09/16/09
The next month could be a crucial one in the course of this film. The film may go into full production soon, and it's hoped that the next week will reveal all.
In the past couple of years the script has been developing enormously in my mind. I have a lot I'd like to add to it and think it'll take a deeper turn before we get going full out. I've done a lot of reading about Poe and would like to get some of it into the story. Things shouldn't turn too drastically, but it will certainly enrich the script, at least of the bio section of the story. The gestation period is probably a good thing for the film. I don't think I've had this much time to consider all the parts of a script on any other project. Of course it was not something I'd chosen, but it's undoubtedly for the better of the final film.
08/04/09
There's been an enormous amount of information, bad and good, about Michael Jackson since his death June 25th. A month since the burial, and Larry King is still doing his daily show about the superstar. Digging, digging, digging into the dirt of the poor man's life.
One aspect of his life is not being explored, and I find it quite curious. He apparently had a strong interest in the work of Edgar Allan Poe and his life. In fact, a BBC news report states that a movie written by Phillip Levin would be his first major film role. The article states that the singer "has been looking a long time for the ideal story in which to take his first starring role". Production would start late the following year.
Called The Nightmares of Edgar Allan Poe, the European-funded project was a dream for Jackson. “Michael says by the time he’s done preparing for this, the audience isn’t even going to know it’s him, with the major makeup,” co-executive producer Gary Pudney told USA Today’s Jeannie Williams in 2000.
Obviously, nothing came of the movie, and I'm curious as to what would have happened had it gone forward. I'd also like to know what stopped the film from going forward.
04/22/09
This week's New Yorker magazine features an excellent article about Edgar Allan Poe written by Jill Lepore. Because it is the 200th anniversary of Poe's birth several books have been released featuring some of the lesser known pieces, and this article is basically a review of these books.
The article talks about Poe's propensity to begin his writing with the end of the piece. As an example, they break down his poem, "The Raven." It makes some sense, however it certainly wasn't the method we utilized in writing the script. Chronology dominated our script and moved Poe's life and the stories he wrote forward to tell, as simply as possible, his story.
Jill Lepore certainly gets it right when she says: "Poe’s world was Andrew Jackson’s America, a world of banking collapse, financial panic, and grinding depression that had a particularly devastating effect on the publishing industry, where Poe sought a perch. His biography really is a series of unfortunate events."
This was an underlying and obvious approach to the script, and it was equally as obvious how troubling the lack of money was in Poe's life and death. His beloved, Virginia, died for lack of proper medical attention. He, himself, died in a pauper's hospital. Had he had proper attention he might have lived - or might not even have been kidnapped and dragged about town to cast multiple votes. In short, he probably would have lived a significantly longer life.
His life was every bit as tragic as his stories.
Go here to read Jill Lepore's article.
4/08/09
Despite the fact that artwork isn't moving forward, the project still lives. There's been some tightening of the script and plenty of research to move the script into an even stronger light.
Lately I've been obsessed with EAPoe's death. It's somewhat mysterious, but the consensus seems to be what was called "cooping."
Poe was found in a near coma state, passed out in a tavern and wearing someone else's clothes. He'd been there a while when a doctor who knew him in Baltimore was called to help the stranger. He was taken to a hospital where he died three days later.
Poe had given up alcohol at this time in his life. He'd had an evening dinner with some friends and had purchased a ticket to Philadelphia that same night. Hours later he was found in this state. It was an election day, and this seems to have been the problem. Corruption in the system at the time was met with gangs who would, basically, kidnap those who could read or write. They then would beat and drug them and pour alcohol down their throats. Dress them and force them to vote under the names of dead people. They'd then change their clothes and repeat it over and over getting the kidnapped victims to vote numerous times for some candidate. Poe was a victim of alcohol poisoning and didn't get the care he needed in a public hospital.
In our script, we didn't tackle this part of the story and my question is whether to add it into the fold. I'm not sure it's appropriate or necessary to what we've done, but it is a good story.
11/30/07
Things have gone thankfully quiet for us at the moment. Since this site seems to be now functioning well, and Matt Clinton, who constructed the site, has posted everything I'd hoped to see for the moment, he's free to go back into animation on the feature.
We'd done some work on the MS. IN A BOTTLE segment (clips of which can be seen on this site), and he's back on it. The work we've done can be thought only as "animation tests." Though I find the animation exactly what I'd like for the final film - it hasn't been colored or rendered as yet - the material will be rerendered, of necessity. Since we now have to prepare the film for theatrical exhibition, it will have to be done at a much higher resolution. Hence, the few scenes will require a new scanning and construction. For the moment, we'll let them sit as is.
