The Animation Pimp: Like Everyone, I’m Not Like Everybody Else

The Pimp bemuses charlatans and Ottawa’s funding fiasco in this month’s edition.
Posted In | Magazines: AnimationWorld | Columns: The Animation Pimp

Ah yeah, so as I was saying, I was really an outsider when I came into this scene, and, despite the many things that the OIAF and the animation world have given me materially and intellectually, I’ve pretty much remained near the border — hey the phone just rang! Friend of mine from a big studio. We started talking about this whole identity thing and maybe the big difference would be that no one will talk to you anymore because they don’t need you anymore. We agreed that that’s not a bad thing — anyway sorry I mean for the last few years, I’ve worked my way more towards the… umm… literary world, I guess. Let’s face it, most of my ‘animation’ writing these days, for example, uses animation as a bridge, beard, guise and cloak to get to the ‘bigger’ issues in my life and yours (e.g., finding good porn to stroke or finger to). And, slowly but surely, I’ve been writing more outside the animation world, so I’ve been slowly preparing myself for that day when I bid adieu to the animation scene. But still, it’s tough, like a death or divorce, and maybe that’s the final step I needed. After two-plus boozeless years, a sharper healthier mind/body, maybe this was the last step toward shedding off some dead skin.

Maybe. Maybe not. The same week we got the funding cut news, I was watching this incredible boxing match between Micky Ward and Canadian Arturo Gatti. These two beat the shit out of each other in three separate matches. In this second fight, Gatti smashed Ward’s eardrum with a hard right. Ward lost all balance, stumbled, turned and fell toward the corner of the ring. He managed to keep standing, but with two minutes to go in the round, and his equilibrium absent, there was no way he’d be standing much longer. Gatti came at him with more jabs, hooks and rights, but Ward did not go down. Crazy Irish Micky not only came out of the round, he went the whole 10 rounds. During that fight, I decided that I was not going to let the Ottawa festival die… that no matter how much I wanted to get out of the festival biz, I was NOT going to let it get TKO’d on my watch.

Then came the bizarre and tragic news that the festival’s co-founder, Kelly O’Brien died. She died alone in her home. No one is quite sure how, just yet. How weird is it, that the news that the festival’s founder comes out the very week the festival’s existence is threatened? I’m not much for voodoo and assorted magic, but THAT was too strange. Kelly was a really positive person. I only met her during Ottawa ‘96 — when we had invited all the old directors to come for the 20th anniversary. I had a few phone chats with her, and she was just so damn enthusiastic (and I don’t mean in a retarded way). Anyway, I read some old catalogs, checked the old files, talked to Frank Taylor (another former director) and realized that this festival has always had these sorts of battles. It’s entire history has been a bloody Ward-Gatti fight. So her death sort of re-charged me a bit, made me want to say thanks to her, made me want to let her know that she didnt really die alone, that her work (with Frederick Manter) and ours meant something, that it touched thousands upon thousands of lives from John Lasseter and Nick Park to lesser known students, animators, teachers and industry folk. What else is there to live or die for?

Identity. I’ve talked about it before and, specifically, how we create identities for others and even define those around us. Who are we? How do we define who we are? I remember studying a bit of that French head-studying guy, Jacques Lacan. I always liked the things I managed to understand in his writing. Let me try and shrinkwrap it. As babies, early on we see everything around us as one, We are linked to it. Everything is whole. Then comes the mirror stage when the baby recognizes itself in the mirror, when he/she sees for the first time that they are not connected with all those other images around them. They immediately sense that there is a gap, that they are incomplete, a fragment.

This lack is the backbone of human nature and it creates desire. We desire to fill this lack. BUT… it’s a lack that is just an illusion. We spend our entire lives desiring and craving something that doesn’t exist to begin with. (Advertising fucks have clearly read some of Lacan because they are continually — and I mean CONTINUALLY — telling us that we’re missing something, that we’re incomplete people, and that if we buy their TV, radio, stereo, CDs, books, hand lotion, toilet paper, coffee, liquor, car, house, frying pan, cups, plates, forks, shirts, shoes, hats, tampons, vaginal itch cream, anti-aging, anti-depressant, cottage cheese, low-fat, low-carb, gut-buster condoms, we WILL fill that lack.)







