I think not mentioning the 1982 Don Bluth movie "The Secret of Nimh" is quite outragous, as it's widely regarded as one of the best, if not the best, full length animated feature of all time. I don't think there's any doubt that it's Don Bluth's best film. Other than that, keep up the good work!

I went to San Diego in 2000, and will go next year. But you're delusional about the cuisine. The "Top Gun" barbecue joint (where they filmed some of Tom Cruise's scenes for the movie) served dried-out, flavorless food that tasted worse then the actual movie. Some seafood restaurant near my hotel was pricey, had great decor, but a McDonald's Filet-O-Fish would make a better meal. I could take any one of a dozen conventional restaurants from my home town, transplant it in downtown San Diego, and drive those poseurs out of business. Also, you neglected to mention that the con goes to bed at 7 PM, when they roll up the city's sidewalks. A convention like Atlanta's Dragon*Con (where I am trying to encourage greater animation coverage) has all-night raves, room parties, all-night anime in the convention (not hidden in some hotel) and joy among fandom. Although this is a seaport town, there's nothing a sailor would want to do there - or a hard-core fan. While it is a great con, which I will be proud to attend, couldn't they bring a little life to this whitebread Republican town - at least for one weekend?

Sadly, my friend, you missed a few points. There would be no rivalry between anime and American animation, since in the Oscars all foreign films compete under the "Foreign Film" categories. "Mononoke" would have to compete against Czech dramas, Italian Westerns and Irish musicals in that one little category. Also, some of the films you mentioned didn't get theatrical releases. If I recall correctly, "Rainbow Brite and the Star Stealer" was a video presentation you could customize by having your child's picture inserted in the video. The late Gene Siskel used his face in this, when the video was reviewed. Also, did "Transformers: The Movie" really get a theatrical release? It must've been about fifteen minutes long...

Umm...nice job Will. Very funny. Glad to see this fine animator being promoted.

Gene:
First a huge thanks for writing this book. You've got an incredibly unique perspective on the artform and life in general, and I'm so glad you're sharing all these fabulous stories. I'd love to hear more about UPA-New York. As I understand, UPA-NY was one of the most prolific commercial producers of the time, and I'm curious as to how involved the agencies were in the advertising process during the mid-'50s at a studio like UPA. It's always said that animation studios in the '50s had greater creative involvement in the commercial process, but then you say that a Y&R writer created the Bert & Harry campaign. Had the agencies already started providing boards at this time or were ad concepts still mostly thought up by the studios? I'd also be curious to hear what's your take on producing commercials as opposed to shorts and the other long-form animation you were producing later on. Was it more/less enjoyable? As fulfilling creatively? Completely different? That sort of thing.

Also I've heard that you created the original pilot of DUSTY OF THE CIRCUS at UPA-NY which turned into a series for THE GERALD MCBOING BOING SHOW. If that's true, I'd be interested in hearing details on how that came about, what it was originally intended for, etc, etc.

Thanks!
Amid

Jerry, welcome to the AWN team! It will be a joy to see your bright and cogent commentary in the cybermag, as well as an inspiration to those of us in the animation writing community.