I want Matt to get back into the character he started creating a long time ago. Jason McDonald's original design was reworked by Tissa David in her segment, and Matt had taken it further. Now he has to try to remember all he's done so that the cogs and wheels of production will be back to full strength. It's all exciting for us.
11/26/07
Welcome.
As of today we're initiating our new website for this POE feature. It will offer everything that's been on display at the Poe Page on our studio site, but it will go further.
This journal, for example, will not only relay my thoughts on production as it moves on but will offer an opportunity for other key animators, writers, designers etc. to have their say on the process.
We hope to have new animation for viewing; we've added a Layout Page (wherein some of Tissa David's layouts are currently displayed) and more storyboards. The Art of POE will be available for viewing as the movie develops.
I hope you enjoy the site. If you have any comments, please don't hesitate to email me at: studio@michaelspornanimation.com
Thanks.
11/14/07
This past Monday ended my retrospective at the Museum of Modern Art.
The last clip I offered on the program was one from POE. It seemed to have impressed the audience. It's the piece everyone mentioned when they came up to me afterwards. Bob Blechman demanded that I not "change a frame" of it. Since it was just an animatic without the final style, it'll undoubtedly change.More importantly it roused some of the artists who I want to involve in the production. Key was Tissa David saying she was excited to get back into it. This was my prayer answered. It's been a while since she's animated, and I desperately need her talent. Bridget Thorne also actively asked to be involved. I'd certainly hoped she'd do the backgrounds for Tissa's sequence, but I also was sure she'd be interested when the time came for it.
I walked away more assured than ever that I'd selected the perfect voice in Hugh Dancy. What a brilliant job he's done for me.
The Ottawa Animation Festival has stated that they'd like a retrospective next year. This would give us a chance to premiere a coupleof finalised segments. Certainly we'll have the funds and the film well on its way next September.
09/24/07
I found an amusing article in yesterday's NY Daily News. Hugh Dancy was highlighted in a puff piece for his new film, The Jane Austen Book Club. Toward the end of the piece, the reporter asked what projects he had coming up. The article reported, "... he's a voice in a kids' cartoon TV project based on Edgar Allan Poe stories." I dare say the material we're preparing is probably not suitable for children, but I guess everyone assumes cartoons are for kids.
I can't deny that I was pleased to have seen some mention by my lead actor. He surely didn't have to do that, and most actors don't.
09/18/07
This week we've been editing down some of the new recordings to replace the scratch tracks used for the few rough animatics we have. Hugh Dancy's voice is amazing against Tissa David's beautiful drawings/timings even though it will have to be reworked for the new voice and intonations once she gets back into it in November when she returns from Europe.
Alfred Molina's part as Graham, Poe's first editor, was developed into a larger sequence before he read the part. Maxine Fisher, our screenwirter, expanded the scene prior to the reading. We'd originally constructed an animatic to the shorter script. Consequently, for the revised (but temporary) animatic we had to milk the drawings we already had in it. The sequence works but will need an overhaul for the final voices.
You can get a sample of this animatic by going to the Story Reel / Animatic Test on the Poe Page.
08/13/07
On Saturday Alfred Molina whisked through town. He was on the way to Paris to perform in the upcoming Pink Panther movie with Steve Martin. He took the time to stop here so that he could record his part in POE for us.
I couldn't help but be pleased with his wonderful performance.
All of the actors in the movie will have two roles. They'll be in one of the short stories and they'll also be a voice in the biographical segments. Alfred played the part of the alcoholic husband in "The Black Cat" who accidentally kills his wife when he's trying to kill his cat. The cat, of course, will lead the police to the dead victim.
When you have an actor of the caliber of Alfred, the film grows even during the recording. That, of course, was the case here. The story got deeper, the style of the piece grew richer, and I was ecstatic to have had such help.
Alfred also did the part of Graham, EA Poe's first important editor and the publisher of Graham's Magazine. Maxine Fisher had written this funny setpiece wherein Poe comes trying to sell himself, and Graham is completely preoccupied during the meeting. He runs a small magazine and does most of the work himself. It's hard for him to give Poe the attention he wants, but he surprises Edgar with a regular job turning out stories for the magazine.
Alfred read it with a hurried pace and an all-knowing attitude. I was taken aback; this wasn't the character I'd heard. In that split second of first hearing it, I also knew it was perfect. There was a real character here in this very short scene. How can you ask for more.
I love that the film took a giant step forward in such a short recording session.
08/02/07
We haven't had much time to start the editing on Hugh Dancy's lines as yet, however we did put together a couple of the poems. Hugh did a masterful job of reading. He reads the poems as "EA Poe", yet he gives all resonance to both the moment in the script and the character he's playing. (You can hear half of Annabel Lee if you click on the link on the title page for this section.)
