- Here are the scenic art that makes up the title sequence to Roger Corman’s film, Teenage Doll. I would be posting this as a Paul Julian title, as many ardent fans credit the titles. But they’re wrong, this is not the work of Julian. It’s a poor imitation.
(Click any image to enlarge.)
A couple of peculiar cards set up the main title.
First a very slow pan down while hands appear and disappear.
Allied Artists gets their title card – not full screen!
The main title.
The camera pans across brick wall fragments
as a few names come and go.
The camera makes a slight move as we go from the
title above to the title below.
Single card.
Shadows move in as type changes.
Cut to a pan as a bunch of titles fade on and off.
Single card title.
Some black cut out figures pan up and in.
They’re so shoddily produced that the lights are
shining off the edges of the card.
Single card title.
The text is printed over a photo of a brick wall.
I guess they had no left over artwork.
Obviously there are problems with this title sequence. The worst has to be seen as it moves on screen. A pathetic sense of timing has type popping on and off the screen too brieftly or held too long. The artwork looks more like some agency storyboard than actual production artwork.
This is most certainly not Paul Julian’s work. Stylistically it’s obvious, however, there’s so little professional about these titles that I know Julian couldn’t have been involved.
What I expect happened, was that he was offered the job for less than the couple of hundred dollars usually offered. He turned it down and some beginner took it to get his feet wet. Too bad.
The unfortunate part is that the designer didn’t even get a credit, so we don’t know who did it.
- This is the last of three posts showcasing the drawings of Frank Thomas for one scene of Mowgli and Kaa in The Jungle Book.
Frank was a very productive animator who was very defensive of his drawing ability, yet he always seemed to come up with something attractive and full of his gentle personality.
There is some nice use of foreshortening in the leg of Mowgli in these drawings. You have to be particularly good at drawing to make it work; I think I’ve seen too many bad drawings where it’s called attention to itself. Foreshortening is usually something worth avoiding unless you feel really confident about it. However, as done by Frank, it really helps the motion.
Again there is a smart use of ones and twos, and there seems to be no effort in having moved back and forth between the two. Yet, when you look at the movement, it seems natural.
The scene also ends in the middle of an action, something an editor might do, but it seems to be controlled by the animator here.
The entire scene is now up in all of the QT’s posted. Part 1 Part 2
We start with the last drawing from Part 2.
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The QT movie below includes Parta 1, 2 &3 of this scene.
Mowgli & Kaa Click left side of the black bar to play.
Right side to watch single frame.
Many thanks to John Canemaker for sharing these drawings with us.
- I enjoy thumbing through the Art Director’s Annuals. There’s a lot of amazing illustration to view with plenty of ideas and sharp graphics on display. I have, as a good example of these hard-covered catalogues, the 1957 issue. 90% of the book is composed of illustration in the different advertising fields. A small section is devoted to TV spots and illustration. Naturally, I have a strong interest in this section.
Editorial Art, Advertising Art and Television Art all get their chapters.
Here is a pictoral list of the winners in animation for the TV commercials awards in 1957. A number of these spots have remained familiar (at least as images in old animation books – like Halas’ Technique of Film Animation.)
The biggest prize went to John Hubley’s Maypo commercial.
Storyboard Inc. – producer
John Hubley – Director & Art Director
Emery Hawkins – animator
Ford commercial
Playhouse Pictures – producer
Bill Melendez – director
Sterling Sturtevant – Art Director
Bill Littlejohn – animator
Jello
Ray Patin Productions – producer
Sonia Linker – Art Director
Maurice Sendak – artist
Maxwell House
Audio Productions Inc. – producer
Jerome Kuhl – artist
Piels Brothers Beer
UPA – producer
Jack Sidebotham – art director
Chris Ishii – designer
5 Day Deoderant
Storyboard Inc – producer
John Hubley – art director
Art Babbitt – animator
Jello Baby
Ray Patin Productions – producer
Ruchard Vab Benthem – artist
Ken Champin – photographer
Lorna Doone
Bill Sturm Studio
Frank Broadhurst – art director
The Lion and the Mouse – Prudential
Storyboard Inc. – producer
John Hubley – director
Art Babbitt & Emery Hawkins – animation
Coors Beer
UPA – producer
Jules Engel – director
Fred Crippen – art director
Scott Paper Co.
UPA – producer
Jack Goodford – art director
Grim Natwick, Sam Wiggenhorn – animators
Donahue Sales Corp.
UPA – producer
Jack Goodford, Chris Ishii – art directors
Cliff Roberts – animator
- I’ve been a fan of the panel cartoonist, Lou Myers, for ever. His work makes me laugh. His drawing style looks like art to me, and that makes me laugh, too. He has a numbner of books on the market that collect his cartoons.
