A Quick Note on Movie Scores
Just a quick note to say I love them and that I intend to start reviewing the ones that I have. Look out for them over the next couple of months.
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Anomaly Appraisal: Daria: The Complete Series
This is a bit of a rare post, just warning you in advance. I don’t normally tend to rant about stuff, but when something as idiotic as I am about to describe occurs, I can’t help but bang my head against the wall.
Daria. We all know the show (or should for that matter). Broadcast on Music Television (which is what I prefer to call it, not only out of respect for Fred and Frank, but also because the acronym “MTV” has been turned into a redundant one, ironically enough as a result of shows such as Daria) starting in 1997, the show was a spin-off from the teenage animated show of the 90s, Beavis & Butthead. Centred on the eponymous Daria Morgendorffer and her life at home and in school, it was notable for being perhaps the most sarcasm filled show ever made.
This fact however, was to the show’s benefit. Daria was hugely popular with teens because it pretty much mocked authority in a much more subversive way than Beavis & Butthead. Not withstanding the usual high-school stereotypes (the jock footballer, the blonde cheerleader, nerds and geeks, etc.), the core of the cast were perfectly poised against each other while we, the audience, got the chance to sit back and enjoy the fireworks.
Should you watch this show? The short answer is yes, yes you should. The writing is still as sharp today as it was back then, which for a TV show is a pretty difficult thing to achieve, especially one such as Daria that uses poop-culture references fairly often.
But that is only part of the story. The real talking point about the Daria DVD release, is that all (or rather, 99%) of the original music has been substituted with original works. Why is this so? Well, according to series creator Glenn Eichler,
…the cost of licensing the many music bites we used would have made it impossible to release the collection (and for many years did).
So the bottom line is, because Daria used actual music samples in episodes, they must then be licensed again for a DVD release. This once again shows how ridiculous the whole music business is at the moment and why they continue to shoot themselves not only in the foot, but in the bloody face as well.
The long and the short of it is that because record companies demand a quick buck from 30 second recordings, a show must be altered. The studios don’t get a penny, so they end up with nothing. Why on earth would you do something like that?
If Music Television, the one channel that has perhaps done more to grow the music industry than any other, and indeed create a whole new industry in music videos has to pay for short bursts of actual songs, there is something seriously wrong.
Why oh why couldn’t someone have realized that if the actual music was used, there might be a upsurge in demand for the music? Don’t say it doesn’t work. Look at the Sporanos, they used that one Journey song and suddenly I can’t change the radio without hearing them. Once again, short-sightedness gets in the way and ruins everything for everyone in the process.
Does the change in music ruin the show? Not entirely, and it shouldn’t stop you from buying the boxset, It’s well worth the money, especially for 8 discs packed with episodes we all know and love.
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Anomaly Approved: Steve Lambe
I tend to like character designers, I’m not sure why though, but it probably boils down to the vast variety of designs they normally put out, often drawing many different characters in the same show. Some have a speciality for envisioning characters that are the creations of others (Bill Morrison of Futurama and Bongo Comics springs to mind here) others can pull designs out of mid-air with the greatest of ease.
Today though, it’s a shout out to Steve Lambe, who has worked on the Nickelodeon/Frederator co-production, Fanboy & ChumChum as well as the Ricky Gervais Show on HBO. Steve is much more than a character designer though, he’s also done numerous title cards for the former and has a bit of a flair for illustrations too.
With mainstream TV animation there is the danger that character designs can get bogged down in repetitiveness (just look at the Simpsons for proof). That being said, most cartoons being put out on cable are interesting enough for the designer to engage in a bit of exploration or experimentation. One need only look at some of the character designs being put out for Adventure Time to see the superb work that can be done.
Steve is clearly adept to different styles. Take for example the difference between the designs for El Tigre and Fanboy & ChumChum.
Steve also has a great passion for illustration, as is clear in his fondness for Little Golden Books. I have him to thank for posting about an exhibition on said books that was going on right here in Baltimore without me even knowing it! It was fantastic and truly memorable to see the actual art used in many of the books I read as a kid. Thanks Steve!
Like an good artist, Steve has some of his stuff available for sale over in Lambey’s Lot. Why not wander over and pick up this fascinatingly quirky take on Willy Wonka and the Chocolate Factory.
If that doesn’t tickle your fancy, how about the Swinging Belles?
