My favourite Piece of Art That I Own

Me /

I don’t have a lot of art and I sure wish I had a lot more, but with a small apartment and the school bills to pay, it can be tough to acquire pretty pictures to hang around the place. Thankfully, I purchased this piece before I started school, when I had a bit more moolah in the wallet.

As you can see, it’s clearly Roger Rabbit and it’s also painted by none other than Tara Billinger!!!

There’s a lot to love about this piece, it’s from one of my favourite movies, it’s in Tara’s unmistakable style, Roger is clearly going off his nut and there are some very nice shades of red to boot. Check out Tara’s creation process here.

On top of that, it’s all original. I’m one of those people who appreciate art because it’s nice to look at, not because it’s made by some high-flying artiste and I would much rather appreciate something like this than a run-of-the-mill poster or what have you. So she didn’t create the character, so what? She made this awesome picture from the film that inspired her and gives me something nice to talk about when we have guests over.

What I like best about it though, is the satisfaction I get from knowing that by buying it, I supported an artistic organization and artist. There was no auction house, no art dealer, just Tara and I (although the comic book shop in Philly along with The Autumn Society helped put together the show that the piece was in). Just knowing that I’m helping individual artists makes me feel all warm and fuzzy inside.

There are literally tons of similar art being made out there right now, so before you consider dropping hundreds of dollars (or more) on that next “limited edition cel”, perhaps consider buying some real, original art instead.

 

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The End of Animation in Britain?

Animation, Opinion /

Yesterday, I read with dismay on Cartoon Brew that the British government, with its current Tory-led cabinet, has decided not to renew the grants and other funding it had made available to Animate Projects, a group who sponsored various animation projects at all levels of the spectrum.

A study put out by the Royal Television Society last year highlighted that Britain has become increasingly incapable of competing with other countries on just cost alone! The main issue they cite is that said other countries (namely Ireland) have benefitted greatly from government tax breaks that have caused productions that would have been made in Britain move elsewhere. As an Irishman, you can easily guess on which side of that argument I fall on.

Should governments subsidise an industry? That’s a political hot potato which you won’t find me discussing here, but I will say that for a market as large as Britain (both culturally and commercially) there is little or no excuse for the government not at least encouraging animation as a viable artform. Other European countries do it, we just don’t see the results very often due to cultural differences.

Is there a bright side to all of this? Can there be a bright side at all? Perhaps it is not clear now and the shock of the announcement is still being felt but I think animation in Britain is in need of a rebuilding of sorts. I find it hard to believe that here in the US we get such excellent animated shows as The Simpsons, et al while in Britain there is almost nothing in comparison (correct me if I’m wrong). That country has been putting out top-notch live-action programmes like The Office so there are no excuses when it comes to animated shows of the same quality.

I think we need to see more action on the part of broadcasters (I’m looking at you, Channel 4) to help encourage a change in attitudes to animation that we are starting to see over here in the States, i.e. that it is not just for children. The success of the likes of The Secret of Kells in the US is proof that the cultural and geographical divide is not so great that it cannot be bridged.

Ultimately, the closing of a program that helps people discover and nurture their creative talent will only serve to homogenise the workforce to the detriment of society at large although it almost certainly does not bring the curtain down on the rich and quirky history of British animation. Now is not the time for moaning, it is time to pick ourselves up and carry on.

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Animated TV Idents

Animation /

Hands up, who knows what an indet is? You’re probably already very familiar with them, you just don’t realise that’s what they’re called. There’s an example below:

[youtube=http://www.youtube.com/watch?v=q4omtlg-rWg]

They are, in fact, the short little segments normally broadcast before the start of a TV show to remind the viewer what station they are watching. A practice that has sadly disappeared over the years here in the US where it has been deemed necessary to ensare the viewer in the next show before the current on has even finished! Thankfully, full idents are still very much alive in Europe and The TV Room has a full collection with videos that can get pretty additive.

