ever wonder who won the life-size infrared signal replica of the Simpsons’ family home with the IMAX that we told you about in October? 3D projector, Fox, which built the house as a pro- produce the motion for the interactive game illusion of an “Virtual Springfield” and the season immersive 3-D premiere of The Simpsons’ ninth sea- environment. Rhythm & Hues created 3-D computer animation for the ride- film, Race for Atlantis. © 1997 Forum Ride Associates. son, has identified the contest win- Thirty people, ner. However, Barbara Howard, 63- including 20 computer artists, will lend their voices to the com- year-old grandmother of thirteen, worked on the project full-time for puter-animated feature, A Bug’s Life, doesn’t want to move from her farm 18 months to create the 5,000 to be released in November 1998: in Richmond, Kentucky to frames of film in the 20-minute ride Kevin Spacey, Julia Louis-Dreyfus, Henderson, Nevada where the “experience.” Rhythm & Hues has Dave Foley, David Hyde Pierce, house is located. So, she’s opted for created animation for several other Bonnie Hunt, Denis Leary, Madeline the $75,000 that the sponsors have motion simulator rides, including Kahn, John Ratzenberger, Jonathan offered instead. Kaufman & Broad, Star Trek: The Experience at the Las Harris, Alex Rocco, Roddy the builder, owns the house until Vegas Hilton and “Seafari” for McDowall, Brad Garrett and Phyllis the end of March 1998, at which Universal in Japan. The Los Angeles- Diller. point ownership will be transferred based studio is currently in produc- to Fox and the colorful outside will tion on effects for the film Babe II Miramax to Release Mononoke. be painted off-white to match the and an interactive “4-D” attraction Hayao Miyazaki’s top-grossing ani- other homes in the planned subur- for Disney’s new wildlife theme park mated feature Princess Mononoke ban development. Fox has not yet in Florida. (Mononoke Hime) will be released decided what they will do with the theatrically in the U.S. this summer house. Whatever it’s fate may be, Films by Miramax Films, a Disney com- our virtual tour of the home, includ- pany. The film earned it’s spot as the ing photos and Quicktime movies, Toy Story 2 to a Theater Near You. all-time highest grossing film in can be viewed in the October 1997 Walt Disney Pictures has decided to Japan, bringing in sell-out crowds, (2.7) issue of Animation World release the sequel to Toy Story the- long lines at theaters and over $150 Magazine. atrically, rather than directly to video million at the box office in Japan in as originally planned. The comput- 1997. Although the film is known Rhythm & Hues Creates 3-D CGI er animated feature, which began to contain graphic violence, neither Ridefilm. Race for Atlantis, a new production at Pixar’s Richmond, the visuals or the music will be edit- motion simulator ride featuring 3- California-based studio in June ed by Miramax, per strict distribu- D computer animation by Los 1997, will debut in theaters during tion agreement with the film’s pro- Angeles-based Rhythm & Hues, the 1999 holiday season, and com- ducers, Studio Ghibli. Miramax pres- opened in January 1998 at Caesars pete against Fox’s second animated ident Harvey Weinstein said, “With Palace in Las Vegas. The largest feature, Planet Ice Since its theatrical great regard for Mr. Miyazaki, our permanent IMAX attraction of it’s release in 1995, the original Toy plan is to maintain the film’s unique kind, comprised almost entirely of Story has grossed $360 million creative integrity.” However, new animation, Race for Atlantis is worldwide, and sold more than 22 voice tracks will be recorded for a housed in an 82-foot dome with million videocassettes in the U.S. dubbed English version, and Disney the capacity for 108 passengers at alone. Disney and Pixar also is in talks with several actors for the a time. Riders wear individual, wire- announced the cast of actors who parts (it has been unofficially report-

