Go Visit the Animation Backgrounds Blog!

Animation, Website /

WB Road Runner BackgroundA sooooooper short post today because I highly recommend checking out the (now sadly on hiatus) Animation Backgrounds blog that’s chock full of original backgrounds from just about every era of animation that you can think of. It’s only after being reminded about it (by Eoghan Kidney and the good folks at Caboom) that I went back for another glance through and was thoroughly amazed by the quality of some of the stuff on there. It is well worth checking out and with three years of posts to dig through, you know there’s lots of fantastic posts just waiting to be discovered. 🙂

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The Upcoming Yogi Bear Film (I Don’t Like It, I swear)

Animation, Flash /

Via: Cartoon Brew

Normally I try to stay away from speculation about a film, especially one that looks like its gonna be a stinker. However, sometimes this principle can be incredibly hard to stick to and I’m afraid today is one of those days.

What film has pushed me over the edge? Why it’s none other than Yogi Bear.

For months now we’ve been seeing more and more clips of this film being leaked (or indeed, promoted) on the internet. Cartoon Brew (and it’s readers) have been almost visceral in their contempt for the film. I don’t blame them either because those guys have some serious passion for cartoons, and seeing a classic one such as Yogi Bear get treated in such a way is disheartening to say the least.

This post isn’t so much a statement of my thoughts as a collection of other’s thoughts. (You probably don’t want to hear my thoughts, which delve waaaay to much into existentialism for this time of the morning anyway).

As mentioned above, most mainstream sites and bloggers have held no punches in their commentary. The main aspect that irks them is the hybrid nature of the film and the way that Hollywood has deviated from the nature of the original cartoons, focusing instead on fart jokes and other low-brow attempts at comedy, which, as a European, have never held that much sway with me to begin with.

As ever, the excellent, Hanna-Barbera blog, Yowp, has some great points relating to the direction that Dan Ackroyd and Justin TImberlake (how he got this gig I do not know) received during filming. If anything, I’d say this has as much to do with the quality of the film as anything else. Ackroyd may well be able to do an excellent impression of Jellystone’s most famous resident, but if he’s told to go in a different direction entirely, then that kind of ruins everything.

As a fan of classic cartoons, I know it can be extremely hard to see someone almost take a wizz all over your childhood memories. What people seem to forget is that they are exactly that, memories, and everyone has different ones. In the grand scheme of things though, if you’re making a film, there’s more often than not some executive breathing down your neck, and a film like Yogi Bear reeks of their meddling. There have been cases in the past of writers disowning their scripts as a result of the finished film being almost entirely different from what they originally wrote. That’s not what I’m saying necessarily happened to Yogi Bear, but it is a possibility.

At the end of the day, Yogi Bear was made to cash in on nostalgia, which as J.J. Sedelmaier has noted (sorry, can’t locate the source) is a powerful aphrodisiac. There’s nothing we can do except not going to see it, and from what i can gather, I am not alone in that sentiment.

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The Whole Concept of ‘Primetime’ As A Going Concern

3 Comments / Animation, Cartoon Network /

This morning I read over on ToonZone about the [Adult Swim] block of programming taking up an extra hour, meaning it will now begin at 9pm every evening. The blog post makes some goo points about the various challenges inherent in such a move and discusses the possible cannibalization of viewers from Cartoon Network.

I personally don’t think it will matter all that much, although it is a strange move. [Adult Swim] viewers are normally male, under the age of 25 and are presumably relatively intelligent. Being in the same category, I know that I watch a growing amount of programmes online after their original broadcast.

This got me thinking, does the entire concept of “primetime television” even exist any more? I know plenty of people who record hit shows like Dexter, Weeds and pretty much anything on HBO to a DVR to watch later. I know I watch tons of stuff through Netlfix and to a lesser extent, Hulu and with so much content available online afterwards (legally or otherwise) there is a growing cohort of viewers for whom the schedule of the broadcaster means little or nothing.

My concern when it comes to the [Adult Swim] decision is whether or not the added hour will be filled with meaningful programming. Sure, an hour or two of Family Guy and American Dad is great, but when you’re tacking on another hour just to broadcast re-runs if syndicated shows rather than re-runs of original shows, then you’re heading down the path of becoming a ghost network. A better move would have been to increase their budget, perhaps let them make longer format shows or to actually hire some animators instead of relying heavily on interns.

If the time of broadcast does not factor into [Adult Swim] viewers plans as much as other networks, then adding an extra hour may not have the same affect that it would have had say, five years ago. I might be wrong and it may still work, but I do wonder whether the tech-savyness of the audience figured in their decision.