His book, Absent & Accounted For, is a good sampling of his work. I pulled it off my shelf last week and it got me laughing. So I thought I’d give you a few of the cartoons in the book. It’s a gem, published in 1980. Lots of therapists and sex jokes. Here are some of the therapy gags.
- Last night I saw Where the Wild Things Are. To be honest, I didn’t really want to go, but went just the same. Not good.
Yes, I know all the reviews I’ve seen are glowing. But I found it boring once they settled in on the island.
David Denby‘s review in the New Yorker got it right. Read it before you go; that’s the film you’ll see.
The cgi manipulated faces of the characters is excellent as are the voices. Sensational acting by James Gandolfini, Lauren Ambrose, Catherine O’Hara, Chris Cooper, Paul Dano and Forest Whitaker. All of them. And the kid, he’s good, too.
But Spike Jonze! Why do you have to tell us everything that’s going on on screen? Why do you have to overanalyze a book that has so much depth; it gives us reason to think. Do you just want to stop us from thinking? Give me the book. I don’t want this thing to sit in the unconscious memory of children watching. Give them the book. Yccch!
It’s an adult’s idea of adapting a children’s book. Repetitive, Tiresome and Boring.
New Yorker illustration, above, by Pablo Lobato.
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- I’d be afraid to see the Jim Carrey Christmas Carol soon to come out. From the look of it, they’re throwing everything and the kitchen sink at the audience through the magic of 3D. Christmas wreaths, icicles, snow, even Jim Carrey. They all fly in our face. $5 extra, please, for the glasses and $3 extra for the aspirins to take care of the headache.
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- According to a piece in The Wrap, Wes Anderson didn’t want to stay on set during the tedious two year shoot of The Fantastic Mr. Fox, so he went to Paris while the film’s “Director of Animation”, Mark Gustafson, did the heavy lifting. Footage was sent via email to Paris and back a response would come.
Anderson said, “the movie would not be the way I wanted it if I just did it the way people were accustomed to doing it.†Give that man an Oscar.
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- Tomorrow at USC, the Entertainment Law and Business Conference will be held. Described as “…in-depth examinations of the newest opportunities in animation.”
Guest panelists will include:
Robert A. Iger, president and CEO of The Walt Disney Company who will be the keynote lunchtime speaker.
The heads of four major talent agencies: Jeffrey Berg (ICM), Jim Berkus (UTA), Ari Emanuel (WME) and David O’Connor (CAA). They will participate in discussion on “The Future of Agencies.”
Tom Sito will talk on animation’s future and how it will depend on continued technical development or a refocus on storytelling and character? And what opportunities exist for creators of new media, such as animated webisodes or short-form flash animation on the Web?
Saturday, Oct. 17. The session on “New Opportunities for Animation” will begin at 9 a.m. The doors open for registration at 7:30 a.m.
For more info call USC Law’s Continuing Legal Education office at 213-743-1772 or log on to their site.
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- A friend, Steve Parton sent this YouTube video about the fun of freelancing as a designer – though it’s applicable to anyone who works in this business. It’s a laugh, if you haven’t seen it as yet.
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- RIchard O’Connor has been giving daily updates on the Ottawa Animation Festival, as it progresses. There’ve been two posts, to date, and if you have any interest in what’s up at this Festival, you owe it to yourself to check it out. Asterisk Animation Day #1 Day #2
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- The rain that left LA, earlier this week, has made it to New York and will dampen (if not deluge) our weekend in the City. (Thanks, LA.)
I wouldn’t mind, but I’m waiting somewhat impatiently to see the Yankee-Angels games, and I hope they won’t be rained-out. I have too much emotional investment in that series to be blottoed by RAIN!
– In 1965, John Hubley directed animation inserts for an educational film for Jerry Fairbanks Productions and AT&T. It’s the story of the history of the telephone and how it works. The story, such that it is, tells about two kids visiting their uncle, an animator (actually, an actor playing an animator). He gives them an animated lecture on the story of the phone.
The film reminds me very much of another film done by the Hubley studio. UPKEEP was the history of the IBM repairman. We travel through history to see how the repairman has worked over the years. It’s a successful device that works in John’s hands.
The film is available to view on the Prelinger Film Archives. I’ve made some frame grabs to post to give an idea of the style. The characters seem to shift a bit stylistically from the humans at the beginning to those later at the circus. From Hubley to Jay Ward. This was a period where John Hubley was beginning to experiment with more expeditious styles for the jobs that came in. The more artful Maypo style was a bit complicated to pull off. The cels, here, are cel-painted traditionally. (I actually have a hard time believing the date on this film – 1965. It feels more like late 50′s.)