ANIMATION WORLD MAGAZINE March 1998 67 Animation. The tour- Theater, 4/2-4/6), Salt Lake City, ing package pre- Utah (Tower Theater, 4/10-4/16) miered on February and Sacramento, California (4/17- 6 at Cinema Village 4/23). in New York City. Packaged within ani- Visual Effects mated bumpers by Bardel Animation, Fx Affects. Deep Rising, a live- the 90 minute pro- action underwater adventure film gram features 20 released to U.S. audiences on shorts: Malice in January 30, features a monstrous © Manga. Wonderland (1982), animated sea creature created by ed that Leonardo DiCaprio is being a psychedelic night- visual effects and animation teams considered for the role of Ashitaka). mare by Vince Collins, Sex and at Dream Quest Images, With this announcement, Miramax Violence (1997), a series of vignettes Industrial Light & Magic (ILM) joins the alliance formed in July by Bill Plympton, Xerox and Mylar and Banned From The Ranch 1996 between Buena Vista Home (1995), a clay animation cat and Entertainment. The film ranked Entertainment and Tokuma Shoten mouse cartoon by Joel Brinkerhoff sixth in U.S. box office on it’s open- Publishing Company, which brings of Will Vinton Studios, Donor Party ing weekend, bringing in approxi- selected Japanese films from (1993), an experimental computer mately $4.6 million. . . . Paris-based Tokuma’s Studio Ghibli and Daiei animation by Laurence Arcadias, animation and effects studio Studios (Shall We Dance?) to audi- The Hungry Hungry Nipples (1997) SPARX created all of the visual ences outside of Asia, theatrically by Walter Santucci, Beat the Meatles effects for Ma Vie en Rose, winner and on video. No official dates for (1996) by Keith Alcorn, Body of the Golden Globe for best for- “Mononoke Hime’s” release in Directions (1987) by Karl Staven, eign film. The film’s effects were cre- Europe have been announced, but Espresso Depresso (1996) by David ated with Wavefront’s Explore and the film will be screened at the Donar, Junky (1997) by Tony Nittoli, Dynamation software packages. Berlin International Film Festival on Killing Heinz (1996) by Stefan Eling, February 11. Looks Can Kill (1994) by Mr. Television Lawrence, Misfit (1997) by Amanda South Park Feature? South Park, the Enright, Mutilator (1991) a student Vinton Making PJs For Fox. Will outrageous (and outrageously suc- film by Eric Fogel (creator of MTV’s Vinton Studios is starting produc- cessful) animated series created by The Head), American Flatulators tion on The PJs, a stop-motion pup- Trey Parker and Matt Stone is being (1995) by Jeff Sturgis, No More Mr. pet animated series created by considered for development as a Nice Guy (1995) by Brad Schiff, Oh comedian Eddie Murphy, and being feature film. A Comedy Central Julie! (1995) by Frances Lea, The produced by Imagine Television. spokesperson confirmed that the Perfect Man (1997) by Emily Skinner, Writers/executive producers Steve project is in very early stages of Performance Art: Starring Chainsaw Tompkins (The Simpsons) and Larry development and declined to com- Bob (1992) by Brandon McKinney, Wilmore (In Living Color) are writ- ment further. One of the consider- The Saint Inspector (1996) by Mike ing the show, which is about life ations would be whether the film Booth and Sunny Havens (A.K.A. inside an inner city housing project would be able to exhibit the same Meat!!!!) (1995) by Kathryn Travers. (“The PJs” is short for “The Projects”). R-rated content and language as is Following the run in New York (2/6- Hoping to expand on the success contained in the cable TV series, 2/12), General Chaos will be it’s had with The Simpsons and King now in its second season on screened in Los Angeles (Nu Art of the Hill, Fox Broadcasting Co. has Comedy Central.. Theater, 3/6-3/12), Orange County, ordered an initial 13 episodes of The Manga Debuts General Chaos. California (Port Theater, 3/13-3/19), PJs from Will Vinton Studios, and Manga Entertain- ment’s Shorts divi- San Jose, California (Camera plans to air them as a weekly, prime- sion has compiled its first theatrical Cinema, 3/20-3/26), San Francisco time series on the Fox network in compilation of short animated films, (Red Vic Theater, 4/1-4/7), Santa fall 1999. Will Vinton Studios’ Mark General Chaos: Uncensored Cruz, California (Nickelodeon Gustafson (Mr. Resistor) will direct

