Archive for the 'Cartoons & Animation' Category

My Plan to Destroy Journalism

Okay, so I haven’t been showing Crabapple Cove much love of late, but I’ve been feeling a little tired and uninspired. I’m sure you know the drill. There’s also another reason — I’ve been moonlighting. I ran across a solicitation for contributors from national site Examiner.com. I cycled through their wants, did not see a listing for a correspondent for cartoons and animation, and politely asked if they’d be interested in having one. Oddly enough, they were. After a surprisingly rigorous application process, they offered me the gig. Actually, I shouldn’t use the word “gig” since that implies there’s money to be had. While there is some compensation, it’s pretty minimal — but cash wasn’t really why I signed on. I’ve been doing the column for almost a month and, while I’m still finding my voice and drafting my long-term plan, I am rather enjoying the process.

Stop by, have a look, and tell me what you think…

My Examiner.com column.

Toy Story 3

It’s here and it’s glorious. The trailer for Pixar’s Toy Story 3.

TOY STORY 3

The Princess and the Frog (again)

I do love me some 2D animation. In fact, if I had to choose between the old way and the new, I’d go with hand-drawn every time. (Sorry, Pixar.)

Anyway, here’s a new trailer for The Princess and the Frog. Here’s hoping it’s good…

The Princess and the Frog

By the by, here’s the trailer for The Princess and the Frog that’s currently showing with UP. “Princess ” is the first traditionally animated feature from the Disney Studio since the disastrous Home on the Range. For a while there, it looked as though there would be no more hand-drawn animation from the studio that Walt built, but Michael Eisner was finally deposed and the new CCO (John Lasseter) understands the studio’s roots better than any other executive could. In the wake of Pixar’s early successes, Eisner and other short-sighted executives decided that people didn’t want to see feature length cartoons done the old fashioned way anymore. The very notion that 2D animation was to blame (when, in fact, it was bad storytelling more than anything else) is ludicrous. I think that traditional animation still has a spark that’s lacking in CGI and I trust that the movie-going public will still embrace the format given a well-told tale.

That being said, I’m not sure The Princess and the Frog looks all that amazing based on this trailer, but I’m pulling for it nonetheless.

UP

Pete Docter’s only other film as director is Monster’s Inc. — a decent enough movie, I suppose, but not one of Pixar’s best. “Monsters” certainly doesn’t prepare you for the marvel that is UP. I hesitate to say this, but this tenth movie from the Emeryville studio might just be its best. I hesitate to say it because I have a tendency to deify Brad Bird, and my prior Pixar favorite was The Incredibles. I still think The Incredibles is a tremendous achievement, but UP actually manages to do more with less. It takes a simple premise and a small group of characters and does everything a movie ought to do. It’s got action, it’s got laughter, it’s got tears — in short, it’s got all of the things that any storyteller aspires to deliver. Watching this movie was like watching Pete Docter move up from the minors to The Big Show.

See UP. You’ll love it.

Monsters vs. Aliens (3D)

I can sum up Monsters vs. Aliens for you in two words: “It sucks”. It has none of the charm or the heart of Kung Fu Panda — in fact, it’s so much like the prior (pre-Panda)  entries  from Dreamworks Animation’s back catalog that I’m willing to write off “Panda” as a fluke.  Honestly, I should have known what I was in for given that some of the same minds that brought us Shark Tale were also behind Monsters vs. Aliens.  If you didn’t see Shark Tale, count yourself fortunate:  it’s probably the worst of the Dreamworks movies to date and that’s really saying something. I can’t even quite figure out who “Monsters” was supposed to be for. It’s shot through with broad, easy humor that adults won’t find funny and kids won’t get. In other words, nobody wins.

So, some of you out there might be asking “Okay, fine, but how was the 3D?” I can sum that up in one word: “Meh”. Was it bad? Not at all. Is it the FUTURE of movies as Jeffery Katzenberg and James Cameron would have us believe? I can’t see how it could be. The overall effect wasn’t unpleasant by any means but it also made little to no impression upon me. The truth is, if I never see another film in 3D, I doubt I’ll miss it. Jeff, Jim, c’mere for a sec… You guys want to know the secret to getting an audience and keeping it? You want to know how to get asses in seats? Gather ’round ’cause I’m only going to say this once…

Make better movies.