Idents can also take the form of identifying the studio or producer of a show or film. Perhaps the most famous in this regard is Luxo Jr. who appears at the beginning and end of every single Pixar film.

It got me thinking though. These extremely short segments almost always feature animation of some sort. OK, so it’s normally not the kind of animation that we’re all used to, with slapstick humour and cookie characters, but it’s still animation in some form. There might not be a lot to say about them, but they do have a habit of working their way into the public’s consciousness, which is of course, not surprising seeing as that is what they are meant to do.

There’s not much of a point to this post except that idents have a very specific responsibility in presenting and reminding the viewer of the station’s identity and I think it’s worth pointing out that a lot have historically relied on animation to do the heavy lifting. Why this is so? Who knows, but I’m willing to bet that the ability of animation to defy the ageing process is as good a reason as any.

As a bonus, check out this fully-animated ident for London Weekend Television from the 80s

[youtube=http://www.youtube.com/watch?v=o6-s-_QuyQY]

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My comment on Stephen M. Levinsons Blog Concerning Artists and The Productions They Work On

2 Comments / Animation, Opinion /

This is actually a comment I left over on Stephen’s Blog but it seems like a pretty good opinion piece that’s suitable to post here too.

Wow, that’s a lot of questions there Stephen!

Firstly, if you want to know about some of the basic principles of capitalism, I highly suggest a book on basic economics. The class I took went a long way in helping me understand some of the foundations upon which modern enterprise is built.

One of the principles that I learnt was that of opportunity cost and marginal benefit. Basically what that means is that you are willing to work at the price you work at because the opportunity costs of doing otherwise are too great. That’s not to say that you should keep working at a crappy job, but that if you believe you are under-valued, you will, not may, will look and move elsewhere.

I don’t agree with the pay of the Viacom executives, that’s just my opinion. As an engineer, I absolutely detest inefficiency and waste, so you can imagine how I might feel when I see that Vicom pays it’s execs far more than Disney while having a far lower market capitalisation. Granted, they’re different companies with different make-ups and priorities and the Cartoon Brew post did focus specifically on the numbers in light of animation, which I think skewed things a bit.

Should artists be given fair compensation for their work? Absolutely! However, capitalism is not necessarily based on merit, it’s based on risk. As a businessman, that is something you are already familiar with. Capitalism is founded on the idea that whoever takes the risk gets to enjoy the rewards. In a company or studio’s case, they are the ones putting up the capital for an animation project, and as a result, get to keep the proceeds. In most cases, they do, although it would be foolish to believe that some will not resort to shady tactics in order to keep as much of the earnings as possible.

I think the crux of your argument centres around the idea that animators do not receive adequate compensation for their work. I think they do, in light of the current level of demand and the size of labour supplies. When you look into it though, series creators normally do have rights in regards to their creations. In this regard, I think the internet will be a boon on a larger scale than what is offered by the incumbent networks.

Right now, we are right smack in the middle of a Gutenburg-esque transition in the world. The internet is only another broadcast medium albeit one that allows two-way interaction and right now, it is companies like Next New Networks who are showing the way to a successful business model in the new era. The transition will affect animation too, but the artform’s ability to transcend national boundaries with relative ease will stand to its benefit in the long term.

I firmly believe that artists and animators should have a say in how productions are run but as you posted yourself a while back, Joe Murray gets it dead on in his opinion that too nay artists don’t get the right balance between art and business, and if you’re the manager of a studio, would you want someone with know business knowledge making decisions that could affect your bottom line? I don’t think so.

My advice to you is to read (if you have not already done so) “Your Career in Animation: How to Survive and Thrive” by David B. Levy. It give a superb overview of the animation industry and offers plenty of insight into the rewards and pitfalls of a career in the industry.

By the sounds of things though, you should do just fine 🙂

All the best,

Charles

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Happy 50th Anniversary to Yogi Bear!