ANIMATION WORLD MAGAZINE March 1998 68 at least the first six episodes. Vinton ed series: The ture technology to ani- studio heads Tom Turpin and Will Lionhearts (13 mate a CG-rendered Vinton will be executive producers episodes), based on character. “Typically, with Murphy. Murphy will also voice the MGM mascot animated characters the main character, Thurgood and set to be dis- are expected to be Stubbs. In addition to this role, Eddie tributed in the U.S. wacky, eye-popping, Murphy is also the voice of a char- by Claster Television, tongue-wagging car- acter in Disney’s upcoming animat- and Robocop: toons that use extremes ed feature, The Legend of Mulan. Alpha Commando of appearances or (40 episodes) based action to make them UPN To Bring Dilbert To on the live-action entertaining,” said Primetime. Also bringing a new feature, Robocop, to Protozoa’s creative animated series into primetime is be distributed in the director Steve Rein. But U.S. cable network UPN, which just U.S. by Summit Virtual Bill, Protozoa’s 3-D MTV wanted Virtual Bill animated character for MTV ordered 13 episodes of the animat- Media. International was featured on the cover of to be believable. ed series, Dilbert from Columbia sales for both series Animation World Magazine’s Animator Steve Rein TriStar Television. Based on Scott will be handled by February 1998 issue.The added that “photo-real- “Virtual Bill” image is cour- Adams’ popular comic strip about MGM Worldwide tesy of and © MTV Networks. istic humans are a hapless, cubicle-dwelling office Television Group. On extremely hard to worker, Dilbert has the “smart, slight- the development slate are the series, achieve in CGI, especially when the ly subversive appeal” that UPN Stargate: The Animated Series, The subject is such a recognizable fig- hopes will win audiences such as Outer Limits: The Animated Series, ure.” Production on “The State of those which have developed for It’s A Mad, Mad, Mad, Mad World Music Videos” was completed shows like Dr. Katz or South Park on and Tiny Tank, all based on existing before the media frenzy surround- Comedy Central. UPN aims to MGM properties. “These shows are ing Bill Clinton’s alleged affair start- launch the series in late 1998 or a testament to the diversity that will ed, so the special did not include early 1999. Scott Adams, who says become the signature of our future topical jokes on the situation which readers have been begging him to in this business,” said Jay Fukuto, a Protozoa spokesperson noted “isn’t bring the character to TV, will exec- senior vice president of MGM funny yet.” MTV plans to use Virtual utive produce the series with Larry Animation. Home videos in devel- Bill in future broadcasts to respond Charles, whose writing and pro- opment include All Dogs Go to to current events, live on television. ducing credits include live-action Heaven 3, Tom Sawyer, Swiss shows such as Seinfeld and Mad Family Robinson, The Monkees and Commercials About You. Dilbert is the fastest- Jack the Giant Killer. MGM will growing comic strip in syndication, release two home videos during the Spotlight.London, England-based and is the subject of 13 books, holiday 1998 season: The Secret of bolexbrothers created a stop- including the best-selling business Nimh II and An All Dogs Christmas motion animated commercial for book of all time, The Dilbert Carol. Anhauser-Busch. The 30-second Principle. Dilbert made moves into spot features a group of partying animation earlier this year in a web Clinton Virtually On MTV. No, its beer bottles riding in a beer crate cartoon created by Protozoa, and not “Rock the Vote”...it’s “Virtual Bill!” car. The animators were Darren in a series of recent television com- After America tuned in to network Robbie and John Pinfield. Director mercials for Office Depot, created TV on January 27, 1998, for one of Dave Borthwick said, “As the ad was by (Colossal) Pictures. the most-watched State of the all ‘in camera’ action, the main prob- Union addresses in history, MTV lem we faced was lighting the bot- MGM Reveals Animation Slate. viewers were treated to a special tles to look ‘cold and delicious.’ This Five-year-old MGM Animation has called, “The State of Music Videos” was achieved by using resin for the announced several animated series hosted by a 3-D, animated “Virtual cold look and a reflector on each and home videos which are in pro- Bill Clinton.” The very realistic lam- bottle with a lot of overhead light.”. duction and development. Set to poon was created by San Francisco- . . . Portland, Oregon-based Will debut in fall 1998 are two animat- based Protozoa, using motion-cap- Vinton Studios created a 30-sec-