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The Seven Creative Principles of Pixar

Animation, Pixar /

A short post today, and that’s because you’ll want to head on over to the downright fantastic Scribble Junkies blog, which, in case you didn’t know, is the collaborative spawn of indie king Bill Plympton and Patrick Smith, who happens to be a man of many, many hats within the animation community.

Long story short, on Friday, Patrick posted the aforementioned 7 principles and they are well worth reading, understanding and learning as they represent the driving force behind the most successful animation studio of the last 20 years. They’re a good lesson for anyone really, as they can apply to any project your working on, not just an animated film.

It’s absolutely true, so head on over to see what John says about it and the rest of the principles, you will not regret it.

For me, the pick of the bunch is number 3:

Quality is a great business plan. Period.

He’s bang on the button with that one and it’s paid off handsomely for him thus far.

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A Look Back at David OReilly’s Octocat

2 Comments / Animation, Independents /

Via: David OReilly.com

With his latest masterpiece, The External World, (that I have yet to see!) currently gaining momentum in advance of its US premiere next month at the Sundance Film Festival, I thought to take a look back at OReilly;s first major break into the international stage. No, not Please Say Something, his excellent short film that was showered with awards, his other series of shorts, Octocat.

If you remember, David released the series under the pseudonym RANDY PETERS, who was supposed to be a nine year old kid living in Chicago using MS Paint to create the films. I remember thinking two things at the time: first of all, damn, that is one ugly cat and secondly, kudos to the kid for making something like that. Sure it isn’t smooth, flawless animation but I’m 23 (at the time, ah, to be young again) and I can’t do anything like that!

Of course, the thrilling conclusion revealed David as the source behind it all. If you haven’t seen the whole adventure, I highly recommend, nay, command you to watch the entire series compiled together below before continuing on,

http://vimeo.com/1690174

As you can probably tell, there are certainly different parts to the story (you might also be able to tell that the voice, and that the cup of tea is a dead giveaway for being Irish) but the over-arching theme is that Octocat is looking for his parents.

The dramatic conclusion is perhaps one of the greatest twists I’ve seen in a film because it plays very much on the difference between what the audience expects and what it receives. Overall, it’s a very melancholy film, there is mixture of excitement, wonder, anguish and ultimate disappointment all in a few short minutes.

The films were a great calling card and certainly got OReilly noticed among the international animation community and beyond. It’s creative ideas like this that can help make someone stand out from the crowd and certainly helped David make a name for himself, which ensured that he had an audience all ready to go for Please Say Something.

Although some people will naturally feel deceived, imagine if they weren’t? Imagine if David had released Octocat under his own name. There’s a good chance it might have garnered a few views and some critical praise from ‘experts’ but the average Joe Schmoe would still not have a clue. Attributing the work to a nine year old, David picked up on the willingness to share and tell others about something that seems genuinely amazing. “A nine year old made THAT? It’s awesome!” rather than “Oh, it’s just another short film that I can’t understand and it’s got some shitty animation that a kid could do”. As I was writing this, I had to go back and check out the comments on the original Cartoon Brew post, and to my non-surprise, they were all positive, with many people gunning for “Randy”.

I think sometimes as adults we tend to get too focused on what we consider the be the ‘standard’ for good animation. In Octocat, the animation does tend to play second fiddle to the story, at least until the end when the roles reverse. David says as much in the blog post that revealed the truth behind the series.

I’m sure I’ll be accused of misleading people again, but I won’t apologize for that. Why? Because you’ve all proved one vitally important point: audiences don’t need polished, slick animation to find a story engaging. They are happy to follow the worst animated, worst designed and worst dubbed film of all time, and still laugh and cry and do all the things you do watching a so-called “high end” film. Its amazing, I’ve never been so excited about independent animation.

He’s right, too. We watched every new segment as it was released because we wanted to see what happened to the poor Octocat. Would he find his parents, what other adventures would he set off on, and most importantly (at least for me), would he have another cup of tea.

The old saying that there are some people out there who are naturally lucky is sort of true, but that’s only because they make their own luck most of the time. David OReilly managed to succeed with Octocat because he took a chance and did something that no-one else had done before (no, not deceive the audience, just have them pre-load themselves with certain expectations). His success since then is proof that a bit of inventiveness and some skill can go a long way to progressing your career.