Disney "starting" to go downhill? The previous review is just waking up to a trend that has happened over the past eight years or so. Ever since they made the big push into TV animation, the quality has been less than their established standard. I frankly could not see much difference in TV product such as DUCK TALES and TALESPIN as with the product of RUDY-SPEARS and HANNA-BARBERA at the time. The animation in the TV spin-offs of their successful features were not up to their standard either. And the feature animators who put their heart and sole into giving the characters life saw their efforts ruined in the TV reincarnations. Having been involved with animation production for 34 years, and in the Hollywood TV circle the past ten, I have seen a lot of the inner workings and can speak from my experience and observations that go beyond that of the armchair observer. In some instances, there have been some well ani-mated Disney TV series such as WINNIE THE POOH in 1988, and 101 DALMATIONS from three years ago. There have also been some forgotten series such as THE SNOOKUMS AND MEAT FUNNY CARTOON SHOW, which was elaborately animated to no avail. This Disney answer to REN AND STIMPY is now forgotten, and all concerned with it have gone elsewhere. Recent efforts like MOUSE WORKS made a valliant effort to recapture the orignal spirit, but suffered from a lack to time to properly develop story material and animate them with real feeling. There tends to be a quasi full animation attempt in these shows, that are beautifully drawn, but tend to move alike, many times too abruptly, lacking in subtleties and individual personality. Why should Minne move in such a quick, manner as Mickey? I would agree that programs such as RECESS are definately below the Disney standard. One would think that they came out of DIC, and considering that they owned DIC until recently, it would come as no wonder.As for the lack of creativity at Disney, it would seem that it is self-inflicted with the huge bureaucracy that has developed there that tends to seek success formulas over imagination and originality. At times, there have been misplaced people in positions of re-sponsibility who are more concerned with holding onto their pay checks than making revolutionary decisions. I was interviewed for a potential Director's postiion at Disney Interactive a few years ago. Having just done some freelance dircting on a POOH CD-ROM game, I was asked if I had worked for Disney before. I was then asked to show examples of my exposure sheets showing my written directions. When I produced them, showing my action descriptions, track breakdown, and lip assignment, I was asked, "Is this all?" They were expecting to see the numbers for the exposed drawings as well. Obviously, these gentlemen didn't have a clue as to what an Animation Director does, and they were tasked with deciding my fate. Needless to say, I was not hired, and I understand that this division went under. I have continued to work inside and outside of the main-stream, working on shoestring budgets, winning various awards over the past 28 years. It's interesting that others manage to see something in what I do, but it is unfortunate that the people at Disney did not. Perhaps this may partially answer the question.

I just got a dual P4 Xeon with and Elsa Gloria Dcc, dude this machine rox my sox ! I love this card, I got it for under $700 I couldnt be happier. I use a lot of 3d Studio Max and am getting into Maya, and the card is smoother than glass ! On the unhappier note, don't evern buy a hard drive or anything else from Seagate ! My 40 GB hard drive broke after 3 months of use, but I think it was bunk from the get go because it gave my G4 all kinds of problems. Anywho, they won't pay the service fee $80, which is alot for me IM in college, and they're going to send me a rebuilt, previously broken hard drive, not a bran dnew one ! They suck donkey balls ! Dont ever buy any of their products -keith

I like your cartoons, even though I only have Sidney tape. I guess your cartoons are rare. By the way, I think I'm the only 12 years who knows you an the other rare cartoons from other directors. I discovered most rare ones at Toon Tracker and Tonarific. The only reason I know you is because I saw your name credited on Tom and Jerry cartoons, the ones you did in 60s. By the way, do you, like, sell some of tapes containing the cartoons you did?

Hey Jerry Thanks for the comment on Disney being not so original on new shows. Although this new show looks pretty sincere, (probably won't play out that way) I am sick and tired hearing about these shows that are based on kids! Kids that talk perfectly and happen to have a very P.C. group of friends and family. Then they just stand around and talk talk talk! I know to have talking characters is cheaper than actually animating them, but give me a break! Kids HATE watching shows about other kids, it's the parents who think they know what thier kids like! The parents are told what their kids should like and are "herded" by Disney and others into buying all the junk that's associated with them! Disney's going downhill pretty fast! We all know how Walt started the company with his intentions....it's unfortunate that nobody there (or practically anywhere) still carry those intentions. The development guys there are just these untalented schmucks who happened to fall into their postions, now we all have to suffer for their lack of creativity. They don't even know who their predecessors are! I've lost all hope for them when I saw "Recess" and "Lloyd in Space," what peices of unimaginative crap! Well I won't apologize for my sermon, but I am glad to see you part of the AWN group and look forward to reading your future articles. Regards, NMBC

thank you again

Umm...seem to be pushing it here. First off, this book is a disappointment. The photos, as nice are they are, are the same ol' ones we've seen a billion times somewhere else. You'd think, given the beautiful design and layout that they could have found rarer photos. Beyond that the text is little more than placid hagiography that adds nothing to the textual material already out there. And this connection between Keaton and animation ala Ryan is pretty half-assed. "Starred in Lil'Abner." Give me a break. Can we reach for anymore straws behind the couch? Why not mention Gerald Potterton (who went on to direct Heavy Metal)? Potterton, a huge Keaton fan, convinced him to come to Canada to star in a live action short called The Railrodder. There is a DEFINITE and OBVIOUS Keaton influence on animation (and not just animation...check out Jackie Chan's pre-HOllywood films which are very much Keaton influenced to the point where stunts are copied). You can trace it back to animation segments in Keaton's first feature, Three Ages and there are references to Keaton in some bland UB Iwerks film called Soda Jerk. On a more meaty level, you can see the Keaton influence on MANY indepedent animators, most notably Polish animator, Jan Lenica. Lenica's work often features 'stone faced' protagonists. Keaton's stone face features and his elaborate set constructions and stunts were an easy target for caricatures and cartoons. Too bad Ryan didn't take more time to elaborate on his sketchbook notes.