ANIMATION WORLD MAGAZINE March 1998 69 ond stop-motion animat- animated the IBM cor- ed commercial for Chili’s porate logo in a series of Restaurants, featuring spots which aired on two puppet chili peppers PBS, during the IBM- playing music around a sponsored series called campfire. The studio is Science Odyssey and now completing produc- Sessions. The short ids tion on a second spot fea- were created with Flame turing the animated chili software and the peppers. The agency was Quantel Paintbox. . . . GSD&M in Austin, Texas. Boston-based Loconte . . . New York-based stu- Goldman Design creat- dio, The Ink Tank creat- ed a broadcast design ed an animated spot for package for the cable Osco and Lucky Stores. Will Vinton Studios’ Ranch Hand spot for Chili’s. Photo courtesy of network, ESPN’s Titled Words, the 30-sec- Will Vinton Studios. “Speedworld” event. The ond commercial features production on three one-minute project includes 11 ani- animated characters and words spots for The Lord Group, based on mated opening sequences which painted on cels, combined with a illustrations by Maurice Sendak. premiered January 17, 1998 at the photographed “rewards card” from These will join the three spots the Walt Disney World Speedway in the stores. R.O. Blechman was cre- studio has already produced for the Orlando, Florida. ative director and Tissa David was campaign, under the direction of director of animation. The agency Jonathan Hodgson. Sherbet Home Video was Lois EJL in Chicago. The Ink worked with London-based post- Tank also created a series of ani- production facility, The Mill, to devel- Fox Putting $100 Mil. Into mated commercials for the cable op the delicate color schemes Anastasia Video Release. Twentieth network, American Movie Classics which were shot on film and Century Fox Home Entertainment (AMC). The retro-styled spots, titled adjusted in telecine. . . . Toronto- will mount its largest promotional Martini Months, star an animated based Spin Productions created campaign ever for the North amphibian named “Louie the Puppet, a 30-second CGI commer- American home video release of the Lounge Lizard.” The spots, which cial for Midland Walwyn Capital, animated feature, Anastasia on April began airing on February 2, were which first aired during the 28, 1998. The company proclaims produced with cel animation and Canadian broadcast of the that it will invest $100 million on backgrounds created in Photoshop, Superbowl in January. Depicting a advertising and promotion for the then shot on film. . . . London-based city skyscraper being manipulated video, the same amount of money animation studio SHERBET is in like a marionette, the spot was cre- that it cost to build the Phoenix, ated over the course of four Arizona animation facility that pro- months with computer ani- duced the film. “Our independent mation done with research shows that purchase intent AfterEffects, Inferno, for Anastasia is among the highest Photoshop, Amazon 3D we’ve ever seen,” said Pat Wyatt, Paint and Houdini. . . . New who is heading up the campaign York-based Brian Diecks for Fox, “In fact, among the core Design created Designers, VCR households with children a 15-second spot for Hanes under 11, the positive purchase which features an animated intent...is higher than The Little basketball and moving type Mermaid and Flubber,” she added. to sell the underwear. Promotional partners which are Animation for the spot was already in place for the video release created with After Effects. . include Alamo Rent A Car, Sherbet’s Wild Thing spot for The Lord Group. © Continental Airlines, Denny’s restau- 1997 Maurice Sendak. . . New York-based Charlex

ANIMATION WORLD MAGAZINE March 1998 70 film, The Brave Little Toaster, the 7. Initial licensees include Hasbro direct-to-video sequel features voic- (action figures, dolls, games), CUC es by Farah Fawcett, Wayne Knight Software and Titus Software (elec- and Carol Channing. tronic games), Fruit of the Loom (apparel) and Applause (plush, fig- What’s Up, Doc-Umentary. On urines). Additionally, Warner Bros. April 7, 1998 Warner Home Video is lining up promotional partners will release Bugs Bunny’s Elephant such as Wendy’s Restaurants and Parade, Bugs Bunny’s Funky Kraft Foods. Monkeys and Bugs Bunny’s Silly Seals. All three home videos com- Technology bine live-action footage of animals introduced by Looney Tunes char- Tools Of The Trade. acters. Each 30 minute tape will be Alias/Wavefront, a subsidiary of priced at U.S. $9.95. Silicon Graphics which recently pre- miered a new 3-D animation soft- Disney Sets Dates For Miyazaki ware package called Maya (see And DTV Titles. Buena Vista review in February 1998 issue of Home Entertainment (BVHE) will Animation World Magazine), has release Hayao Miyazaki’s animated announced another new product feature film Kiki’s Delivery Service on for creative professionals. “Zapi!t” is Anastasia comes to video on April 28. © home video, on June 22, 1998. a real-time video and audio software Twentieth Century Fox Home Entertainment. Disney acquired U.S. distribution engine for use by animators and rights to eight animated films by the effects artists to capture, modify and rants, Ramada Hotels and Smuckers Japanese director, but Kiki will be output work directly from the com- [jam], in addition to the 45 + the first release. The film, about a puter. It is, of course, compatible licensees which already have young witch seeking her place in with Maya, as well as Anastasia-themed merchandise on the world, will be dubbed in English PowerAnimator and other Alias pro- the market. Each purchased video- with voices by Kirsten Dunst, Phil grams. . . . . Autonomous Effects cassette will also come with a mail- Hartman, Debbie Reynolds, has released “Furrific,” a new plug- in rebate for a free Anastasia toy. Janeane Garofalo and Mathew in which facilitates animation of hair, Fox broadcasting companies such Lawrence. BVHE also announced grass, fur and other strand-like as The Fox Family Channel, Fox Kids 1998 dates for the second video effects in MetaCreations’ 3-D ani- Network and FX will be enlisted to release of The Little Mermaid on mation software, Ray Dream Studio air television advertisements. Priced March 31, and new direct-to-video 5.0 for Macintosh and PC platforms. at U.S. $26.98, the G-rated, 94- titles, Pocahontas: Journey to a New . . . .Metacreations has released minute video will be available in World on August 4, and The Lion version 2.1 of Logomotion, software widescreen and pan-and-scan for- King: Simba’s Pride on October 27. for Windows and Mac which ani- mats, in English and Spanish. Soon mates logos and text for simple to begin international release, Licensing uses, without the use of expensive Anastasia has grossed over $56 mil- or difficult production software. lion in its U.S. theatrical release so WB On “Quest” For Licensees. Logomotion 2.1 is available for U.S. far, and, 24 weeks since its release, Warner Bros. Consumer Products $99. . . .Yoram Gross-Village is still playing in more than 500 U.S. has lined up more than 50 licensees Roadshow (Australia), Tele Images theaters. for Warner Bros. Feature Animation’s (France) and Videal (Germany) are first fully-animated release Quest for using Animo 2-D animation soft- The Brave Toaster Returns. Camelot, which will be hitting the- ware in the production of an ani- Buena Vista Home entertainment aters in June 1998. The merchan- mated TV series called Skippy’s will release a new feature, The Brave dising program for the adven- Adventures in Bushtown. Little Toaster Goes to Mars on video, ture/drama/humor film is aimed at May 19, 1998. Inspired by the 1987 girls age 2 to 11 and boys age 2 to Houdini 2.5 Escapes! Side Effects