Comments


Chris , you amaze me sometimes. I have heard you called every name in the book (even threw in some myself) but what is shocking is that no matter what the extreme description they must add the word "intelligent" to it. Your thoughts on status/position becoming identity (and the downfalls of it) were about as perceptive as is possible. To go further , to accept a job as an identity is to give up your real identity and that is the saddest part of all. To lose that part of yourself whether by choice or by weakness. In many ways the temporary collapse of 2D is a godsend in that so many lives will now be realigned and freed from what otherwise would be a long empty road . All change is good though it might not be apparent initially. The important thing is that those who follow ( in 3D) will be subject to the same temptation . To the same submersion . Perhaps that concept of self is the first thing every artist should be taught but whatever the case as long as people are encouraged to define themselves by their position they are in danger of the waking bitch slap. You are weird but I like your rambling. Definately worth reading.
Dave You Know Who (not verified) | Tue, 08/19/2003 - 00:00 | Permalink
Chris, Glad to hear you're back afloat. I found your article fascinating, particularly considering it really didn't say much at all. Just stream of consciousness ramblings of a stressfull period. (Yes, men have those too…) And BTW, your book looks lovely. Congratulations on finishing that. You know I'd like to see the animation community take one collective chill pill. I am full with all the lousy one-upmanship and villainizing going on behind the scenes and I'd like to see folks take a step back and think about what this medium is FOR. Storytelling is all about life lessons. Teaching and learning and sharing experiences with humanity. (And if apon reading this anybody feels their toes trodden on, it's time you kept your feet under your own special chair.) We have to quit spouting the same rotten behavior we complain about all the time. Enough with the whining victim! Tear off that dunce cap-- toss it at the moon! We all have common experiences and we all need to build bridges of understanding between the members of our community. When it starts being about the story and the people, it stops being about who has the biggest brick ;o) Who the heck am I, You ask, to have these opinions and no mega-blockbuster-ego to accompany them? Never-you-mind. You all just go take a look inside yourselves and it'll all come clear in no time at all. And if that doesn't work, there are always those cool tablets… :o)
Christina Lane (not verified) | Sat, 08/09/2003 - 00:00 | Permalink
Excellent article Mr. Pimp. I was aware of the Ottawa situation and I'm glad to hear from somebody that everything is back on track. Just on a side note, I'm really glad that you touched upon a few subjects that coincidentally relate to a 2-year research project in film theory that I've been doing. Your thoughts on identity are spot on, and are especially important to both cinema and animation. I think the reason why neither forms have really progressed in the past few decades is becuase of our belief in the "true soul" or our "true identity." If you were to look at a still photograph, is the human figure (if there is one) objectively above anything else in the picture? Think for a second. A picture by nature is flat, and so by nature all parts of that photograph are a sum of the whole. Except for pornography (which ironically most cinema is closest to in form), a great photograph is aestically moving because of it's entire image, where lighting, composition, color and subject only SERVE to create a total emotional experience. Motion photography (movies), I think, should follow the same logic. To take your Lacan reference, a baby first sees itself as a part of the world around itself. I think in order to create the more viscerally true movie, one must also revert back to this way of vision. Most movies, both animated and live-action, almost narcissistically focus upon human beings and our internal problems and desires, with a complete disregard for the world surrounding us. This is probably why Americans makes the most blatant of these movies, since our values focus on the individual, or the "little man" (Seabiscuit anyone?) succeeding by overcoming the "oppressive forces of the world." Heck, it's even how America was founded in the first place. At least in some Asian movies you see some hint of an interest in the overall world around them. Perhaps if we were to create movies that focused on the outsides of ourselves: where our identity is the moment in which we exist where we are just a part of a bigger whole where the world DOES NOT revolve around any one person, then we could create movies that meet the bar of say SHAKESPEARE or BACH, or even JIMI HENDRIX. These are just naive, innocent thoughts though, spurred on by the Great Animation Pimp's mentioning of both "Freud" and "Lacan" in front of a college film student. Still have much to learn. Still learning much. How's that for honesty!
John Henry, III (not verified) | Fri, 08/08/2003 - 00:00 | Permalink

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