Dear Cartoon Network, I am writing you because it botherd me that the cartoon characters were smoking. I think it is a bad example to little kids. My sister and I were watching the Jetsons cartoon the ohter day and we seen Mister Spacely smoking, It didn't look cool,It wasn't cool. Then the Flintstones cartoon came on and Mr.Slate was also smoking and it wasn't cool. Same day same channel. This time it made us smokin' mad!! An anti-smoking message at the end of the cartoons that have smoking would be GOOD. Sincerly April Priest

Dear Friends I have a cartoon movie for TV format and I would like to sell it, it is going to be completed soon and I will apreciate any information to where can I sell the rights of this production. Sincerely, Carlos

Dear all, I am a Canadian animator/director who's studio (see above)animated the trailer from Filmax's 'El Cid'. I believe this film had one of the best reponses from those presented. I believe it when you say that American distributors would be cautious when dealing with European product. Few producers over here know what it takes or are willing to spend the money it needs to make a feature film under the correct circumstances and until this changes they will never attract the American market. 'Help I'm a Fish' by A-Film are the only ones I've seen with the correct mentality for competitive feature film production based on the animation and direction in Europe on big enough scale and showed that european animation can be competitive in the American market. I think the Cartoon Movie organization should help these producers make realistic conditions for the projects they have to offer. Budgets should coincide with the level of animation required by script and storyboard. Animation and character design should coincide with the level of ability of local animators etc. But these things are not taken into consideration with the result being, that the European market seems unproffessional to outsiders and finally lacking the quality they would expect. Best regards, Chris Doyle Fanciful Arts Animation

Mr Gene Deitch,

You are brilliant and I love you for writing this e-book! As I read this a hundred things are made crystal clear with every chapter. You have changed me. You have made me a better person, a better animator!

Yours...truly,
Frank Silas
Struggling Animator

Hi, Gene. I am a big fan of yours. On your Terrytoon staff list, you also left off animator George Bakes. I worked with George 10 years ago (while in the employ of one of your other ex-employees, Ralph Bakshi). George did some of the best stuff in the picture. Love the book so far.

I seem to recall that the "Popeye" cartoons were being produced simultaneously at several studios, each with their own music and effects. The other studios were Format Films, TV Spots, Larry Harmon Prodctions, and Famous Studios. Famous also produced the "Beatle Bailey" and "Snuffy Smith" cartoons that ran along side of Krazy Kat. Offisa Pup and Ignatz Mouse were voiced by Paul Frees and not Dayton Allen. Also, I seem to recall that a handful of your Popeyes were animated at Halas and Batchelor studios in England.

Dear Editor, This is an excellent article, and I entirely agree with its author. As long as we shell out the dollars for these films, they will keep coming. I, however, had no idea prior to reading this that there were MORE sequels to Disney "classics" in the works. True, I had heard that a Peter Pan sequel was on its way, but I never imagined that the company intended to make a sequel for ALL of its movies. I am an enormous Disney fan, but there is nothing I abhor more than cheap direct-to-video sequels. Disney needs to take some advice from its founder: Walt hated repeating himself ("You can't top pigs with pigs."). I hope someone in the company will have some respect for the men and women who made the original films and put a stop to the sequel mania. -Missy

I imagine that the use of footage as a standard came about because of film editors, who physically cut and spliced the film in short strips and who probably
found it convenient to think in terms of length. There are stories of Charlie
Chaplin editing his own films with lengths of negative film stock draped about
his neck and shoulders as he sat in front of his editing bench. With some experience, an editor might learn that 2 feet was a good length for a quick reaction closeup, for example, and tend to think of his cuts in terms of feet rather than seconds or fractions of seconds. This is 35mm, by the way; 16mm film has 40 frames to the foot, I believe.