ANIMATION WORLD MAGAZINE March 1998 71 game, Takeru: Letter of the Law on March 3, 1998. The game is based on manga/anime characters by Buichi Terasawa.

Education

DHIMA Offers CGI Scholarship. The DH Institute of Media Arts (DHIMA) in Santa Monica, California will give four tuition-paid scholar- ships to its one-year intensive com- puter animation training program. Valued at $13,200 each, the grants include training in Alias/Wavefront PowerAnimator and Composer soft- ware on SGI workstations. Participation is limited to U.S. citi- zens/residents between the ages of

Yoram Gross is using Animo 2-D animation software in the production of the animated 18-35. Applicants should send a series, Skippy’s Adventures in Bushtown resume, statement of purpose and four drawing samples to DHIMA by Software has released version 2.5 Sierra On-line, Knowledge March 9, 1998. A panel of industry of its 3-D animation software, Adventure, Davidson & Associates professionals will select four grant Houdini, and will release a and Blizzard Entertainment, has recipients. Windows NT version in March. been renamed Cendant Software, Houdini is used professionally by a result of the company’s December, For more information, visit the Blue Sky|VIFX, Sony Pictures 1997 merger with HFS DHIMA web site at Imageworks and DreamWorks SKG. Incorporated. . . . Marvel http://www.dhima.com. Side Effects is also introducing new Interactive and Macsoft recently motion-compositing software called released X-Men: Ravages of the SAS Papers Slate. The Society for CHOPs (referring to Channel Apocalypse, a Quake-inspired CD- Animation Studies has selected 32 Operators), which enables anima- Rom game for Macintosh featuring presentations for its 10th annual tors to manipulate motion-capture characters from the “X-MEN” prop- conference, which will take place data and apply facial animation and erty, which is also a comic and ani- August 6-16, 1998, at Chapman lip synch. mated series. . . . . On February 3, University in Orange, California. Disney Interactive released a new Internet & Interactive Windows/Mac hybrid CD-Rom Quick Bytes. The Vrml game based on Consortium announced that the animated Virtual Reality Modeling Language feature, (VRML) has been adopted as an Hercules. The international standard by the film was also International Organization for released on Standardization (ISO) and the video on International Electrochemical February 3. . . . Organization (IEC), which will pro- Software mote content compatibility among Sculptors will developers producing 3-D content release a new for the Internet. . . . CUC Windows/Mac A screen shot from Disney Interactive’s Hades Challenge. © The Interactive, parent company of hybrid CD-Rom Walt Disney Company