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Quick Note: The ‘Shame’ of Going to See an Animated Film

Animation, Rant /

Just a short post today, but it’s quite a serious one in all fairness. Do you ever notice that some people, like, grown adults are sometimes embarassed when they tell you they went to see an animated film?

We’re talking adults in general here, not necessarily the ones with kids, who believe they’ve got a genuine excuse in the little ones. I mean adults, the ones without kids. Sometimes it seems like they’re downright ashamed to admit that they went to see an animated film, kid-friendly or otherwise. Why is that?

Is an admission the evidence someone needs to torpedo your reputation as a mature individual? Hardly. Is it perhaps the lingering remnants of the peer pressure of your teenage years? Again, hardly, although as humans, we do tend to suppress certain elements of individualism in favour of conformity.

I’ll admit that I have no problem saying I went to see an animated film. heck, I’ve no problem telling my co-workers that I went to see an animated princess film. And guess what? They didn’t judge me, or laugh at my face either! They actually asked what it was like, either for use as a yardstick when taking their own kids or for some other reason.

The point is, no-one, and I mean no-one should have to be ashamed or worried about the state of their character just because they saw an animated film. Years ago when I was just beginning to watch cartoons regularly again, someone asked me how I could watched something that was aimed at kids. My reply was that grown men and women make the shows so why couldn’t a grown man enjoy the shows? They were silent after that.

Who cares what you watch and if someone judges you based on that then they have some very poor inter-personal skills that need to be addressed.

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Studios ‘Stealing’ Ideas and Why Animators Need to Know Their Rights

2 Comments / Animation /

Via: List.co.uk

This morning, I read over on AWN that some guy, by the name of Terence Dunn, is suing DreamWorks for stealing his idea for Kung Fu Panda. Although everything is still at an early stage, this could shape up to be an interesting fight.

This is, of course, the worst fear of many animators, they pitch an idea to a network or studio, get turned around, and then just like that, see a project that’s eerily similar to their own being announced.

My recent post neglected to mention this whole area of copyright law as I regretfully forgot about it. Basically, you cannot copyright an idea, only actual creations. If you come up with the idea to make a show about, oh, I don’t know, an Octopus Pirate, then you can’t simply go around suing everyone if they come up with a show about a pirate who’s also an octopus.

That’s not to say that you shouldn’t defend your legal rights, if someone misappropriates your idea, you are certainly entitled to seek compensation. The point is that it is possible to be over-zealous. Think back to the lawsuit from a few years ago regarding SpongeBob Squarepants. Some guy (who has a Wikipedia page?) sued Viacom for stealing his idea for a talking sponge.

The guy’s argument was that in 1991, he created and flogged some sponges with a markered on face. If only he had read Jerry Beck’s excellent Nicktoons book, he would have noticed a comic, drawn by Stephen Hillenberg and featuring a character called Bob the Sponge that was dated 1989. It’s too bad that tons of court time were wasted on a frivolous lawsuit like this although I’m sure some lawyers somewhere are quite happy about the whole ordeal.

In a lawsuit such as the one mentioned at the beginning, the discovery phase will help uncover any and all information that both sides will need in order to build a case. For Dunn, it will hinge on whether or not his idea passes a series of tests that will determine whether or not his concept could be considered the same as Kung Fu Panda. Things such as the plot, character descriptions, design, tone of the story and so forth will be scrutinized in microscopic detail. In addition, the full details of any and all meetings with DreamWorks staff will be similarly torn apart in the quest for the proof needed.

Does the guys suit have merit? Perhaps, it’s still way to early to tell. The reason it’s in the news today is that the court has ruled that Dunn can look at DreamWorks books in order to determine how much he could be owed in damages. This is a bit of a silly move because, at least in my mind, what he is owed should not be motivating him at this stage of the lawsuit if he is truly in the belief that his idea was stolen. It should be blatantly obvious to everyone that Kung Fu Panda was a successful film (with 6 more announced?!) and there should be no doubt in his or anyone else’s mind that should he win, he would be in line for a substantial payout.

There is a good chance that DreamWorks will settle, especially if it looks like they will lose. As in most cases like this, it is much cheaper for them to offer the guy a certain (not unsubstantial) amount that puts everything to rest and allows things to carry on much as they did before.

It’s important to remember that situations such as this are extremely rare. Studios and networks are well aware of the potential for crippling damages if they are shown to have blatantly ripped off some-one’s idea, as a result, they are much more inclined (and motivated) to either acquire the original idea and develop it themselves, or take the basic concept (a kung fu panda) and turn it into their own creation.