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Anomaly Appraisal: Tales from Earthsea
I read the announcement a few days ago over on Cartoon Brew but having bought the DVD back in 2008, it doesn’t matter that much to me. Having said that, I’d thought I’d post my thoughts on a movie that while from the venerable Studio Ghibli, is not by it’s most famous director but rather his son, Goro.
The movie is based on the series of books by Ursula K. LeGuin but differs substantially from the original material. The protagonist is Arren, a young lad who has run away from home after murdering his father, who just happens to be the king. He meets a wizard by the name of Sparrowhawk who saves him from a pack of wolves. Arren follows Sparrowhawk into a bustling city, where he rescues a young girl named Tehru from a bunch of tough guys rounding up people and forcing them into slavery.
The story takes an interesting turn with the entrance of Lord Cob, an apparently powerful wizard who is in search of the source of eternal life. Strange things begin to happen to Arren and eventually, it is up to Sparrowhawk to help rescue him, along with Tehru.
The film is vastly different from those we have come to know and love from Hayao. The plot is more complex and at times bizarre. There are many subplots presented that the viewer must contemplate while watching the film. Not that any of this detracts from it, not in the least. If anything it rewards the viewer in a different way than Hayao’s works. The plot does tend to wander though, and I suspect that about 15 minutes could have easily been removed from the film in numerous places to stop it feeling as long as it does.
The characters are not as easy to sympathize with as you would expect, Arren is, after all, a murderer. He is somewhat flat, as are the rest of the cast, but that is a minor quibble. The voice-acting talents of Timothy Dalton and Willem DaFoe (in a very quirky role, even for him) help make up the difference.
The animation is superb, with detailed backgrounds, dramatic cities and foreboding castles. The character design is recognizably Ghibli but perhaps on a slightly more muted level. The use of digital enhancements does not hinder the enjoyment of the film.
Is it a film worth seeing? Well, that really does depend. If you go into this film expecting a carbon copy of Hayao you will be bitterly disappointed. It is not near the same. Instead, embrace it as the different movie that it is. If you can get past the hurdles of a twisty plot and pedestrian pacing, you will be rewarded by a surprising ending. Personally, it took me two viewings before I could say I enjoyed it.
Below is the trailor for your viewing pleasure:
[youtube=http://www.youtube.com/watch?v=05sCTxnEs9Y&feature=player_embedded]
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Dennis The Menace Versus Bart Simpson
I am referring here, of course, to the British Dennis the Menace of The Beano fame and not the American creation of Hank Ketcham.
On the one side, we have a naughty little boy who stirs up trouble every single week. On the other side we have a naughty little boy who used to stir up trouble every single week. What separates the two, well, age for one. Dennis has been running in The Beano since 1951! Bart Simpson on the other hand has only graced out TV screens for the past 20 years.
Both characters share many similarities, both being boys for a start, both having dogs that engage their shenanigans (Gnasher with Dennis and Santa’s Little Helper with Bart) and both seem to revel in creating mischief for pretty much any figure of authority.
Disregarding the fact that Dennis is older than my father, it is clear that his character is immensely popular and has endured the constantly changing shifts in consumer tastes and contemporary culture. Why has Bart Simpson not followed suit?
The reasons are many. Bart is a cartoon character as opposed to a comic strip one. He therefore has to be so much more whole in the eyes of the audience. Comic strips are dependent on the reader filling in the gaps between panels and using their imagination to bring the characters to life. Animation on the other hand tricks the mind into thinking it is seeing a moving image and requires little imagination.
The other reason is that an animated TV show has a much longer plot than a comic strip, whose stories can be read in about a minute as opposed to a cartoon which lasts upwards of 20 minutes. This however, does not explain how Bart’s character has become as flat as it has.
Dennis interacts with adults only when he is about to get into trouble. His parents are to some extent rarely seen in the comics. Bart’s parents on the other hand are all over the place. In fact, in the early stages of the shows development, it was perceived that Bart would be the main protagonist. Once the show was broadcast, that role was rapidly transferred to Homer where it has remained to this day. This move had the result of pushing Bart into a secondary position within the series. Today, it is rare for a plot to centre around him and him alone without at least some interference from Homer (in fact, nowadays Bart often acts as Homer’s sidekick).