Update 04/10/09:

Jerry Beck of Cartoon Brew pretty much pops the 3D-is-the-coming-thing balloon in this very well-reasoned piece.

Banjo the Woodpile Cat

A Little History:

‘Round about the mid 1970s, animator Don Bluth was being groomed as a director at Disney Feature Animation, but he had a problem: he wasn’t learning fast enough. It’s long been a rule of thumb that it takes around ten years of dedicated study to become a master animator and Bluth had roughly five years to do it in before more of the fabled Nine Old Men were scheduled to retire. Being sincerely devoted to the art of animation, Bluth and several cohorts decided that they would take on a side project to accelerate the speed with which they were growing as artists. They set up a makeshift production studio in Bluth’s garage and set about creating a thirty minute film which eventually became known as Banjo the Woodpile Cat. They did this with the blessing of the more senior animators at Disney who understood that “Banjo” was designed from the outset to bring its makers up to speed in the techniques of Disney hand-drawn animation. The problem was that those techniques were either rapidly deteriorating or becoming lost all together under a post-Walt management which was severely cost-conscious (and, it might be said, not particularly creative). Bluth and his little band — all of them weaned on such opulently-styled Disney classics as Snow White, Pinocchio, and Bambi –became increasingly disenchanted with the direction of the studio until, finally in 1980, they decided to strike out on their own. “Banjo”, originally designed to prepare them for their future at Disney, became their calling card for a future without Disney. The piece was sufficiently polished to land them a feature deal at MGM, and production began on The Secret of NIMH.  Though not a box office bonanza by any means, “NIMH” recalled the Disney style of old well enough to not only garner critical acclaim but also attract the attention of Steven Spielberg. Bluth’s second feature as director was a co-production with Spielberg: An American Tail. Roughly concurrent with these two productions were the now classic laser disc arcade games Dragon’s Lair and Space Ace for which Bluth et al did the fabulous traditional animation.

It could probably be argued that Bluth’s films became progressively (and perhaps ironically) less and less Disney-like as they went on. Though Don Bluth had a career stretching into the late 1990s, his latter work is generally pretty lackluster both in terms of production value and story quality. Oddly enough, it was Bluth’s defection (along with eighteen other Disney-ites) in 1980 which spurred the studio to rebuild its animation department and eventually rise to great heights again with films like The Little Mermaid, Beauty and the Beast, Aladdin, and The Lion King. Disney was able to “re-Disney-fy” itself, returning to some of the core aesthetic that Walt helped found, while Bluth fell further and further away from the “true faith”. (The less said about films like Rockadoodle and A Troll in Central Park, the better.)

The Banjo DVD:

Bluth himself (who must be pushing 70 by now) just issued a 30th anniversary commemorative edition DVD of Banjo the Woodpile Cat. The show wasn’t just a portfolio piece — it did air on network television in the early 1980s (so it’s not just a footnote in animation history). Having just sat through the program and all of its accompanying extras, I can now say that I wish I had watched the extras first. I watched “Banjo” first and found it to be fairly mediocre; even awkward in places. It was only after I watched the interviews on disc two (and learned some of the history related above) that I appreciated the film in context. Though it’s still not great, it helps to know that “Banjo” was the work of students, attempting to learn their craft in a sincere way which paid homage to the traditions of the medium. As a transitional piece into The Secret of NIMH (which I have fond, if fuzzy memories of) “Banjo” is an interesting curiosity as well. All in all, I’m glad I made this purchase — although I readily concede that it’s probably an item that only animation nerds (such as myself) are likely to pick up.

Pinocchio

Unlike Sleeping Beauty, the first traditionally animated Disney feature to appear on blu-ray disc, the second, Pinocchio, earns the “classic” descriptor without qualifiers. Though both films are visually rich, Pinocchio represents the apex of what Walt and his animators were able to achieve — there is, quite simply, not a better looking animated feature in two-D or three. Another way in which Pinocchio trumps Sleeping Beauty is in raw appeal. When we watch “Beauty”, it is a mostly academic exercise — more than anything else, we are admiring the tremendous background paintings and wonderfully stylized character designs. When we watch Pinocchio, we are invested — we want to see if this little wooden kid makes it through okay because, by golly, we like the guy. Where “Beauty” has cardboard characters doing mostly uninteresting things, Pinocchio has uniformly interesting characters realized not only through sterling animation, but also through impeccable voice acting. Sure, the story’s a little episodic (and has a few too many coincidences), but the pacing — with its pitch-perfect blend of joy, melancholy and horror — is such that one tends to gloss right over the narrative gaffes. Rounding out this neat little package is a wonderful collection of songs with When You Wish Upon a Star being the clear standout. When you listen to Cliff Edwards’ rendition and you pay heed to the lyrics, it’s not hard to see why this song has remained the signature sound of the Disney company for nearly seventy years.