Like I said at the beginning, you cannot copyright an idea (yet), only actual creative work. Lawsuits such as those mentioned above are all the more reason for animators to familiarize themselves with copyright law and what rights and limitations are set out within.

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Floyd Norman’s Concerns About Animation

2 Comments / Animation, CGI /

Yesterday, animation legend Floyd Norman tweeted the following:

I have seen Tangled (the review is forthcoming, I promise) and I can attest that it does contain some excellent animation, both character and otherwise.

Not being an animator, I tend to appreciate the different forms of animation on a different level. I tend to enjoy all types, be it traditional, 3-D CGI, stop motion or even flash! I can, however, attest to the gut-wrenching admission that something that is better than what you use or do comes along. It’s tough to make such a statement and Floyd’s a big man for doing it.

The question is: does Floyd need to feel sad that a CGI film has excellent animation in it? It is surely not an acceptance of CGI or a rebuttal of traditional methods, not by a long shot. The problem (as far as I can tell) is that animation (and I’m talking feature animation here) is still a very stigmatising area of the artform.

Think about it, for years, Disney set the gold standard when it came to animated features with the result that every man and his dog tried to ape their formula, with varying degrees of success. Don Bluth gave things a good run for a bit and DreamWorks tried their best before they switched gears with Shrek.

It wasn’t until Pixar came along and up-ended the whole idea of what an animated film is that things became more interesting. Thus far, Pixar has not released a musical and Disney has only released two films that weren’t musicals, both [perhaps] not coincidentally CGI. To the best of my knowledge (and when I say knowledge, I mean recalling from memory without having time to confirm them on the internet), Disney has not released a non-musical feature within living memory.

So the land of animated features seems to be somewhat stigmatised. Traditional animation almost have to be a musical and CGI almost can’t be a musical. Now in fairness, cost could be used as an issue. A traditionally animated film can be really expansive, but with Toy Story 3’s recent cost estimated at in and around $300 million (that’s $300,000,000.oo) that argument isn’t really valid.

In that case is Floyd’s statement really valid? The answer is maybe. Tangled is the first CGI musical film and could easily be seen to be encroaching on the bastion of traditionally animated features. Having said that, it’s important to remember that Disney shut down their entire traditional department a few years ago in anticipation of becoming a CGI-only studio. What they didn’t realise is that CGI is simply a method, not a genre.

So in that case, why don’t we see a better mixture of themes within animated films? Perhaps John Lasseter can answer that, in the meantime, that sounds more like a post for another day.

Maybe Floyd’s concerned about the shift of skills in animation. CGI is created in a very different manner to traditional methods, where everything is drawn (or at least it was in the old days) on paper, one sheet at a time. There was a lot of skill inherent in making characters move with grace and with the dominance of CGI, there is a legitimate concern that these could disappear from the mainstream.

For me, I think he’s somewhat right. There is a noticeable shift in animation from traditional methods to CGI but there is still a lack of variety within the differing methods. Perhaps in time, this will change. If Tangled is any indication, then I think we can look forward to a more colourful and varied future for the animated feature.

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A Note on Executive’s Notes

Animation, Opinion /

Via: AllPosters.co.uk

I’m in the middle of reading “To Infinity and Beyond!: The Story of Pixar Animation Studios” a rather substantial tome that is well worth the amount of time it takes to read it. I’ll likely post a proper review in due course, but in the meantime, it’s got me thinking about the bane of every employee’s life: notes from the management.

Animators are all to familiar with notes. They can come from directors, producers, executive producers and network/studio management. Some are rightly judicious, some are just downright nonsensical, most are somewhere in between. Of those, they can be broken up into general story/plot notes and technical notes, which, for the purposes of this discussion, let’s assume that encompasses all the animation/directing/sound/effects/etc.

There seems to be a propensity among a small percentage of executives out there that they must issue notes on a project that must be adhered to or else. Such a style of management is a very poor one. The production of an animated programme or film, like any team exercise, is a collaborative effort that can only truly flourish if everyone works towards the ultimate goal.

I bring this up because in the course of reading the aforementioned book, it is mentioned that Toy Story went through an initial plot that was rather poor. The reasoning behind it was that the Pixar team, who had never created animation for anyone else before, had blindly followed any notes sent up from Disney in Burbank. They assumed that the executives were always right in their judgement. Of course, that is not the case, and the resulting film was very nearly scrapped before Pixar was able to cobble together a tweaked plot and some animation to back it up.