One could argue that the intended audience is another reason. Dennis the Menance’s target audience remains firmly in the children’s age range with a few dedicated adult fans. Bart on the other hand has had to please audiences from those same young kids all the way up to folks in their middle-ages. That’s hardly an easy task for the best of us!
The Beano is still as enjoyable today is as it’s always been. Sure the style has changed and it’s now in full colour, but it has moved with the times, updated the lifestyles of the characters and stayed fresh with the storytelling. Bart on the other hand has been allowed to stagnate while the rest of the planet has surged ahead. As noted by Seth McFarlane, the notes he receives from the network are of a far more serious tone than those that were given to the Simpsons back in the day.
The point of this post is not to beleaguer the point that The Simpsons is past its prime, it’s just to illustrate that it is possible for characters to remain popular over a substantial period of time. South Park is a show that has managed to stay fresh and relevant, whereas Family Guy has started to turn a wee bit stale. Other shows like the original Nicktoons still seem as fresh today as they ever have. The proof is in the pudding, strong characters and a willingness to make them interesting and relevant to contemporary society can give them very long lives indeed.
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Recap of The 41st ASIFA-East Festival
Here it is! Photographic proof that I was at the ASIFA-East Festival held this past Sunday. That brown blob of pixels happens to be my cap, which I was thnkfully wearing otherwise you wouldn’t know that was me at all!
What can I say, it was a fantastic evening for all concerned. I arrived extra early in contrast to last year when I crashed through the doors at the last moinute. The house was slightly less than full, but most everyone was in agreement that it being Mother’s Day probably had something to do with that.
The caliber of the films was impressive to say the least. Not only were the student films amazingly creative, and, in the case of “Sam the Super Sticky” by George Thorman, quite hilarious in a silly way. The overall winner in the student category “Down to the Bone” by Peter Ahern, is one of the more interesting student films I’ve seen in recent times with some very interesting characters and a plot that certainly caught everyon’s attention.
The commercial category threw up an interesting video in the Beano’s very own Dennis & Gnasher, which I thought for sure I’d never see again having moved to the other side of the pond. The winner was “Don’t Miss It” by David Cowles and Jeremy Galante for the Rochester Philharmonic Orchestra, a fantastic piece that asserts the drama of classical music to great effect.
For the sponsored films, we had en ecelectic selection with education mixed with entertainment. My favourites were the two based on Mo Willem’s books, “Don’t Let The Pigeon Drive The Bus” and “Knuffle Bunny Too: A Case of Mistaken Identity”. I found both to be highly entertaining even though I’m at an age where I am considered a “mature” student.
For the independent films, there was a great mix of storytelling (such as Elliot Cowan’s “The Thing in the Distance”) as well as techincal fantasies (Tom Gasek’s “Off-Line”) to funny songs like Stephen Neary’s “Let’s Make Out”, which is shown below because I got a big kick out of it.
[youtube=http://www.youtube.com/watch?v=yJexf6aWOX0&feature=player_embedded]
After all that with an unscheduled break inbetween, it was time for Best in Show, which went to Aaron Hughes and Lisa LaBracio’s “Backwards”. I’m not going to spoil the film (embedded below) but suffice to say it takes what could have been a very formulaic plot and turns it into a truly intersting, complex and surprising piece of storytelling that makes it stand out from the crowd.
[youtube=http://www.youtube.com/watch?v=uKcyLVR85Ms&feature=player_embedded]
Afterwards there was a the after-party where much socializing and debate occurred. Kudos must be given to the organizing committee who lobbied hard for more beer this year and whose efforts were very much appreciated.
It’s sad that such an event comes around only once a year, but thankfully, ASIFA-East puts on many more events throughout the year that I am more than happy to attend. The festival is a celebration of what animation has been made in the previous year and I know for certain that even as I write this, the next round of films are already being made.
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Should Comic Films be Animated Rather Than Live-Action
A really quick post because I’m literally getting ready to head out the door for New York.
Just throwing out the question, but does anyone else think that the upcoming Scott Pilgrim movie could have been animated instead?
I know I am perhaps jumping to some conclusions here seeing as the film isn’t even released yet, but I seem to have an affinity for comics done as animation rather than live-action. I feel animation retains more of what made me like the comic in the first place you know what I mean?