This new blu-ray set of Pinocchio is rounded out with a fine hour-long doc on the making of the picture, as well as a new commentary with Leonard Maltin, animator Eric Goldberg and author J.B. Kaufman. The commentary, while not exactly scintillating, gets the job done with several interesting anecdotes from the panel (although, if you’re a follower of Disney animation, many of them will probably be familiar to you). All in all, this is a terrific release from the good folks at Disney Home Video.

Pixar’s Up

Here’s  the latest trailer for Pixar’s spring release Up. I have to admit that the prior trailers and the things I was reading were leaving me a little cold, but this new preview makes the movie look like good fun.

For those of you keeping track at home, this is post number 501. We’re making history here, people. Can you feel it?

The Pixar Story

The Documentary:

I suppose it’s a little unusual to review a DVD extra by itself, but The Pixar Story is a feature length documentary (and a slickly-made one at that) so why the hell not? All in all, Leslie Iwerks’ look at the history of the Emeryville animation giant is a terrific piece of work. All of the key players are present and accounted for, the timeline of the studio is covered in as much detail as can be expected in an hour and a half, and there are some great rare clips here which will surely be of interest to even the casual fan (early tests combining hand-drawn and computer animation done while John Lasseter was still at Disney, prototype shots done for the first Toy Story, etc.). In particular, I would highly recommend this documentary to anyone who is unfamiliar with the people and events that shaped Pixar and who wants to learn more. The information is neatly and entertainingly dispensed and the whole experience goes down easy.

Here’s the one thing I would object to: Like To Infinity and Beyond (a book which relied heavily on Iwerks’ filmed interviews, by the way), The Pixar Story plays fast and loose with Steve Jobs’ involvement in nurturing the company. If you take either the film or the book at face value, you come off believing that Jobs was a romantic who bought into the dream of feature length computer animation from the get-go. Other sources (such as the book The Pixar Touch) paint a different story. Jobs’ initial interest in Pixar was as a hardware company and he was, at least at first, resistant to the whole animation idea. He came around, to be sure, but not without considerable (alleged) drama. i guess it’s not surprising that a project that got Pixar’s blessing would choose to gloss over the shortcomings of one of its founders. At any rate, this “tidying-up” of Jobs’ image isn’t a deal-breaker; The Pixar Story is still worth your time.

The Disc:

All-in-all, the blu-ray for Wall*E is really terrific. As always, Pixar does a superlative job with their discs. The picture quality is unrivaled, and the included short films are great (especially Presto). I’m still a little befuddled by the adulation the film has recieved, however. A few critics have placed it atop their year-end best lists. Sure, it’s a good movie, but is it really the best of 2008?

Sleeping Beauty

[Updated 10.29.08]

Sleeping Beauty (Two-Disc Platinum Edition + Standard DVD and BD Live) [Blu-ray]

