Michael Sporn Animation – Splog

Top Cel was the u-nion newsletter, and for a while Ed Smith was the editor. Vince Caffarelli saved a number of these Ed Smith years worth of papers, and I’m posting them a year at a time. We’re up to 1965. Four months are missing from this year.

Mar 65 pgs 1&4

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May 65 pgs 1&4

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Jun 65 pgs 1&4

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Jul 65 pgs 1&4

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Aug 65 pgs 1&4

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Sept 65 pgs 1&4

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Nov 65 pgs 1&4

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Dec 65 pgs 1&4

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- Dabbing back into the folder of Top Cel issues, I’m posting the next year’s worth (minus a month or two). Vince Cafarelli saved these issues from the period in which Ed Smith edited the newsletter. I’m glad he held onto them; there’s a lot to be learned and some great drawings from some very good artists.

February 1964
Drawing by George Cannata

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March 1964
Designed by Bill Feigenbaum

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May 1964
Designed by Karl Fischer

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June 1964
Designed by BillFeigenbaum

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August 1964
Unk Illustrated “C.C.” ?

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October 1964
Designed by Ken Kimmelman & Howard Basis

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November 1964
Drawing by Karl Fischer

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Dec 1964
Designed by ?

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The Queen stand in front of her mirror.
The mirrpr is circled with signs of the zodiac.

- At Christmas I found myself the owner of two enormous and excellent books, both by author J. B. Kaufman. Both were extensive studies of Snow White and the 7 Dwarfs.

Snow White and the Seven Dwarfs: The Art and Creation of Walt Disney’s Classic Animated Film is a beautiful book that almost acts like a guide to the gallery showing of art at the Walt Disney Museum. Page after page reveals more and more beautiful art. The writing is strong and pointed and occupies far less space than the images.

The Fairest One of All: The Making of Walt Disney’s Snow White and the Seven Dwarfs is the second of the books, and it is the larger and more detailed in the writing. The writing is deeper and richer, the research revealed is far more detailed, and the story of the making of the film is certainly strong. The images in the book are at least as beautiful as the first book (there are several I love in this second book that do not appear in the first book.

There are so many pictures here, that I find it quite amazing that so few images appear in both books, simultaneously. It makes you feel the value of both since here is such a focus on the images. As I said, the first book feels somewhat like a guide with short bits of history doled out among the artwork. The second goes into enormous depth following the production of the film by sequence number one after the other. As such it feels as though the film was constructed this way, scene by scene, and a lot of time is spent with the story, itself, rather than the making of the art. Don’t get me wrong, there is both, but the story, certainly by the book’s end, is dominating. There’s nothing wrong with this; it’s just the book’s approach.

The feel in the first half of the book is to tell more about the work that went into the creation of the film, and, as a worker in the field, that was more of my interest.

I treasured skipping back and forth between the two books, reading The Art and Creation first, for a section, then moving to the second book, Fairest of Them All for the same section of work. It made for a good process and allowed me to take my time, not only comparing the books, but watching how the stories develop.

Some of the details in the thicker book are precious. When the film is released there is enormous detail on the completion, screening and release of the feature as well as a strong focus on the materials that followed to sell the film, as well as the merchandise, itself. Details, for example, of the many books and comic books issued is interesting.

I felt completely satisfied with both books, by the time I’d finished. However, I felt that I had to go back to Mike Barrier‘s book,
Hollywood Cartoons:______________No doubt Tytla had a hand in this model
to reread what Mike had written.
Indeed, in shorter space he paints a different, and in some ways, stronger picture of the period, the work that was done and the analysis of the story. Barrier puts complete focus on the animators that had developed to the top of their game, Tytla and Moore and analyzed what they did on the film with the dwarfs. His analysis of Tytla’s study of Stanislavski and Boleslavsky makes for great reading. This information appears nowhere else in such detail and understanding. (There’s no hi hint of Fred Moore studying these acting techniques.) Luske and Natwick get a bit more attention in Kaufman’s book, but certainly no short shrift in Barrier’s eyes. Barrier is more attentintive to Natwick’s animation; it was the more developed. The rising stars, particularly Frank Thomas, gets quite a bit of attention, pointedly over the dwarfs crying at Snow White’s bier, and we see the growth of an artist in those pages. In fact, we understand that the medium is growing up with these scenes, and it’s Disney, himself, that pushes it forward. The other new, young animators,Johnston and Kahl get more attention when they’ve moved onto Pinocchio, in Barrier’s book.