ANIMATION WORLD MAGAZINE March 1998 72 Animation;” John Lent and Asli Tunc committee, which will meet in July Scheduled participants and their with “Women and Animation in to review all submitted films. presentations to date are: Turkey;” Richard J. Leskosky with Robin Allan with “Disney’s Make “Animation on the Outer Curve;” For information and entry forms, Mine Music: An End and A Gunilla Muhr with “Aesthetic visit the OIAF web site in AWN’s Beginning;” Keith Bradbury with Strategies of the Disney Studio in Animation Village “Australian Animation Before Disney the 1930s;” Chris Padilla with “The http://www.awn.com/ottawa. in Australia—Harry Julius;” Alan Development of American Bryman with “Theorizing the Early Animation Festivals;” Nick Phillips Sinking Creek/Nashville. The Technologies of Animation;” Rose with “SIIARA and Bob Godfrey;” Luca Sinking Creek Film Celebration, Bond and Ruth Hayes with Raffaelli with “Death and which has changed its name to The “Northwest Animation: The Roots Animation;” John Serpentelli with Nashville Independent Film Festival, of Creative Variance;” Vicki Callahan “From a Child’s Point of View: is accepting entries for its 29th with “Animating the Body in the Animation as an Art Form;” Lynn annual competition until April 3, Virtual Landscape;” Alan Tomlinson with “Launching (From) 1998. Winners will receive cash Cholodenko with “The Illusion of the The Quays;” David Williams with prizes. The festival schedule will Beginning, or, In The Beginning Will “From Cat to Mouse: Sheila Graber, include a presentation by Keith Have Been the End;” Sybil U.K. Animator;” Marcello Zane with Crawford of Cartoon Network. For DelGaudio with “The Hubleys and “The History of Gammafilm Milano entry forms, contact Human Growth;” David Ehrlich with and Their Cartoons During the First [email protected] “The Beginning of ‘ASIFA Presents’ Period of Italian National Television, Collaboration Films: Aesthetic and 1954-1970;” and Barbara Fleisher Zagreb Last Call! If you haven’t Political Problem Solving;” Pierre Zucker with “Anna Curtis Chandler: sent your film in already, be remind- Floquet with “From Tex Avery’s A Storyteller Who Could Keep Them ed that the World Festival of Debut to the Beginning of His End: From the Movies.” Animated Films in Zagreb is accept- Recurring Theme and Evolving ing entry forms for its next festival Style;” Michael Frierson with “Clay For more information about The (June 17-21, 1998) until February Animation in Interactive Games;” Society for Animation Studies, visit 1, 1998. The deadline to send films Tarleton Gillespie with “Toy Story the SAS web site in AWN’s Animation in is March 1, 1998. Zagreb is one and Consumer Culture;” Jeanpaul Village at of the few festivals which are Goergen with “Puppet Animation http://www.awn.com/sas. patronized by ASIFA, offering film- Film in Germany From 1915-1945;” makers protection against loss or Johann Goethals with “The Call for Entries damage to films. For forms and reg- Academy of Ghent: The First ulations, visit the Zagreb web site, Animation Department in Europe;” Ottawa. The Ottawa International accessible through AWN’s Animation Jere Guldin with “Puppetoons Animation Festival (OIAF) is now Village. Screening and Panel on the Future accepting entries for its 1998 com- of Stop-Motion Animation;” Robert petition program, which will take Events A. Haller with “Jim Davis: The First place September 29-October 4, Eight Years;” J.B. Kaufman with 1998. Animated films completed The World Summit On Television “Variations in Early Disney after July 1, 1996 are eligible. There For Children will hold its second Animation;” Wendy Jackson with is no entry fee and the deadline for annual conference, March 9-13, “Czech Animation Under Soviet submissions is July 1, 1998. In addi- 1998 in London. Aimed at creating Occupation;” Tom Klein with “Tex tion to eight existing categories, a a forum for discussion among peo- Avery on Trial!;” Scott Kravitz with new “Interactive Animation” cate- ple involved in children’s television, “Individual Responsibility and gory has been added for animation the event will bring together about Personal Ethics for Artists;” Rune in multimedia games. Alexander 1,000 broadcasters, producers, writ- Kreutz with “Absolute Films and the Tatarsky (Russia), Edwin Carels ers, politicians, regulators, teachers, Consequences of Abstraction;” Mark (Belgium), Christine Panushka (USA) academics and even children, for Langer with “The Freak Show and Adam Shaheen (Canada) have seminars, panel debates, workshops Cultural Tradition in American been invited to be on the selection and screenings. Scheduled partici-