Sure live-action movies have been made of comics for years, Superman, Batman, Spiderman, all the usual suspects. Some have been good, some not so good. However, dare I say it, I would rate Batman: The Animated Series higher than say the Batman movie by Tim Burton. On a side note, that movie was far closer to the comic than the Dark Knight. That move (good as it was) was pretty much just a guy running around Chicago in a bat suit. Burton on the other hand, made Gotham out to be the dark, foreboding metropolis that its supposed to be.
That’s all I want to write for now. I’ll bide my tongue until the film comes out. Who knows, maybe it’ll change my mind.
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The ASIFA-East Festival is Tomorrow Night!
This is perhaps my favourite event of the year which makes it all the harder to believe that it’s rolled around again already.
ASIFA-East as we all know and love, is the New York/North-East branch of ASIFA, the international animation society whose actual name is French. Seeing as I did German in school, we’ll move right along. The group is comprised of mainly of animators and a few producers along with one civil engineer (guess who that is) and besides holding monthly meetings, also organize events from September to June that represent the entire animation spectrum, from student films to commercial movies and everything inbetween.
Tomorrow’s festival isn’t so much the culmination of the past year but more a celebration of the New York animation scene, which has it’s one distinct flavour far removed from Burbank. Awards will be handed out for student films, individual films, commercial films both over and under 2 minutes as well as some outstanding achievement awards.
Last year was the first year I attended and besides asking Amid Amidi whether there was assigned seating, I think I barely said a word to anyone. Of course I almost missed the start having been delayed on the New Jersey Turnpike for well over an hour. Besides the usual faces, there is a mix of folks from various related organizations, faculty from the numerous fine animation schools in the NY area, studio heads, students themselves and one civil engineer (guess who that is).
After the actual event, where people receive their awards and we see their films, there is the official reception which serves as a fantastic meet and greet for all concerned. After that comes the unofficial reception at the local pub where even more conversations occur although perhaps less on an animated subject of conversation.
I mention all of this because I am sincerely looking forward to this year’s event. Besides meeting friends old and new, it’s also an opportunity to talk about a subject I’m passionate about with people whose passion it is.
If you are in the New York area and so not attend, you are missing out on a truly fantastic evening full of animation and companionship.
The 41st ASIFA-East Animation Festival, Sunday, May 9th, 6pm, Tishman Auditorium, The New School, 66 West 12th St, Admission: FREE!PS I’ll hopefully have a full recount of the evening in full early next week.
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Should Dreamworks Make a Sequel to Dragon?
Steven Zeitchik has an insightful post on the Los Angeles Times blog where he makes the case for not making a sequel to How to Train Your Dragon. It’s interesting to observe the changes in attitudes to HTTYD over the time it has been in the public consciousness.
Before opening weekend, it seemed that this would be one of the softer Dreamworks releases which we would go and see and enjoy but ultimately it would fade from our memory, just as Monsters Vs. Aliens has. At this point, there wasn’t much talk of a sequel at all, just the possibility of one.
However, since then, the film has shown remarkable strength, remaining at number two before reclaiming the top spot again. Attention was drawn not only to the resounding quality of the film, but also that strong word of mouth among cinemagoers was playing an important role.
Now, some weeks later (on a fine May evening that may have me going to see the film for a second time), details are emerging of a sequel, spin-offs and a TV series, in much the same vein as The Penguins of Madagascar.
Steven makes the point that HTTYD marks the first Dreamworks film since Shrek that has appealed to audiences on the same level as a Pixar film and that that company is a bit more selective in which properties it chooses to exploit through sequels. On a side note, he points out that the film has performed “…not bad for a star-less spring cartoon.” which as regular readers (all three of you) will know really grinds my gears, seeing as the film very much has all-star “talent”.
This is a fine analysis except that it ignores who instigates the decision to create sequels at Pixar. It would appear that it is Disney, not Pixar that is pulling the strings on that one. Not only was Toy Story 2 originally supposed to be a direct-to-video release, the slate of sequels announced in recent times have all occurred after Pixar’s sale to Disney, even though some films (such as Monster’s Inc) were released while the Emeryville firm was independent.
Steven calls for Dreamworks to hold HTTYD up as an example of their creative capabilities. I myself recommended at the end of my review that you should go and see it before its affect is reduced by the deluge of sequels to come.