Sleeping Beauty isn’t one of Walt’s best animated features.  In many respects, it’s a triumph of style over substance. The background paintings by Eyvind Earle are stunning in their sheer detail and masterful technique and, coupled with the stylized verticals in the character design, they make “Beauty” look like a medieval tapestry come to life (if that medieval tapestry were somehow filtered through a nineteen-fifties design aesthetic). For me, however, it’s like the filmmakers poured the majority of their efforts into the look of the film and the story suffers a deficit of warmth as a result. As is usually the case in these films, the ostensible heroes of the piece — the prince and princess — are virtual ciphers and the supporting characters are allowed to take center stage. This tendency has never really bothered me, however, since princes and princesses are generally pretty boring people; it’s the sidekicks and villains we’re usually most interested in. The Good Faeries (Beauty’s de facto guardians) are sufficiently motherly and amusing and the villain is a real doozy. Maleficent — despite the blandness of some of the supporting material — is one of Disney’s best villains. Not only is she a chilling presence in every scene she inhabits, she has a speech late in the film where she mocks the prince for his naivete and hope. At the end of this bit of dialogue, Maleficent probably has the audience believing that they may not get their expected happy ending. But this stately and cruel villainess is not enough to lift Sleeping Beauty to the level of the great Disney animated features that preceded it (or the ones the followed it in the late nineteen-eighties and nineteen-nineties). Although the film is indisputably gorgeous, the story obviously never received the much-vaunted input of Walt himself. No, by 1959, Walt was much too interested in theme parks, and television, and live action fare like 20,000 Leagues Under the Sea to give animation the loving attention it once enjoyed. Does that mean Sleeping Beauty wasn’t worth my time? On the contrary, it’s a perfectly enjoyable way to spend 75 minutes. It’s just not one of the true classics is all.

In parting, let me just say that “Beauty” was a terrific choice for the first ever Disney animated feature on Blu-ray. The aforementioned detail really pops on this new high definition disc. Both the sound and picture were superlative. Soon I may even violate a long-standing rule of mine and listen to the disc’s audio commentary which features John Lasseter, Leonard Maltin and animator Andreas Deja — three guys I really admire and respect.

[I tend to avoid audio commentaries for two reasons: 1) Time is fleeting and death awaits and 2) Most of them suck.]

The Commentary:

Well, I did indeed listen to the commentary track and it didn’t suck at all. The aforementioned Maltin, Deja and Lasseter are all obvious fans of the work and their knowledge and enthusiasm made for a very pleasant 75 minutes of audio. The comments of the three hosts are periodically bolstered by the addition of archival audio from some of the men who actually worked on Sleeping Beauty (including Walt Disney himself).  Out of everyone, I’d say Lasseter brings the least to the table (he comes off more as a fan than an expert), but this is a very minor criticism.

I have no qualms at all in telling you that, if you bought the disc, you should definitely put in another viewing to experience the commentary.

Character Animation Crash Course

Character Animation Crash Course!

Just to give you laypeople a little background, the new book Character Animation Crash Course was written by Eric Goldberg, a giant in the field of character animation. He’s probably best known for his inspired and madcap animation of the genie in Aladdin. Given his esteemed reputation, I was looking forward to the book quite a lot and I was ultimately disappointed by it. Well, to be more precise, I was both disappointed by it and not. Let me explain. There’s nothing wrong with the book as it stands — it has some genuinely terrific information in it — but like nearly every other book on animation to date, it’s not so much a systematic how-to as it is a collection of formulae. I own quite a number of books on the subject and I’ve often thought that I could use an index of all of them so that I knew which “magic recipe” was in which book. As it is, I often forget that I have perfectly good information on a particular aspect of the craft just because that information is spread out across numerous sources. It’s occurred to me on several occasions that we as animators don’t really have a “Unified Field Theory” of animation. The closest we come is the great Disney Animation: The Illusion of Life by Frank Thomas and Ollie Johnston. That book, as terrific as it is, is just as much about the Disney Studio’s proprietary methods and history as it is about the craft of animation. I’ve wondered from time to time how it is animation is taught in schools. Sadly, my own animation education was scattershot and lacked a cohesive curriculum. How do they teach this stuff in some of the finer schools? What’s the A to Z? Certainly, it can’t involve bopping from old school formula to old school formula. Teaching directly from the books which are currently available would result in an education which I feel would be, well, scattershot.

Anyway, pardon my digressive musings. Perhaps it was unfair of me to graft my expectations and my wants onto Goldberg’s perfectly fine book. It’s just that we’re still lacking that Unified Field Theory.