The Queen sits on her elaborate throne.
What a pose! What an amazing Bg!

If you want to pass up all these incredibly gorgeous illustrations, but want to feel truly informed about the making of Snow White, reread Barrier’s book. His attention to detail is quite amazing, and his information couldn’t be richer.

A beautiful watercolor of Snow White and animals in the forest.

- Bill Peckmann sent me a number of pieces by Jack Davis. This post is composed of cartoons from the book he illustrated, Lucid Intervals.

In 1983 Jack illustrated a book titled “Lucid Intervals” by the author Robert L. Steed, a fellow Georgian. Because of collector/historian/publisher Manuel Auad, who fortunately for us also happens to be a big time, long time Davis fan, we get to see the fruition of Jack’s endeavor. Thank you Manuel! (We can only hope that one day publisher Mr. Auad will turn his sights on Jack and get the same results he got by zeroing in on illustrators Robert Fawcett and Albert Dorne!)

Here’s the cover.

Front cover

Back cover.

“Jogging Your Way to Boredom”

“Democracy on the Run”

“Ernest Tubb Lives!”

“Why Are Dentists Free Men?”

“Canterbury Tales (X-Rated)”

“The Female of the Species Caught in the Draft”

“Gone with the Wind”

“Obese Abuse (or, Fat People need Love Too)”

“Herr Gutwrench uber Alles”

“Fit to Be Tied at Nikolai’s Roof”

“Angst for the Memories”

(Bill’s note: One of the ruddy, bloomin’ best caricatures of Rudyard Kipling!)

“I’m O.K., You’re O.K., But He Smells Funny”

“Turning the Other Chic”

(Another great caricature, this time Jerry Lee lewis!)

“Yes, It’s Me and I’m in Love Again”

Steve Fisher sent me a reworking of West Side Story. Like the Broadway show, this photo essay doesn’t need words to let you know what’s going on. All I know is I can’t let my two boys see these pictures, or they’ll be furious.

Onto the pics:

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Many thanks to Steve.

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- It’s 1961-1962, and we return to Vinnie Caffarelli‘s collection of Top Cel, the u-nion’s monthly newsletter. As I wrote last week, the interest in this period of the publication is that the editor, animator Ed Smith, brought a lot of great graphics to the publication, and they really stood out. These were collector’s items for a lot of the membership, and I’m glad Vinnie had saved these so that I can share them with you. I have a collection of them that dates back a bit earlier, but all those have been in storage for some time and I can’t easily get to them.

We have in this group something that seems to have been fairly regular, the wraparound cover. The first and last pages of the newsletter unfold to be one long drawing. I’ve attached both pages and turn them on their side so they can be properly seen.

A lot ow work went into putting these newsletters together, so kudos to Ed Smith for having done such a great job.

August 1961 – drawing by Ed Smith

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October 1961 – drawing by Len Glasser

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Novemeber 1961 – drawing by Dolores Cannata

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December 1961 – drawing unsigned (?)

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April 1962 – drawing by Len Glasser

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June 1962, drawing by Karl Fischer

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May 1962, drawing by Bill Feigenbaum

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July 1962, drawing by Len Glasser

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8d

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August 1962, drawing by C. R. (?) possibly Cliff Roberts

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September 1962, drawing by Karl Fischer

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October 1962, drawing unsigned (?)

I wish these great drawings were better labeled.

11b c

I’ve been an animation fan forever. Back in the fifties (when I wasn’t yet in my teens) I wrote fan letters to Joshua Meador, Bill Justice, and Art Riley. I don’t know if any of them ever received any of my letters, since I always got back a 4″x6″ postcard from Walt Disney thanking me. Mind you, these cards were always interesting and different, so I’m not sorry to have received them.

In the sixties, Mike Barrier‘s Funnyworld Magazine opened the world to interviews with some real animators. Then you’d start to see similar articles in the likes of Millimeter or Film Comment. Chuck Jones and Tex Avery got lots of attention. I saved and cherished those issues. Hell, I just about memorized them. ASIFA East brought Bob Clampett and a dozen other animators from Yoji Kuri to Frank Thomas & Ollie Johnston to our little New York corner of the world.