Animation, TV /

Via: Yowp

I must admit, it completely flew over my head that yesterday was the actual date, so it’s a bit of a belated celebration over here on the Anomaly blog. Nonetheless, we all make mistakes when it comes to this kind of thing and I was in fact, distracted by the review I wanted to do for Mary & Max.

So, yes, the Yogi Bear Show is 50 years old. My, my, it doesn’t seem that long since we celebrated the 50th anniversary of another famous Hanna-Barbera show. Clearly these were busy times for the studio, and it would shortly add another one to the mix with The Jetsons.

As usual when it comes to such cartoons, I must direct you all towards the Yowp blog, which has once again provided an excellent, concise piece on the show and its beginnings. There is little if anything I can add to an already well-written piece except to say that I did watch the show as a kid and although the distinct memories are a bit foggy, I can say with certainty that they are fond ones.

Happy (Belated) Birthday Yogi, here’s hoping that we may continue to be entertained by you pic-a-nic basket stealing antics.

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Anomaly Appraisal: Mary & Max

Animation, Anomaly Appraisal, Film /

Via: My[confined]Space.com

When you think of claymation, the first thing that might pop into your head is probably not a feature film. A pre-school series such as Pingu perhaps, but not something that you intend to watch over the course of an hour and a half or more. For the record, claymation is a form of stop-motion animation, not a different type of animation altogether.

I know that this films has been out for a while, but it was only the other night that I finally got the chance to sit down and watch it, and I am pleased to report that it exceeded all my expectations and then some.

Admittedly, the idea of the story did not exactly speak volumes to me. A tale of a young Australian girl being pen-friends with a 50-something New Yorker does not exactly warm the cockles of the heart, especially at this time of year when there’s snow everywhere.

However, if you look past the superficial skin of the story, you will be amazed at how deep it really goes. For one, this is a story about character. Both main protagonists are clearly contorted, confused and seemingly alone in this world, and yet both find solace in each other in different ways.

The film begins in Australia with a background to Mary’s life; her alcoholic mother, her aloof father, her agoraphobic neighbour, her pet rooster and the boy next door with the terrible stutter. In the middle of all of this, we get a glimpse into the life of a little girl who is isolated and in in the extreme sense, sort of abused as an unwelcome intrusion into her parent’s lives.

On the other side of the world, Max is a loner who sees the world in a very literal sense. He is easily confused by the actions of others and as such, he often lets his anger get to him. He is emotionally fragile, and like Mary, had a similarly traumatic childhood.

Both seemingly disparate characters do share something in common, their love of chocolate and The Noblets, a TV show. With these two similarities, the two develop a friendship maintained only through letters (the film is set in the 1970s) through thick and thin.

I don’t want to give too much of the story away, but there are some dramatic twists and turns that have implications for both characters. What I can say though, is that the ending is carried out in a very suitable way that left me feeling empty at the time, like the directors skimped out, but after having thought about it for a while, I came to the conclusion that it is one of the better endings I have seen in a long time. It brings a definite conclusion to things and it is clear how much each character benefited from all the correspondence over the years.

The animation is superb, I cannot say any more. The limited use of colour means that you are much more focused on the animation rather than the look of things. There are plenty of visual gags that are in that subtle, British style, in other words you have to pay close attention to what’s going on in the background.

The direction is excellent, with every shot clearly having been thought through thoroughly (try saying that 10 times in a row!). The quirkiness of the film stands out in the actions of the characters and the way each shot is used to help explain a character’s emotions or thoughts.

Although I am averse to celebrity voice-actors, I will say that Philip Seymour Hoffman does an excellent job of portraying Max. You can hear the weariness in his voice and the way he dictates his letters to himself suggest that he is a man who has a lot on his mind. As for the other characters, they are all performed to perfection (lots of alliteration in this post today, eh?).

In the end, Mary & Max did not elicit an enormous amount of emotion from me, but it did leave me immensely satisfied that I had seen an excellent film that is clearly a cut above many other movies that are billed as emotional dramas. Looks are not everything and I am confident that if you can get past Max’s sour puss on the poster, you will be rewarded by a very good film indeed.