The Animation Podcast

As some of you may know, I spent several years as a character animator for video games. Recently, I’ve been polishing my old demo reel and so my head has been in a cartoony space — well, cartoonier than usual anyway. Apros pos of that mood, I recently went back and listened to all 28 episodes of Clay Kaytis’ Animation Podcast over again in order. Kaytis started doing the show back in 2005. He’s an animator at Disney and, as such, has access to some real heavyweights in the field. Past interviews have been with John Musker and Ron Clements (directors of The Little Mermaid and Aladdin), Glen Keane (the animator of Beast, Ariel and Tarzan), and James Baxter (the animator of Belle and the animation supervisor for Enchanted). Each of the episodes runs between 30 minutes and an hour with most of the guests appearing across multiple episodes. Kaytis’ interviewing style is laid-back and polite and his own expertise in the field doesn’t hurt one bit. Although this may raise the only red flag that I can think of — occasionally the talk can get a little nuts-and-bolts-y, but I for one don’t really consider that a deterrent. I can enjoy shows about doctors and lawyers without grasping all of the jargon. The hook with those programs is the window into another world. I think you get that exact same experience with the Animation Podcast: a glimpse into a professional realm outside your own. Besides, the vast majority of the material presented is anecdotal or philosophical. The animators and directors mostly talk about their personal histories, the political goings-on behind the scenes and their views on life and art.

Listening to the entire run of shows from start to finish was an absolute pleasure. My only complaint when I got to the end was the fact there were no more episodes (although that’ll change soon — Clay’s getting them out at a rate of about one a month now). Anyway, my gist here is that if you are an animator yourself, an animation fan or if you have just wondered what it might be like in the crazy world of animated film, you need to listen to the Animation Podcast. All of the episodes are available on iTunes. Go. Now.

Wall*E

The Movie:

Wall*E is a good movie. In fact, it’s very good, but I’m just not sure it’s 96% on rotten tomatoes good. There are several Pixar movies I like better and few I don’t like as well (The Incredibles being tops in the plus column and Cars being bottom in the minus). Maybe I was a victim of the hype going into this thing, but it didn’t fire on all cylinders for me. It’s beautiful to look at and I admire the hell out of the fact that it’s mostly told in pantomime (no mean feat to be sure), but there was just something lacking emotionally. A lot of the Pixar stuff really hits me on a gut level, but Wall*E never got there. That doesn’t mean it’s a bad film by any means, but Pixar’s just a victim of their own high standards, I guess. They can’t all be homers. This one’s more like a triple.

The Experience:

I saw Wall*E today through the good graces of ASIFA. The screening was held in the Frank G. Wells Theater on the Disney lot in Burbank. And thus was fulfilled one of my LA fantasies. If you’ve paid even casual attention to this site in the past, you know that a) I’m something of an animation nerd and b) Walt Disney is a personal hero of mine. The Disney lot isn’t typically open to the public so today’s visit was my first after eight years of living in the Los Angeles area.

I neglected to mention in my Kung Fu Panda review that that too was an ASIFA screening. They’re a fine organization and, if you’re an animation fan like myself, you should become a member.

[Pictured above is the animation building on the Walt Disney Studios lot in Burbank. From 1940 through roughly the mid 1980s, this is where all of the Disney animated films were made.]

Update 7/1:

Unfortunate downside to the screening I attended: it did not include Pixar’s new short “Presto”. Lucky for me, iTunes posted the cartoon last night so I snagged it for 2 bucks and gave it a look-see. It’s really terrific. Fun, zippy animation and a decidedly 1940s-1950s studio cartoon vibe. One of Pixar’s best short offerings in years.

And Then There Were None…

Today the last of Walt Disney’s great “Nine Old Men” shuffled off this mortal coil. Ollie Johnston joined the studio in the 1930s and worked on every single animated feature from 1937’s Snow White and the Seven Dwarfs on up through The Fox and the Hound in 1981. With his fellow animators (and most especially his long-time partner in crime Frank Thomas), Johnston helped invent character animation as we know it today. Think about this for a moment: Johnston and company did work which most of the world’s population have seen at one time or another. The golden age of Disney animation is enormous in its cultural impact, and Ollie was right there in the thick of it.

Ollie’s other contribution to the field — co-authoring a book called Disney Animation: the Illusion of Life — is, in some ways, more significant than the scenes he did in all of those classic films. “Illusion” has, in the 25 or so years since its publication, gone on to become the defacto bible for animators young and old alike. I own a copy myself and, despite the fact I’ve read it several times, I always get something new out of it each time I pick it up. It truly is a landmark piece of work.

Animation lost a giant today. Ollie Johnston was 95.

The Illusion of Life: Disney Animation

Walt Disney's Nine Old Men and the Art of Animation