The point is that we got to know who a lot of animators were.

I could tell what scenes Ollie Johnston had done from those that Milt Kahl had done; I can easily identify Bobe Cannon‘s work from Ken Harris‘. (Can anyone but Cannon have drawn with such beautifully rounded lines as can be seen in the lion on the right?
No, that’s purely his work, and it’s there from the earliest right through to Moonbird. Just brilliant!)
{Check out this whole post on John Kricfalusi‘s site in 2006. Gorgeous.}

It became, really, the era of the animator. Many of them were deified by others like me, and deservedly so, even though others remained in obscurity. Watching stars like Dick Williams bring Harris and Hubley and Babbitt to London to train his staff brought fame to the little British studio. Dick soon brought as many famous animators to Raggedy Ann in New York. A star-studded staff assembled, for the first time, for their celebrity and ability and personality. (Star animators rather than star voices. Too bad there was no star writer.)

And Jim Tyer! There’s a whole cult of people who rally around Tyer’s work, and that pleases me. No one I knew, when I was a child, had any idea who Tyer was, but I searched every Mighty Mouse show on Saturday morning TV for a cartoon that had something of Tyer’s work on it. And of course, if you’re going to mention Tyer you have to talk about Rod Scribner. Bob Clampett wouldn’t be the same without Scribner’s scenes. One was East coast, one was West. One distorted the character off all semblance of drawing rules, the other distorted beyond belief (but probably – in his own way – kept the masses the same.)

We can all spot his work a mile off.
It’s Jim Tyer

This same rise to fame continued with some of the new guard. Glen Keane and Andreas Deja led a league of youngsters such as Eric Goldberg and Ruben Aquino and many others to small fame within the industry as the new golden era came to the Hollywood studios.

Meed I identify? Glen Keane & Andreas Deja.

Any good student can list off dozens of such names and can tell you what scenes they’ve done. The point that I’m ultimately getting to is that they’re all 2D animation. Where are the cgi lists of names? Where are the heroes from Toy Story and Monsters Inc. Not the directors. We all know who Brad Bird and Pete Doctor are; we know John Lasseter from Andrew Stanton, but who actually did the animation of some of those many scenes.
The names are on the credits just as Frank Thomas‘ name is on the credits of Bambi. But I can tell you immediately that Thomas did the scenes of Bambi ice skating, yet I don’t know who did the scene of Woody getting resentful, as Buzz Lightyear gets attention from the other toys. I know that Fred Moore did the scene of Lampwick turning into a donkey in Pinocchio, but I don’t know who did Merida’s mother, Elinor, in Brave. The scenes where the mother is transformed into and acts as a bear are beautifully animated, but the origin of those scenes seem anonymous. I don’t have the slightest clue as to who did them.

Grayson Ponti is one of the few who have sites that have praised some excellent cg work, and I can’t be thankful enough for his attention. Check out this post for a sample, but that was written a couple of years ago. We need more frequency and more currency.

I’ve made this complaint before. I talked about Glen Keane‘s work and got lots of hate mail. I said I was trying to learn who did which scenes so that I would know the better animators from the average ones. There were a couple of people who commented on my site and led me to a name or two. But not much changed, not really. I’d very much like it if some of you would comment here and tell me of animators I should be watching. Give me names of people who you think have done some brilliant work in cg films. Tell me the animator, tell me the scenes and I’ll try to offer some appropriate attention.

I don’t have access into the world of the cg artists and animators. I do know a few 2D artists who are working within that world, but it’s the animator who works exclusively in the medium I want to notice and give a little attention to. I need your help. I cannot do it if I don’t know who those animators are at Pixar, Dreamworks, Blue Sky, Disney, Sony and other places. If I don’t know their work I can’t give them credit.

Honestly, for me this year the best animated scenes were many of those of Richard Parker in The Life of Pi. Rhythm and Hues did the work.

This scene knocks me out every time I see it. Pi is trying to
train the tiger, Richard Parker, and the tiger kneads the wood
of the boat (as any house cat would knead a blanket or its
owner, while accepting the comments of his teen overseer.

