I can't even begin to imagine working in feet. I'm a computer animator in the visual effects industry ans all my time thinking is in frames and seconds. I have a feeling that as computers become ever more prevalent, the imerical length relation to time will be phased out...
gBy:Geoffrey Hancock (not verified)
- Well done Doctor. You not only continue to rock...but you rock FINE...very fine.By:Animation Pimp (not verified)
- the magic of choriography? between, imagery, music, dialoge.. and a touch of surrealism... viola. Instant communication on emotional ( music) versal (imageery) and the celebreal. try the emotional range, insteada the delivery. patBy:pat donovan (not verified)
As a long-time Tom and Jerry fan and cartoon watcher, I found this chapter to be very informative about the Tom and Jerry shorts you produced. Personally, I've always liked most of the Tom and Jerry cartoons from the 1940-57 originals all the way up to Filmation's "Tom and Jerry Comedy Show" in 1980. (Filmation's cartoons kinda looked similar to yours sometimes.)
One small correction I should make is that your total number of T&J shorts is actually 13, not twelve, according to Patric Brion's "Tom and Jerry: The Definitive Guide To Their Animated Adventures" (which is not that definative, as the TV cartoon episodes aren't listed.)By:Howard Perry (not verified)
- I happen to be a musician, and one of the reasons I got into animation was to create images to go with my music. I think that music has as much reason to be in animation as does color, to add atmosphere. I agree that music is sometimes inapropriately used (the use of music in Heavy Metal 2000 was the worst I have ever encountered, not that is was particularly good in any other aspect to begin with). I personally believe that music in animation, when used correctly, should not be easily detected.By:Zach Middleton (not verified)
- I sort of brushed off Iron Giant a little fast. As I was reminded, the nifty 50s soundtrack was used primarily as a diagetic device (ie. radios in the film). In fact in terms of animation feature soundtracks, Iron Giant is arguably one of the best.By:Animation Pimp (not verified)
- And is it ANY surprise when a song from the current Disney dooflop gets an Oscar nom? Tell me you're not shocked when Elton John gets the statuette. Tell me you were horrified when "Blame Canada" from "South Park: Bigger, Longer, Uncut" didn't get it, and it went to Phill Collins instead. Tell me you didn't hear "A Whole New World" in "Alladin" and say to yourself, "Well, THAT one's gonna get played into the ground on lite radio across the land". If you said "no" to any of these, you're either being sarcastic or a liar.By:Ben Panced (not verified)
- Duka, Absolutely delightfull and refreshing. We must have bumped into each other at Chouinard in 1958. Hope you make it to Annecy next year also. Lorraine Marue-MimuraBy:Loraine Marue-Mimura (not verified)
- I was blown away. This work is not only interesting, but actually enchanting. More, I want more.By:paul schwartz (not verified)
- In my unbiased opinion the sketchbook by Don Duga is just great.By:Larry Duga (not verified)
- I totally agree with the first writer.By:Sharon (Duga) Kamens (not verified)
- Just one comment on demo reels. After a little over three years in a graphic house I have noticed that one very crucial thing about demo reels is quality. Too many people seem overly concerned about cramming much of their (hard) work into a demo reel. My experience has been that your whole presentation could be 3 to 4 minutes long, which is enough for production heads to see whether you have the talent required or not. Applicants should focus on finishing and tweaking their work, even if it's just one piece, to their best level. A good sense of composition, timing, style, color, detail, artistry, etc., WILL be obvious and will show. A good producer or lead animator/director will see it. Cramming as much of your work as you can, with just mediocre work, will invariably simply bore the viewer. Quality, not Quantity. It's send your best, not the most.By:Christian Argueta (not verified)
You are describing a situation that also applied in the eighties when I worked with Hungarian artists who were brilliantly talented but who worked to a different animation 'system'. I think it is more important to have the artwork on screen, not in the charting/numbering. If you play in an orchestra, the instructions on the score are in Italian. Finito. They are in Italian because that is the agreed-upon shorthand for various musical phrases and expressions. An exposure sheet is just like sheet music. You can't play the tune if you can't read the music. Improvisation is great, but it should be in the animation, not in the production.
Thanks again for the great site and great information.By:Nancy Beiman (not verified)
- Pimp, what do you expect? This film was largely a parody of fairy tales (specifically Disney fairy tales) that was intended to appeal to the regular audience for those same fairy tales. If you're looking in a major studio mainstream picture of ANY kind (not just animated) for something that challenges the audience, you must think it's 1967 or something. (For historical reference, that was when "Bonnie and Clyde" was released.) It's a pity that the megacorps who own the major studios don't see that something unexpected, even controversial, might actually attract an audience that's getting bored with the same old thing. As it is, given the environment, "Shrek" was remarkably fresh and appealing. It will be hard for Disney to do their traditional fairy tale movies from now on, just like it was near-impossible to do a real Western, a space opera or a classic horror story after Mel Brooks did his parodies of those genres. You want something to shake you up, stick to films made or shown in college film courses. But don't go to a Don Ho concert if you don't want to hear "Tiny Bubbles."By:Thomas Reed (not verified)
- Ya see this is the very problem. Despite making it clear in virtually all the Pimps that I know we shouldn't expect much from mainstream dribbles...seems some of u miss this. Of COURSE I don't expect any better...BUT I demand better. I mean...should we just sit back and ACCEPT things as they are? I don't think so...and I don't for a second believe that most people are even aware of how they are being influenced (not just through one picture but over the course of time by media and society in general) by these films. Shrek and a lot drek like it are quietly reinforcing value systems inside people. The Pimp take on it is simply to breakdown what people are taking for granted and show them that what they assume is NATURAL is nowhere near the case. Kinda like a biology lesson. That saying silence=death exists for a reason. If the Pimp says nothing...we don't have this dialogue. Right?By:Animation Pimp (not verified)
HI Gene, I'm enjoying reminiscing about the years you cover in animation. About the UPA staff photo, the caption requires editing. I don't know who everybody is, but I do know that the following names are improperly noted: Back Row: Grim Natwick on the left and Abe Liss in the center. Front row is Don McCormick on the left and Gene Deitch second from right. Wardell Gaynor is not in this photo although he was a super cameraman and should be there.