We're now trying to schedule Alfred Molina and Dianne Wiest. Alfred will be going to Paris for another film, so he intends to stop in NY so that we can record him. I'm looking forward to that recording since it's taken so long to set up, and I'm also glad I won't have to fly to LA for the session. I'd like to see if we can get Dianne to record at the same time so that the two can play off each other in their parts during "The Black Cat" segment.
We anticipate funding will be settled soon and we'll be able to get into animating some of "The Black Cat" prior to a retrospective of my films to be held at the Museum of Modern Art this coming November. I'd like to show a clip from the feature at that presentation. However, I don't want to rush the film just for that screening.
07/19/07
I went to London this past Sunday to Wednesday to record actor Hugh Dancy in the part of Edgar A.
After arriving at my hotel room Monday morning, I waited for a call from Hugh so that we could decide where to meet to discuss the recording that would take place on Tuesday late morning. Once on the phone we just got into it and decided that it'd be too complicated to meet. So we arranged for a second phone conversation later that day.
I tend to prefer leaving a lot to the actor in the performance. I know what I want for the character, and as long as I'm getting that the actor can shape the character as (s)he likes. When you hire someone of the caliber of Hugh Dancy, you know that the performance will be all that, so you can just sit back and ride along with an excellent job.
The session on Tuesday was particularly easy and delightful for me. Only a couple of times did I feel compelled to urge the performance in a slightly different direction. Too often just enjoyed what was being given me - a real, living character.
The recording studio, Molinare, was certainly up to the task and did everything to make my job effortless,and I'd like to thank all those who helped make it so. This includes the engineer Steve Cookman and Jane Doughty. I'd also like to thank Libby Mourant of Incendiary, Ltd. for assistance in organizing the arrangements for us.
In a day or two, I'll try to post an MP3 of Hugh reading one of Poe's poems. He did a brilliant job, and I don't mind sharing.
07/10/07
Now that everything is in order, let me announce that I'm pleased to be working with producer, Daria Jovicic, and her company Wild Bear Films.
Previously, she had done Girl With A Pearl Earring, which starred Scarlett Johansson, and she is currently producing several live-acion films including Incendiary, which stars Ewan McGregor and Michelle Williams. She has been the driving force that has gotten POE up and running after its long, interminable break.
I leave next Sunday, July 15th, for London to record Hugh Dancy, and I'm excited at the prospect of having Edgar recorded.
07/03/07
It appears that I'll be doing some travelling soon to record a couple of celebrity voices for POE. Hugh Dancy is back in London for part of July, and I'll be meeting him there within the next two weeks. He's agreed to play the part of Edgar Allan Poe, and I couldn't be happier with the choice. Hugh is currently in the film, EVENING, in theaters now. His performance is stellar, and his voice - my primary focus - is brilliant. I'm con-vinced that it's an excellent choice, and I look forward to recording him. To that end we've done some touch-ups on the script, and I'll probably do some more right up to the recording.
Once we've completed recording Mr. Dancy, I'll fly to Los Angeles to record Alfred Molina, who has agreed to be the voice of the primary character in "The Black Cat" segment. He's a brilliant actor, and I'm looking forward to that one as well.
Finally, I'll be back in New York to record Dianne Wiest. She'll play the murdered wife in "The Black Cat" and, more importantly, "Muddie," Edgar's Aunt and Mother-In-Law.
We recently found some letters from Muddie, and were surprised by the text. 20 years after Poe's death she writes that she so misses her "dear Eddie." Wonderful stuff, and we're trying to figure out how to get it into the film.
I feel confident that this month the production will be fully back on and in progress for a completion in September, 2008. A tight schedule on a tight budget makes it all the more fun to make.
05/25/07
This film gets closer and closer to starting up again. There's been great progress in getting celebrity voices attached to record. I'm not ready to drop names, but I expect to be recording mid-June for some of the final voices.
This, of course, enables us to get serious in raising the rest of the money needed to make the film. We'll work with a tight budget - as almost every film I've done has had - but there'll be enormous freedom in just doing the film right, the way we want. It feels that I haven't had that luxury since the early nineties when I did some of those luxurious half-hour shows for HBO. Naturally, I'm completely aware of the budget and the responsibility to the investors and the film's viewers at large. I want the film to be successful financially as well as aesthetically, and I believe wholeheartedly that we can pull that off.
The film will have a small staff of regulars, and we'll try to plug in some of the young talent I've seen around town. I've had some serious conversations with Tissa David about getting back on it, and I think she's ready. She goes to Europe again in September but will be back before Election Day. By that time, I hope to be really in the thick of it.