I’ve contacted the EFFX house offering to give them any attention on my Blog that they’d like from me. Publicity is publicity. (Of course, there’s been no response, surprise, surprise.) Regardless I’m going to continue promoting this film. I love it. But I’d like to add animator names and key art people responsible for the great work. I need them to contribute to get that part right.
I was also equally astounded by most of the work of the Gollum in The Hobbit. One is straight cgi; the other is what used to be called “motion capture” and is now something much much more. There’s real feeling in both those films, and in both those films those characters exist. There can be no question of it.

Now, I’d like to know who is actually doing the creative work. behind the Pixar, Blue Sky and Dreamworks films. I want to talk with people from SONY or other studios. I have a lot of questions and I want to give focus to some individuals who deserve it.
Curran W. Giddens worked on Horton, Cars 2 and Monsters University. What can he tell me about animation?
Raffaella Filipponi worked on The Croods, Shrek and Over the Hedge. She’s freelanced a lot and is that how theses studios work?
Dave Hardin worked on I am Legend, Alice in Wonderland and Turbo. Can he learn the “art” part moving from job to job?

These people were chosen at random. I don’t know their work even though I’ve seen it. Is there a point when THAT will turn around? Do you have to keep on the move to keep working? Is it time to start promoting responses? We’re not working at Disney on a 15 year job that allows you to move from feature to feature without it hurting you attitude, never mind your work?

Perhaps you think (as I sometimes suspect) that no single person can be given credit for “animating” since so many people have their hands on the steering wheel trying to move those characters forward. If so, say that. If you think there’s a team of people that work wonderfully together, I’d like to know. Essentially, I’d like your help continuing this post. If you don’t want it to be in the comment section of this article but would like to add to the follow-up post I’m going to do, email me. msanimation@aol.com is the best address; it’s the place I check most often. Write as short or as long as you like. If I have to edit it I will, and I’ll let you know when it’ll be posted so you can see it as soon as possible.

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- Last week I posted the first twenty pages of the Heath book, Animation in 12 Hard Lessons.

As I mentioned back then, this book was always for sale in the back of animation magazines and film articles about animation. Not only did they sell the book by Bob Heath and Tony Creazzo, but they offered a lot of equipment, somewhat similar to Cartoon Colour. Paper, cel vinyl and portable drawing tables were all available through Heath.

I never really had the chance top go through the book, though I always had a curiosity about it. I had come across Tony Crazzo’s work. He was the assistant to Vinnie Bell, one of my favorite animators on the East Coast. I have to say, I loved his work on the Letterman series that I coordinated for the Hubley studio. I never did get to meet, or even speak with him though. Vinnie used to bring in his own work, already beautifully assisted in a strong and juicy line.

So here at Buzzco is a copy of the book. I can’t help but share the piece with you, knowing that it’s not for sale on the market anymore. At least I haven’t seen it out there in quite some time.

Here’s part 2:

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- Way back when, I did a couple of photo posts where I snapped some pictures of things that floated around me in my studio. Things I loved because they were around me, or maybe things that were around me because I loved them. I’m not sure which was which – the chicken or the egg. (See here and here.)

Well, as I once wrote, I’m currently working out of my home for the moment with my studio space in storage. Now, I’ve got a whole bunch of different things around me. These aren’t so obviously animation inclined, but I still love them. So let me give a show-and-tell around this room in the apartment.

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This is an etching that Heidi bought me for a birthday or some
other gift-giving-event. It’s a tiny picture of a bull which is
framed and positioned over Heidi’s computer in the living room.

I like this little guy.

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Heidi found this framed and dusty collection of buttons framed and
sitting inside the window of some garment-district store. I guess the
idea was supposed to be the display of the plastic buttons. It sits
hidden in the corner of the living room. I like it a l lot.

When we mixed our three cats together, Robbie, Alexander and Lola, it was
inevitable that they, all three, wouldn’t get along together. Robbie and Alex
are fighting friends (boys); Alex and Lola get along (boy and girl) ; but all 3
together don’t make it. Lola’s claimed the bedroom for herself, and if Robbie
even tries, horrendous cat cawls emerge from the bedroom. Of course, all
Robbie wants to do is get into that bedroom and start the wail we hear.