ANIMATION WORLD MAGAZINE March 1998 73 pants include Micheline Charest of • Famous Fred, a TVC Cartoons International Television and Cinema Cinar Films, Sunil Doshi of Alliance production directed by Joanna Advertising, Computer Animation: Media, Christopher Grace of S4C, Quinn. Gold: Reebok: Skeleton for Reebok Brian Henson of The Jim Henson • Redux Riding Hood, a Walt by Garner Maclennan Design Company, Robby London of DIC Disney Television Animation pro- (Australia) Entertainment and Michael Rose of duction directed by Steve Silver: Battery Gim for Panasonic Aardman Animations. For informa- Moore. Alkaline Battery by Tohokushinsa tion, visit www.childrens- • Geri’s Game, a Pixar production Film Corporation (Japan) and summit.org. directed by Jan Pinkava. Magical World of Disney produced • The Old Lady and the Pigeons, through the agency Pittard Sullivan The Second World Summit on a Pascal Blais production direct- (U.S.). Television for Children will be ed by Sylvain Chomet. Bronze: Orkin Man for Orkin Pest reviewed in the April 1998 issue of The winning film will be announced Control produced through the Animation World Magazine. during the 70th annual Academy agency J. Walter Thomson (U.S.). Awards ceremony on March 23, Imagina, a computer conference 1998 in Los Angeles. International Television and Cinema and festival which is often referred Advertising, Non-Computer to as the European equivalent to Visit Animation World Network’s spe- Animation: SIGGRAPH, will take place in cial Oscars Report to read about the Gold: Toys for Nissan by Will Vinton Monaco, March 4-6, 1998. films, view Quicktime movies and Studios (U.S.) Scheduled programs include an vote for your favorite film, on-line Silver: Rocky for Pepsi-Lipton “Brisk” exhibition of companies, and round at http://www.awn.com/oscars. Iced Tea by Loose Moose (U.K.) table discussions on the topics of Bronze: Stone Family for Culligan “web cast,” “agents and creatures” Academy Honors Animators. The International by Grant Jacoby Inc. and “digital writing and produc- Academy of Motion Picture Arts and (U.S.) tion.” Panel participants will repre- Sciences announced this year’s hon- sent companies such as Real orees for scientific and technical International Television Networks, Microsoft, Interval achievement, a category Programming and Promotion, Non- Research Corporation, ILM and Sony announced in advance of the Oscar Computer Animation: Pictures Imageworks. ceremony. Honorees were recog- Gold: Disney Channel Repositioning nized at an awards presentation din- by Lee Hunt Associates (U.S.) and Imagina ‘98 will be reviewed in the ner on February 28, 1998 at the Sunny Side of Life for Turner Classic April 1998 issue of Animation World Regent Beverly Wilshire Hotel. Movies. Magazine. Innovators being recognized Silver: The Ambiguously Gay Duo include Pixar employees Eben for NBC/ “Saturday Night Live” by For registration information, visit the Ostby, Bill Reeves and Tom Duff for J.J. Sedelmaier Productions (U.S.) Imagina web site. designing the studio’s 3-D comput- and Testament: The Bible in at www.ina.fr/INA/Imagina er animation system, and Tom Animation: Joseph by S4C (U.K.) Porter for digital painting. Animation Bronze: Arena: Sci-Fi for XYZ Awards systems developed by PDI and Side Entertainment c/o Foxtel by Garner Effects Software will also be hon- Maclennan Design (Australia). Oscar Noms Announced. The ored, and Don Iwerks will receive Academy of Motion Picture Arts & the Gordon E. Sawyer Award. International Non-Broadcast Media, Sciences announced the Academy Animated Short Film: Award/Oscar nominees for films New York Festivals. The AME Gold: Redux Riding Hood by Walt made in 1997. The nominees in the International Awards, part of The Disney Television Animation (U.S.). Best Animated Short Film category New York Festivals, were presented Silver: Wat’s Pig by Aardman are: on January 23, 1998 at the Marriot Animations (U.K.) and Loose Tooth • The Mermaid, a Studio Shar pro- Marquis in New York City. Animation by McCaulla Productions (U.S.) duction directed by Alexander category winners include: Bronze: not awarded. Petrov.