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Weekly Weblinks: Part Deaux

4 Comments / Animation, Link, Website /

This post is really should have been done earlier, but school and work aside, there just wasn’t time until now. I am always on the lookout for new and exciting blogs to follow as well as interesting posts to share and without further adieu, here’s a few I came across this week.

Blogs

Bleeding Pixels

The blog of Dave Johnson, who provides regular updates on the goings on in animation with some personal commentary. One to follow.

The Cartoon Cave

Written by Pete Emslie, one of the old-school cartoonists of this world. it contains tons of awesome sketches and illustration among posts on old comics and animation. Worth reading for the pictures alone but Petes personal take on things makes it all the better.

Posts

Hanna-Barbera, the Missing Theme Park

Lisa K. Berton takes a look at Hanna-Barbera’s attempts to enter the lucrative themepark market and how their presence has been declining as of late.

Animazing Amation: The Secret of Kells

A review on the Late to the Theater blog, which focuses on films available through instant streaming that reinforces everything that has been said about this film and how excellent it is. Worth reading and serves as a great reminder that The Secret of Kells is available in Netflix.

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Weekly Weblink: Chuck Redux

1 Comment / Animation, Website /

Via: Chuck Redux

The name Chuck Jones should be one that is instantly recognizable. Literally millions of people have seen his name appear on the screen before several minutes of madness and hilarity begins. He was much more than a superb director however, and that’s where this blog come in.

Co-written  by Robert Patrick and Chuck’s grandson, Craig Kausen, the blog is a fantastic resource for anything and everything created by Chuck.

There are of course, loads of Warner Bros. stuff, like model sheets, storyboards character analysis and the like. There are also the special edition cels that Chuck created in later years after the Warner Bros. studio shut down. In addition to all of that, there is also plenty of news on Chuck Jones-related events, personal stories, interviews, letters, paintings, long tales and the perpetually exciting Image of the Day, as exemplified above.

All in all, the blog is perhaps the best resources on the web when it comes to the life of one of the world’s greatest animators, and it is a huge credit to his legacy that such time and effort is put into making it such a wonderful resource for all to use.

The blog is updated regularly and is always a delight to read.

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Animation Anomaly PSA: Subscribe by E-mail!

Announcements /

Just a friendly wee reminder that if you like my random daily musings, you can subscribe via e-mail!

After you subscribe, you’ll receive new posts in a nicely formatted e-mail every morning (or afternoon, depending on when I post). If you find yourself squeezed for time, e-mail is much more convienient than visiting the page manually and can be a huge timesaver over RSS, especially if, like me, you follow a bazillion feeds and don’t have the time to seperate the best from the rest.

There’s nothing to lose by singing up, and Feedburner won’t spam you with anything. So what are you waiting for? Click here and enjoy 🙂

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The Two Weeks of My Life When I Could Have Been Considered An Animator

Animation, Me /

Via: Wikipedia.org

Yes, the tagline for my blog is not entirely accurate, I did dabble in animation before I became a civil engineer. Now granted, I still cannot draw properly, and never really have been able to do so. I once entered an art competition for the Community Games and it was only after they announced the winners that my mother pointed out that my drawing had everyone swimming out to sea, complete with tropical island and palm trees. Needless to say, I did not win.

So drawing really isn’t in my genes. I kind of wish it was, but at the same time, I know my kids (all four of ’em) will have at least some capabilities that enable them to draw more than a straight line.

You would think that would have limited me in the animation field wouldn’t you? Oh, no. This is the 21st century, where I could, theoretically, carve a whole career out of making films consisting straight-lines all made on the computer (if I really wanted to). But this post is set before that, all the way back in the early, early days of 1997 AD (or BCE for the Jewish folks).

It was at the very beginning of January that year that I paid a very rare visit to the US with my Dad. Long story short, my uncle had a computer (with something called America On-Line that allowed you to do stuff on the “internet”) and on said computer was, Where In The World is Carmen Sandiego. However, that is not all. Also installed on that Packard-Bell-branded PC was a copy of Spider-Man Cartoon Creator.