So a rope ties the bedroom door to a hall closet keeping the entrance impossible
for Robbie. The rope started out as a bathrobe belt, got some silk ribbons added
when that broke; and finally some twine extended it to the second door.
Whatever, it works.

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Ah, for the good old days of baby Claudie. I loved that guy.
He died in my arms on a final visit to the vet. He knew how
to do things, that boy. I loved him for 20 years.
His picture is over the piano in the living room.

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I’m sure you’ll remember that I’m a puppet guy.
This Indonesian rod puppet sits atop the no-longer-in-use
record changer. Both like to gather dust, and Heidi attacks
the dust weekly week or there abouts depending on the weather.

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This trick bank is no doubt an iron reproduction, but
it’s still great just as it is. Put 5 cents in the dog’s
mouth, and he jumps through the clown’s hoop to
deposit the nickel into the barrel.

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This replacement board came from the Winter Garden Theater.
When an actor doesn’t make it for a show, the board announces
the names of any replacements that’ll be going on. Heidi’s name
appeared here many times as she sat out the end of Cats.
When Cats closed and Mama Mia opened they got new boards backstage.

Lots of junk – such as 3D glasses – have replaced the sliding names
(which Heidi also has in the back. They don’t make the item any more
exciting.)

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Pinocchio is something of an antique. The puppet sold in 1939
when the Disney film was released. It’s made of a wooden mulch.
Sort of a mix of sawdust combined with glue; he looks just like
the real thing. Behind Pinocchio is a picture drawn by a childhood
friend of Heidi’s.

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Finally there’s the metal kitchen cabinets. Magnets hold a lot of
pictures in place. God help us if there’s to be an East Coast
earthquake. Lots of magnets mixed with images would wind up
in the sink.

Peter Pan drafts

Hans Perk has begun posting the animator drafts to Disney’s Peter Pan on his blog, A Film LA.

Interesting, the timing. My wife, Heidi, is preparing to direct a version of Peter Pan for and starring school children, and, consequently, the music has been well played in our house these recent days. Quite a great score. (Some of the lyrics have been altered by Disney for PC reasons: “What made the RED man RED” has become “What made the BRAVE man BRAVE.” Hearing a few of the songs has led me to the CD score of the actual film music by Ollie Wallace. what a brilliant composer he was.

I couldn’t be more grateful to Hans for these documents, the drafts. It’s fun to scour the documents and gill in the blanks of who did what bit of animation. (Does anything like this exist in cgi world? Is there some kind of draft that will tell us who the animators are?) I also take some enjoyment from the light bickering that goes on in the coment section of the blog, as people begin to read these drafts and try to discern which characters were assigned to which animators. As Hans comments, it’s nice to take note that Norm Ferguson did his last bit of Disney animation on this feature. He was such an enormous force among the early animators, it was sad to see him burn out the way he did. Though I guess the same could be said for Freddy Moore.

Anyway, Thank you, Hans.

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a new Yo La Tengo vid

- Here’s Yo La Tengo‘s latest song and a video. It’s all in the family – Art, I mean.
Emily Hubley did the video for the band with Georgia Hubley, Ira Kaplan and James McNew behind the music.

From the upcoming album “Fade”, out January 14(UK)/15(US)
and available for pre-order: here.

It’s a great number; I can’t stop playing it. I’m looking forward to the album.

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GHIBLI on Screen

Currently, playing in New York – and not getting much attention – is a retrospective of the Ghibli films. This has already begun playing and will continue into the next week. You still have time to see the following films:

Castle in the Sky
Japan, Hayao Miyazaki, 1986, 124 min
Mon Nov 19__ IFC CENTER_____12:20PM
Thu Nov 22___ IFC CENTER_____12:20PM

My Neighbor Totoro
Japan, Hayao Miyazaki, 1988, 86 min
Sat Nov 17___IFC CENTER______3:15PM
Sun Nov 18___IFC CENTER_____12:50PM
Mon Nov 19__ IFC CENTER_____10:40AM 7:40PM
Tue Nov 20___IFC CENTER______3:15PM
Wed Nov 21__IFC CENTER_____12:50PM
Thu Nov 22___IFC CENTER_____10:40AM 7:40PM