ANIMATION WORLD MAGAZINE March 1998 74 ANIMATION WORLD MAGAZINE March 1998 75 On A Desert Island With...Pre-Production People compiled by Wendy Jackson

his month we asked people involved in animation pre-production to tell us what animated films they would want with them if they were stranded on a desert island. Maurice Noble is a background design- Ter who has been working in the industry for over 65 years, and is still active today. His impressive list of credits include design for several of the films on his list: Snow White, What’s Opera Doc?,The Dot and the Line and How the Grinch Stole Christmas. Wes Archer is an animator and director currently working at Film Roman on the prime time series, King of the Hill. John Ramirez is a story/development artist at Warner Bros. Feature Animation, currently working on The Zoo. His recent projects include Hercules and Toy Story 2 at Walt Disney Feature Animation, where he was also an assistant to Andreas Deja on Aladdin and The Lion King. What do these three people all have in common? As pre-production artists, they have all found much inspiration in the work of their predecessors and contemporaries.

Maurice Noble’s Favorites: Wes Archer’s Selections: 1. Dumbo (Disney). 1. Feats of Clay, a recent compilation of clay ani- 2. Snow White (Disney). mated shorts. 3. Fantasia (Disney). 3. Sinbad the Sailor produced by Ub Iwerks. 4. What’s Opera, Doc? (Warner Bros.). 4. The Sour Puss supervised by Robert Clampett. 5. From A to Z (Warner Bros.). 5. Allegro non Troppo by Bruno Bozzetto. 6. Charlie Brown’s Christmas (Bill Melendez Productions). 6. Mazinger vs. Dark General (Toei Animation, 1974). 7. How the Grinch Stole Christmas (MGM). 7. “Space Madness,” an episode of Ren & Stimpy 8. Moonbird by John Hubley. directed by John Kricfalusi. 9. The Dot and the Line (MGM). 8. Any short film by Oskar Fishinger. 10. Duck Amuck (Warner Bros.). 9. “The Purge,” an episode of Aeon Flux directed by Peter Chung. 10. “Two Bad Neighbors,” an episode of The Simpsons directed by me, Wes Archer (I am an ego- tistical bastard). John Ramirez’s Top Ten: “These films for one reason or another have great moments in them. I never get tired of watching them!” 1. The Big Snit by Richard Condie. 2. Toy Story (Pixar/Disney). 3. Allegro non Troppo by Bruno Bozzetto. 4. La Puta (Studio Ghibli). 5. My Neighbor Totoro (Studio Ghibli). 6. Kiki’s Delivery Service (Studio Ghibli). 7. Keisei Tanuki Gassen Pom Poko (Studio Ghibli). 8. 101 Dalmatians (Disney). 9. Peter Pan (Disney). 10. Hoppity Goes To Town (Mr. Bugs Goes To Town) (Fleischer Studios).

ANIMATION WORLD MAGAZINE March 1998 76 The Dirty Birdy

Sorry,Sorry, DirtyDirty BirdyBirdy couldn’tcouldn’t bebe foundfound thisthis monthmonth duedue toto allall hishis travelstravels By John Dilworth

ANIMATION WORLD MAGAZINE March 1998 77 Animation in Unexpected Places April 1998

hey use animation for that? This month, Animation World Magazine delves into labora- tories, courtrooms, architecture firms, military installations, space and microspace to dis- Tcover uses for animation where you probably never expected to find it. Silicon Graphics does a lot more than create life-like dinosaurs. We will profile this leader and discuss the many “other” sides of SGI. Wilson Lazaretti will tell us about his experiences teaching anima- tion deep in the Amazon rainforest where electricity does not yet reach. Plus, Mark Langer will also enlighten us on what Disney has to do with atomic energy, General Dynamics and the USS Nautilus. We are also going to take a look at fan phenomena this month. Dominic Schreiber is going to reveal what elements our favorite shows have in common.

We will also feature an interview with Max Howard on the eve of the release of Quest for Camelot, Warner Bros. Feature Animation’s first fully-animated picture. In addition, the UCLA Film and Television Archive will be profiled. In the way of event reviews and previews we have a gang of them this month. Rugrats Live, Nickelodeon’s traveling stage show coming to a town near you, is reviewed by Ron MacFarlane. We will also hear reports on the Brussels Cartoon and Animated Film Festival in Belgium, MILIA International Content Market for Interactive Media in Cannes, France, and The Second World Summit on Television for Children being held in London. NATPE’s AniFX, an event to take place in Los Angeles this May, will be previewed as well. Animation World Magazine 1998 Calendar

Animation in Unexpected Places (June)

Visual effects and Experimental Animation (April)

Jobs and Education (May)

Adult Animation (July)

ANIMATION WORLD MAGAZINE March 1998 78