Sadly, Google failed to turn up a screenshot, but if you can imagine a screen with a scene in the middle and plenty of big buttons around the outside for adding characters, objects, etc. then you’ve got the gist of it.

With this basic program, you could create an entire show using either the included backgrounds and characters. For the voices, you had to supply your own, and I’m sure I did the best impressions of Peter Parker I could. Everything was based on Spider-Man: The Animated Series which was being or had recently been broadcast and is one of the very few comic book TV shows that I watched regularly as a child.

Naturally, whatever I created has long since been lost to the ether, but I remember having great fun playing it and acting out the role of a creative overlord. Perhaps it was because I was a kid and kids are more easily entertained, but I really did have fun when my imagination ran wild.

After nearly two weeks of playing the game, it was time for me to head back to The Auld Sod, but before we left, we headed up to a computer show. Now this is back in the pre-dotcom bubble when computers were awesome and not merely a tool of everyday life. Long story short, we’re wandering around and guess what I see is for sale. That’s right, the Spider-Man Cartoon Maker!

My Dad asked me if I wanted it, and I did, but at the time, I thought computer programs cost $200 and up. Where I got this notion, I do not know, but long story short, so I said….no, because I didn’t want my Dad to spend $200 just on me (I was a selfless kid, really).

Where would I be now if I had had more than a fortnight to act out my animation fantasies? Who knows. I would most likely still be an engineer, seeing as having a cartoon-making program on the PC will not exactly improve my drawing skills in the slightest.

What the program did teach me though, was that cartoons are ‘made’, they don’t just appear out of thin air on the TV or cinema screen. I suppose it’s just a wee bit of a shame that the full realization of that didn’t come about until I was about 20 years, 7 moths old.

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Anomaly Appraisal: The 100 Greatest Looney Tunes

Animation, Anomaly Appraisal, Book /

Via: The Cartoon Cave

We got some snow here in Baltimore last night, so today I get to work from home! Without having to engage in the usual race against time that I normally do to write a post, I became rather distracted by some Looney Tunes on YouTube. Having grown up with all of them, it was very hard not to watch just a few as they finally give me the impetus I needed to post my review of The 100 Greatest Looney Tunes.

Edited by Jerry Beck (whom you all should know as one half of Cartoon Brew and the guy who knows more about classic animation than anyone else), it does pretty much exactly what it says on the tin. However, this is no mere directory of shorts, but a carefully curated collection of the ones that stand out, that are worth mentioning and, as Jerry notes in his introduction, are worthy of being ranked among the classics of American cinema from the same era.

The book is superbly laid out with each short getting a two-page spread with screenshots on one and the commentary opposite. There is the title, a quote, the production details, a short paragraph description and then there is the real gem of the book, the personal responses.

See, there are tons of books out there that detail Looney Tunes shorts and there are plenty of books out there that contain personal tales of people’s favourite ones, but rarely are the two brought together so wonderfully. The commentators includes a who’s who of animation folk, such as Linda Simensky, Michael Sporn, Greg Ford, Eric Goldberg, Mark Mayerson, J. J. Sadelmaier, the list goes on and on.

What makes all these personal responses so great is exactly that, they’re personal! Many remark about how much they learned from watching these shorts, and indeed how often they used to view them, mostly on TV re-runs. While reading through them, I found myself on more than one occasion mentally playing the film in my head, which only added to the enjoyment as I recalled all the gags and indeed, my own viewing experiences.

The Looney Tunes series of shorts are just one series that have had a profound effect on American culture. Their longevity is proof that they have managed to transcend the fickle nature of the entertainment industry, where fads rule and films can date quicker than the Chinese food in the fridge. The 100 Greatest Looney Tunes is a superb companion book that should bring back fond memories of these shorts, and may also inspire you to seek them out again. Highly recommended and can be bought on Amazon.

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