Nausicaä of the Valley of the Wind
Japan, Hayao Miyazaki, 1984, 116 min
Sat Nov 17__IFC CENTER_____1:00PM 7:45PM
Sun Nov 18__IFC CENTER____10:40AM 5:05PM 9:50PM
Mon Nov 19__IFC CENTER____2:50PM 9:30PM
Tue Nov 20__IFC CENTER_ ___3:15PM 1:00PM 7:45PM
Wed Nov 21__IFC CENTER____3:15PM 10:40PM
Thu Nov 22_IFC CENTER___ __3:15PM

Princess Mononoke
Japan, Hayao Miyazaki, 1997, 134 min
Sat Nov 17__IFC CENTER____5:05PM
Tue Nov 20__IFC CENTER____5:05PM
Wed Nov 21_IFC CENTER_ ___9:50PM
Thu Nov 22__IFC CENTER____9:30PM

Spirited Away
Japan, Hayao Miyazaki, 2002, 124 min
Sat Nov 17__IFC CENTER_____10:40AM 10:00PM
Sun Nov 18__IFC CENTER_____2:35PM 7:25PM
Mon Nov 19___IFC CENTER____5:10PM
Tue Nov 20__IFC CENTER_____10:40AM 10:00PM
Wed Nov 21_IFC CENTER______2:35PM 7:25PM
Thu Nov 22__IFC CENTER___ __5:10PM

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Imamura Docs

- I’m a big fan of Shohei Imamura‘s films. Yes, I love Kurosawa and Mizoguchi and Oshima, but I feel more of a kinship to Imamura.

A NYTiimes piece by Mike Hale alerted me to the scheduled mini-fest of documentaries by the great director. The films will be screened at the Anthology Film Archives.

I’ve touched on his work before and have written about him in those posts. How could I not, he brings out the artist in me (if, in fact, there is one.) Back in 1979, I stumbled upon a major retrospective at the Japan Society in NYC in 1979. They were about to screen all of his films – two a night – in a complete program of all his work to that point. That meant he hadn’t done Black Rain (1989), The Ballad of Narayama (1983), or The Eel (1997) – three of his greatest. After seeing the first double-bill I was there every Monday – the opening night of each newly screened films – many of them US premieres. Most of the films, to that point, were done in B&W, but the themes were all brilliantly colorful. The weak and corrupt men, the violence, the strong women (the backbone of japan in Imamura’s eyes). They were all there from the beginning, but they grew in depth as the director grew in experience. The films added up to a strong portrait of Japanese society.

Whereas Kurosawa is a poetry of beautiful imagery, Imamura is a prose of themes, imagery, sounds and hand-held camera. He sarted as a “B” movie director, and like Don Siegel or Sam Fuller or Edgar Ulmer. He was part of the Japanese “New Wave” eracting against the slick studio flms of the time, in particular the style of Yasujirô Ozu. There’s a grit to his work, and very much like the theme of his films. The brutish male refined by that female backbone. He’s a master and I’m looking forward to seeing these documentaries.

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A Newer Recobbled Cut

Garrett Gilchrist is assembling another cut of Dick Williams’ would-be-masterpiece, The Cobbler and the Thief. The first fifteen minutes are up and running and can be found embedded, below. It really does feel more finished.

The Thief Archive is Garrett’s YouTube site for all things Richard Williams.

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Kickstarter

A number of people have recently asked me to promote their Kickstarter campaigns to raise funds for their movies or projects. I’ve turned down most of them and will continue that policy. There are too many going after funds, and I don’t have enough interest to support everyone with space on this Splog. It would end up making the contents of the posts dull, at least for me.

But there’s the occasional film in process that excites me.

Uli Meyer‘s film version of Ronald Searle‘s the animated Bells of St. Trinian’s excited me. They hadn’t yet started their Kickstarter campaign, but I was ready to promote them full out. Unfortunately, they’ve had a setback and their project is on hold, as is their fund raising campaign.

Mark Sonntag‘s film Bounty Hunter Bunny will be a challenge. I like Mark’s blog Tagtoonz, I like the film he’s proposing, and I like Mark. Given such, I will support his Indiegogo campaign as much as is possible.