If you’re an executive and you feel that you must issue notes then you are doing it wrong, very wrong. Seeing as I’m a dreamer (I was diagnosed at an early age but was only informed of such when I was in my early 20s), I’ve concluded that the purpose of the production team (animators, writers, etc.) is to create the project. The executive’s job is to make sure said project comes in on time and on budget and that all that is undertaken in as smooth a manner as possible. Meddling in the creative areas of the project should be kept to a minimum, and even then, the criticism should be constructive.

I say all of this from an outsider’s perspective. I’ve never had any personal experience is such situations, and there’s a good chance that I only ever hear all the bad stuff that goes on. No-one (not even me) will say that a project is running as normal. People only ever talk about stuff that is going really (and I mean exceptionally) good or it’s going from bad to worse. That’s human nature and we’re all guilty of it at some point or another.

The old saying “less is more” holds true in any case. The less an executive has to manage a project, the more time they have to focus on more important things, like whether the project is on budget, can things be run more efficiently, etc, etc. I know myself, I like to be given a task and then left alone in peace to do it. One time I was doing a job and I was micro-managed all the way. Not overwhelmingly mind you, but it made the whole experience much less enjoyable and it dissuaded me from putting in my normal amount of effort.

So executive types out there, keep the hands on the wheel, not on the kid in the back seat! Creative types need management but not necessarily the kind you think they need. Focus on your own job and try to think on a larger scale. Remember, some of the bets shows out there had the least interference of all.

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A Comparison Between The Jetsons and Futurama

Animation, TV /

Via: Cinemafique and Ten.com

I am obliged to acknowledge my girlfriend Alicia for the inspiration for this post.

Here we have two of my favourite cartoons that happen to deal with living in the future. One was created in the 1960s and is set in 2062, the other ostensibly the late 1990s and thereafter and is set in the year 3000. Both shows make light of the fact that technological advances have not necessarily made life easier for the human population.

The nature of each shows conception and production play an important role in understanding why each show is the way it is. The Jetsons, created by Hanna-Barbera is clearly the polar opposite of The Flintstones. One is set in the future, the other in the past. However that is where the similarities end. The Flintstones played on the fact that even though they are set in the Stone Age, the characters enjoy all the modern conveniences a real person would. The Jetsons on the other hand is much more a flight of fancy towards the world of tomorrow.

Futurama, while also aimed at prime-time audiences, does not share the same utopian view. In New New York, the culture is rather like the one of today. There is plenty of chaos, but there is also plenty of enjoyment to be had from living in the future. Whereas The Jetsons limited themselves to robots, Futurama goes a step further with aliens.

Granted, the two shows aimed for completely different audiences, and as a result, the humour tends to be quite different. The Jetsons centres very much on the nuclear family, with a hard-working husband bearing the brunt of any comedic escapades that occur. Futurama centres instead on a lazy bachelor and his cohort of work chums who happen to be just as lazy and/or self-centred as himself.

Each show has its own comedic traits so it’s not really fair to directly compare jokes, although both shows make heavy use of the unexpected results from using technology, either through George Jetson getting hauled around by the robot who dresses him or Fry who has a hard time adjusting to the fact that the Moon has been turned into a place with a theme park on it.

Both shows represent the era in which they were created quite well. The Jetson is full of Googie architecture that epitomized the optimism of the future. This was back when we were all supposed to be living on the Moon by the year 2000 and robots and/or automation would take care of our every convenience.

Futurama rounds on these beliefs a little bit, but that is more because we have been told the same thing over and over again since the 50s and we still haven’t sent a person back to the Moon. While we are somewhat awed by the advances of technology in Futurama, we are much more affected by the laughs we get when said technology goes awry, or indeed when it does something completely unexpected.

It is perhaps not really fair to compare two shows that are so vastly different in nature. They are aimed at different audiences, were created at two completely different points in American history and culture and represent two extremely different views of the future.

The Jetsons is also set much closer to the present (currently 52 years away) whereas we still have a whole millennium to go before we get to that time period. That is part of the reason why Matt Groening and David X. Cohen set it that far into the future. Their reasoning was that we have no idea what life will be like after 1,000 years and that makes it all the more believable and expands the opportunities for ideas and laughs.

Personally, I think Futurama is the closer one to the real future, what with all its snarky humour, and yet the Jetsons remains one of my favourites, if only because it is at this point, a throwback to what people expected the future to be like and also because the humour is more akin to The Flintstones. Both shows are entertaining predictions of life in the future that in their own respects, are right.

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