Howard BeckermanBy:Howard Beckerman (not verified)
- I agree that The Twelve should have been shown. Yes, discrimination and racism exist. One of the ways that we can help to eliminate them is to learn from our mistakes. Our children are not going to learn to respect all people reguardless of skin color or ethinic status unless we help to make them aware. They need to know what happened in the past so that they are able to determine that it was wrong and take the steps to prevent it from happening. Blocking what happened in the past will not benefit anyone. You cannot erase discrimination and racism like they never existed, but you can help to prevent it in the future, through awarness and knowledge.By:Sam Tallman (not verified)
My name was omitted in the list of Terrytoon staff people at the time of Gene's regime. I sat next to the LISTED "M. Hurley" (Maureen Hurley) where we both began on the very same day, JUNE 11, 1956 as opaaquers...later rising through the ranks as inkers..
I had the honor of personally inking completely, both the entire cinemascope feature, Bob Blechman's "The Juggler of Our Lady" and 'FLEBUS.'
In 1959 Maureen and I married and recently celebrated 42 years of married life...I went on to become an Animator, and I'm still Animating and Directing, having spent all my life working in Feature films, TV specials and serials, but primarily animating Television Commercials, alongside many of the greats in the industry...Shamus Culhane, Bill Tytla, Dick Williams, Jim Tyer, Jack Zander, Art Babbitt and countless others.
I'm proud to say I learned an awful lot in my early days from being in the shadow of a truly talented animation master, Gene Deitch. Thanks, Gene !
D0UG CRANEBy:Doug Crane (not verified)
- Dr. Toon wonders whether the showing of one cartoon exceeds the stereotypical racism of a sproting event. My question is: why does it have to? Judge it on its own merit. While I think there is value in highlighting these 12 as documentary of offense (as well as staining the intelectual properties of the venerable AOL/WB/WeOwnYouCorp) I must say I applaud their decision to hold them back from broadcast. Levi Strauss used to advertise that their blue jeans were made with "100% White Labor" as a sign of quality (and perhaps sterility?). Sure, it should be documented, by do we thumb our noses at Levi's for not including that tag line in their ads today? And just like Levi's jeans, Bugs is not art: Bugs is business.By:leMel 42 (not verified)
- I agree with all the opinions on the pseudo-progessive stuff attempted in Shrek with regard to relationships, but was that really such a surprise in a movie that was really hiding a totally conventional approach behind an ironic (and sometimes annoyingly smug) facade? It felt it HAD to have the comic sidekick (voiced by Eddie Murphy in exactly the same mode he used for the sidekick he played in Mulan)? He was the Jar Jar Binks of Shrek for me, and everything he did or said grated on my nerves. And there IS something weird about trying to teach a lesson about "looks don't matter" and then keeping the "unattractive" characters together, as if apples are only attracted to apples (figuratively speaking) - not to mention the evil prince being fairly "attractiveness challenged" too, being too short. The relationship snafus didn't surprise me at all, because I thought the movie was mostly bad - beginning w/the rehash of Mike Meyer's Fat Bastard/Scottish dad schtick, and the AWFUL soundtrack choices. That soundtrack will date that movie in six months, when the flash in the pans used on it are history. (yes, I realize there were older songs on it too, but as a for instance--the title song is way too dependent on what's happened in the last five pop culture minutes). I thought the self-referential stuff got old pretty quick and interfered with the sincerity of the movie; seems they should've made a choice either to be ironic or to be sincere...trying to make the two fit in one movie didn't work out. The writers also seemed to be afraid the audience wouldn't be quick enough to catch the jokes and would hit you over the head with them - I thought of Toy Story, and how deftly the writing on that movie was handled. There were adult jokes, jokes pertaining to a broader cultural spectrum than just the animated film, as well as self-referential gags about Disney, but the movie didn't slow down for those, for fear we wouldn't get them. Shrek was overall so heavy handed - dependent on the technology to carry the day, and that was the mistake--it tended to make us too conscious of the rendering process, and less focused on the emotional content. looks like they tried to use a tongue in cheek attitude and slick animation to try to cover up a weak, and extremely conventional storyline. BIG disappointment.By:Neilie Johnson (not verified)