My goal is to get right into one of the short stories. Poe had an amazing imagination, and tying to live up to his writing will be a goal. I don't want this to feel like one of those old Roger Corman schlock films, nor do I want it to feel like the recent Tell Tale Heart I'd seen on the Festival circuit. I found that Motion Capture film very sterile and emotionless. When you compare it to the amazing UPA short done by Paul Julian, done with so little animation, you have to feel challenged.
04/04/07
Things have been percolating again on this film - FINALLY. It's all about money now. We've found a producer who feels she can raise the money necessary to do the real work on this film.
Everything had to stop, it seemed, when we couldn't afford to hire the celebrities needed to record the real voices. We'd worked with some lesser actors who just didn't make it sing; so I decided that we had to have the real thing. I didn't want to put a lot of work into animating against a voice I wasn't happy with. Forever, that voice would be locked in my mind.
Tissa had a long slow recovery from her illness, and I couldn't get up the nerve to ask her to start working again on a film that needed money to continue.
The new producer has already made a cable TV deal for the feature, but she doesn't think we should take it. She feels it should be a theatrical and not a TV movie. Hallelujah! She seems to get it.
04/14/06
Now that we've cleared the boards in-house, we have some time to dust off some of the POE work.
When a disaster hit one of our computers a year-or-so ago, we lost some art files on a couple of scenes that Matt Clinton had done. Now's the time to recover those files. Matt's been doing that these past few days, and hopefully we'll be up to date in the next week or two, and we'll be able to move onto more animation for this section of the film.
I've done some scenes for another section, and I'll keep going forward on that section. We may go full out on the piece I'm doing a make a short film release out of it. Eventually we'd put this short back into the feature. In the meantime, we're busy, and Poe goes on.
03/15/06
Our poor POE feature. It's been sitting patiently waiting for some assistance.
We haven't been able to work on the film for the last couple of months. The jobs in house have created a heavy work lode, and we're finally completing our most current phase. Then we can get back to POE with some seriousness.
Tissa David had been working heavily on her segments until her sister in Virginia grew ill. Much of her time has been spent there helping out, and she hasn't been able to put much work into Poe's bio.
Eventually, things will calm down, and work will progress.
My first course of business will be to rework some scenes that had been completed. Matthew Clinton's computer crashed in a big way about 18 months ago. We weren't able to retrieve any of the information. Fortunately, we had the final QT movies made (one of them, the sailor on deck, is featured on this site) and the original B&W scans of the animation. They'll have to be recolored and recomposited for the film. That will be our next move to get back up to date.
Maxine Fisher, who wrote the script, is slotting a major rewrite of some of the pieces. I have some serious comments I'd like her to consider. That waits until her next opening in a couple of weeks.
01/19/06
To date, Tissa has completed four full sequences, or about 12 minutes of storyreel. It's a more sophisticated version of a storyreel: tantamount to posing animation on 6's and 12's at an average. It reveals quite a bit of information and allows us to put in a lot of changes. Unfortunately, the voice tracks are rough temporary tracks. Celebrities are intended to replace the present voices. Once the final voices come in, Tissa intends to reanimate most of it. Since this is the biographical section of the film and will take up about 30 minutes of screen time, it's quite important.
Poe was an odd character. He lived till about age 40. He was abandoned by his father; his other died when he was young, and he was raised by strangers, basically. A large part of his education, under these step-parents took place in London . His step-mother died when he was in his teens; his step-father abandoned him mid college years, leaving him penniless. He remained without money until the end of his life. His mother, step-mother, wife and fiancé all died of consumption (tuberculosis). At the end of his life, he focused heavily on a mysticism looking heavenly toward the stars. He believed in extraterrestrial life and wrote a long piece about it for his final piece of writing. He died, basically, of alcoholism and an addiction to opium.
Our film tries to touch on all these points while also animating several stories: Manuscript In a Bottle, Murder In The Rue Morgue, Premature Burial and The Black Cat. Several poems are also illustrated (not including The Raven – The Simpsons did that too well already). All of the stories, poems and bits of writing are intended to help illustrate the mood of the time, a part of Poe's life, and an example of his writing. We intend the stories all to have one high-design style while the biographical section would feel more traditional. (The sample clip of the ship is a good example of how we hope the stories to look. The Bio storyreel clip is not how it will end up.)
01/13/06POE is a feature film we've been developing and working on, between other projects, for the past two years. To date we've completed the storyboard for all of the Poe stories within the biographical film, and we've done story reels on those sections. Unfortunately, at this point, the voice actors are rough,