Then, this week I was approached by Fumi Kitahara about Pamela Tom’s proposed documentary, Tyrus Wong: Brushstrokes in Hollywood. Wong, of course, designed Bambi, one of my all-time favorite films, nevermind animated films. Wong is 102 years old, and I want to see him talk, paint, breathe. If there’s a chance this film will capture that, and I feel pretty confident that will happen, then I want to see the film made. Yes, I support this film. The documentary has been in the works for the past twelve years, and I would like to see it completed. Hopefully, this Kickstarter campaign will make it happen. Tale a ;ppk, and read their proposal.

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Running in Place

For the past week I think I’ve been endlessly running. Running from screening room to screening room. A lot of movies to see before December is over. I should bypass them all for the blog, but I started doing this recently, so I want to continue. Even if I have to boil some of the films down to a word or three. Next week, there’ll be a couple of animated films, so it’ll get more pertinent then, but for now, let me tell you what I’ve seen. By that I mean movies.

Sunday, last week, started off with a wierd double bill including two parties. First there was a film starring Elle Fanning. Ginger and Rosa was, sort of, a love story between two young women. Girls, really, in England. Ginger (who had ginger colored hair, of course) and Rosa (who had darkish colored hair) were the closest of buddies. At least they were until Rosa fell in love with Ginger’s father, and she betrayed their love. The real surprise was at how tall Ginger . . . er, Elle Fanning was. She was just a smidgen taller than I. The tallest female I’d seen since seeing Keira Knightley in person last week. She’s almost five inches taller than I and she’s also incredibly thin. Whereas Keira is charming almost to a fault, Elle is as shy as you might suspect.

The second film that night was Silver Linings Playbook. This was a fabulous film directed by David O. Russell, who got enormous credit for his film two years ago, The Fighter. But this is the good one. An absolute delight with a great after party. But Harvey Weinstein always has the best parties. At a great and expensive place. No animators there but lots of celebrities and great food. That was a wonderful start for the week; the end of the weekend.

Monday brought another film, Anna Karenina. This was the film that had the luncheon the Thursday before. What a sumptuous delight, the movie. It’s supposed to take place in a theater, but the film broils over with Russian delight. Lots of waltzing camera moves and rich visuals. The camera danced all movie long in the tale of passionate infidelity as the cast pulsated with theatrical emotion led by the Tom Stoppard screenplay. A thousand page novel clocks in at just over two hours with more swooning temperament than can be found anywhere in real life. The director of Pride and Prejudice, Joe Wright, doesn’t quite pull off the emotional ending, but leaves you dumbfounded by the rich splendor on screen throughout his movie.

Tuesday was led by a lunch with Ang Lee celebrating The Life of Pi. Ths is the film I’m desperate to see, yet have only been available, so far, for the celebration. John Canemaker and I ate at the table with several of those who were marketing the film, so we learned a lot abot the making of the movie. The had also just shot an interview with Charlie Rose and were full of talk about that chat. The food at Michael’s was great. . . cod.

Tuesday evening two movies. The Persecution . . . I mean Prosecution of an American President was a political screed trying the former President, G.W.Bush, for War Crimes. Needless, to say the movie found him guilty. I didn’t sleep through ALL of it, though I tried. Ths led into Skyfall, the new James Bond film. Tis was good, but it was more action-adventure than Romantic-Action Adventure. In short the sex and the laughs were drained from the movie. Not quite your father’s James Bond, more like the teenager’s movie.

Wednesday evening brought a date with Mrs. James Bond, Rachel Weisz. She starred in the Terence Davies movie adaptation of the Terence Rattigan play, The Deep Blue Sea. Like all Davies movie, very claustrophobic, very British film wherein the cast usually finds themselves singing in the local pub. I love it, though it really is very slow-moving and insular for most people. The Q&A afterward had the stunningly attractive Ms. Weisz showed us how regular a person she is. The final question from the audience, of course, was, “. . . how does it feel to be married to James Bond?” “Wonderful,” was the answer she shot back. “How do ou deal with all the posters of your husband all over NY?” “I don’t notice them. I see more of them in my mind than are really there.” Ah, true love. Her movie was about guilt ridden infidelity in the fifties.