Realistically, we will see sequels, lots of them. Besides being based on a series that encompasses seven books in all, Jeffrey Katzenburg has a long history of milking properties for all their worth. Shrek is perhaps the finest worst example and we’ll finally see that flogged-to-death series finally put out of its misery later this year.
Being an engineer means I tend to have more of an analytical mind than creative folks. I like to point out that creative folks are more likely to read The New Yorker while I tend to read The Economist. It also means that from a hard business perspective, sequels are a lot more profitable than the originals, mostly because studios tend to reduce the budgets and stretch everything just to make the extra nickel. In Monsters Versus Aliens’ case, the foreign performance didn’t justify a sequel. Fair enough, but I would rather see that movie succeed and get a sequel than a superior movie like Dragon.
Right now the success and praise that HTTYD has received from the general public, fans and serious animators alike is certainly well deserved. Enjoy it while it lasts, because the second the sequel is released, the aura will fade.
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Why I Get Disappointed When a Series Fails
Maybe it’s just in my character, but I always like to believe the best in people: that everyone has it inside them to be the best they can be and to produce the best that they can. Sometimes this strategy can lead to getting my fingers burnt, or almost burnt in the case of the guy who told us he’d sell us a dog only to call back not long before we were to pick him up to say that some women offered him full whack and had already taken the dog home. If I hadn’t been in the office, he’d have found out just why the Irish invented cursing.
Anyway [deep breath], nonsense like that tends to leave me feeling more disappointed than angry (trust me, when I’m mad I light up like the 4th of July (or Guy Fawkes Day for the folks in England). I also, for reasons still incomprehensible to myself, get rather diasppointed when a TV show or film fails to find its audience.
There are literally thousands of examples I could name, some deservedly failed (Battlefield Earth anyone?) but I tend to believe that everyone deserves an equal chance to entertain me.
There are too may examples from TV to name but being familiar with the nature of the industry, the nomadic, temporary nature of employment means that good times rarely last forever. For an animator or designer putting 6 months work into a show only to see it burn in flames must be a depressing enough experience. For a creator seeing the same thing happen it must be one of the worst feelings in the world. It’s bad enough when I design a road or intersection or whatever only to have some schmoe review it and send it back with more red ink than black.
Maybe it’s just that I like to see everyone succeed (this tendency I’m going to blame on my parents who were both teachers) regardless. Some creators work blindingly hard, such as Mr. Warburton whose dedication to Kids Next Door is still regaled years after it first began airing. The same goes for Pen Ward, who has sometimes been found sleeping in the studio after pulling an all-nighter.
It’s fair to say that most people bounce back after a failure. I mean look at John Travolta, he’s still making movies, right? Everyone deserves a second chance.
Sorry for the ramble, the dog situation has made me somewhat melancholy this evening.
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Animators and their Art
I just realized that I have a lovely sketch by Lauren Faust hanging on my wall. It’s not perfect and it’s in pencil, with plenty of rubbed-out corrections, yet I love it.
Right next to said sketch is a model sheet of Klaus from American Dad! signed by Dee Bradley Barker. Fair enough, he isn’t an animator, he’s a really funny voice-actor, but the drawing has the signature of Seth McFarlane.
The difference between these two pieces might as well be a canyon. On the one side, we have a unique, original sketch. On the other, we have a plain, manufactured sheet of paper with a fish on it.
Of course I like my Klaus picture. I received it as a present, but I still like it for what it is and for who signed it. Although in my mind, the sketch is by far the superior artistic product.
Unfortunately, animation art can get seriously expensive (like I could’ve bought a car for that type of money). Yet ordinary animators often have literally hundreds of sketches lying around. Some end up being coloured, others get tossed in the bin. Many of the bloggers I follow will post their recent sketches for all to see. Some are quite spectacular and make you wonder why they ended up on the floor.
I’ve noticed that lots of animators attend comic-cons around the country and sometimes they even sell stuff too! I’ve found this an excellent way to acquire stuff from artists I like, especially if you’re tight with the pursestrings. Many of the same artists also sell art via online stores, so you have no excuse if they aren’t coming to a comic-con near you.
Do yourself a favour and look into it, I promise you won’t be disappointed.
Here’s some of my favourites to get you started:
EDIT: I now also have a model of Linguini from Ratatouille signed by his voice-actor one of my favourite artists, Lou Romano!
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