The backgrounds are all by John Hubley, and they remind me of those he would do for UPKEEP and PEOPLE PEOPLE PEOPLE. Lots of white space and soft images. The animation looks like it was done by several people. I recognize Emery Hawkins‘ style, and I also can see Bill Littlejohn in there.
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The animator’s studio.
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Kids are always fascinated when an animator draws.
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The character goes from this . . .
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. . . to this.
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The caveman has to deliver a message.
This is the full length of his run, the pan wherein the character
runs from being a caveman to an Egyptian to a Roman.
Here’s the same BG broken into four parts:
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B
C
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Once on horseback, man travels through
the middle ages to the pony express.
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Man turns to smoke signals to communicate.
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Then flashing lights.
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Morse invents the telegraph.
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Alexander Graham Bell invents the telephone.
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Now the animator explains how the telephone works
to two very interested children. .
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We get the fable about the lion who calls . . .
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. . . a raven.
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Though he shouts too loudly into the phone.
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Then there’s the squirrel who can dial the phone . . .
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. . . and the bear who answers the phone too late.
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No one there.
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Then there’s the elephant who dials the wrong number.
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Finally there’s the pig who won’t get off the phone
so the fox can make an important call.
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Next the animator takes the kids to the police station.
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This way the cop can tell the kids how to make emergency calls.
- Dementia 13 was Francis Ford Coppola‘s first real, credited film direction. Done in 1963, it was contrived in a rush to capitalize on the completion of another Roger Corman film, The Young Racers. They were able to use the sets and props from the low-budget film Corman had just finished in Ireland with Coppola as his sound technician.
When they returned to LA, Coppola and Corman fought, with Corman bringing in another director, Jack Hill, to complete the film as he wanted it adding a few ersatz scenes.
It’s interesting that Paul Julian was able to get in there to do the credits for this film. Presumably Corman brought him in since he did a number of other Corman title sequences. Obviously, the budget was just about nothing (one doubts it even covered the cost of Julian’s paints.) Regardless, the film is notable for Coppola’s name. Julian’s work stood out.
The up front titles are particularly short, as is the credit list at the end.
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Here’s a sample of the end credits with Julian’s name.
Hans Bacher on his site, One1more2time3′s Weblog has a couple of posts with recreated Warner Bros backgrounds by Paul Julian.
- On Tuesday, Dec 1 The Paley Center in New York will host a screening of Mr. Magoo’s Christmas Carol. After the screening there will be a panel discussion which includes the following guests:
- Darrell Van Citters, Animator and Author of Mister Magoo’s Christmas Carol: The Making ____of the First Animated Christmas Special,
- Judy Levitow, Daughter of Magoo Director Abe Levitow
- Marie Matthews, Voice of “Young Scrooge”
- Moderator: Jack Doulin, of the New York Theatre Workshop.
The program starts at 6pm and general admission is $20. All guests will receive a complimentary DVD of Mister Magoo’s Christmas Carol.
I’ll post this again as we get closer to the date, but you might want to buy tickets in advance for this special program. Hopefully you’ll have the dvd at hand to wash out the taste of the all-Jim Carrey version coming to a theater near you.
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- This announcement gives me the opportunity of recommending, again, Darrel van Citters’ excellent book, Mister Magoo’s Christmas Carol: The Making of the First Animated Christmas Special. Reading this attractive book gave me new insights into the program as well as the production of animation in the relatively early era of tv production. There’s a wealth of behind-the-scenes material about the production from concept to completion.
Some bits:
As a fan of Jule Styne‘s work, I find it remarkable the amount of information given about this composer as well as his score for this show. Styne and Bob Merrill were writing FUNNY GIRL for Broadway at the same time, and found themselves bogged down with producton delays. They took the UPA cartoon because they thought it’d be fun and they’d be able to squeeze it in before their Broadway show got up and running again. They also thought they could make a quick buck. Of course, the music gives the show the weight it needs with solid, strong tunes. (There were also a few others asked before Styne was selected.)
Abe Levitow was directing Gay Purr-ee at the exact same time he was doing Magoo’s Christmas Carol. This presented logistic problems which are detailed here in an entertaining read.
Gerard Baldwin had only two weeks to animate the “Despicables” song.
He completed the sequence, which was one of the highlights of the show, on time.
Shirley Silvey had a limited amount of time away from her work on The Bullwinkle Show. She used it to design the story board for Magoo and help in the early stages of the show’s Layouts.
A Shirley Silvey storyboard drawing alongside a matching Layout by Sam Weiss.
It’s a good read with lots of the business side mixed in with the artistry. Darrell Van Citters is a Producer/Director/Animator by day. Consequently, the informed animation reader feels in safe hands throughout the book. He knows what rocks to turn over, and his curiosities in this film are ours. He talks about the things you want to know, and he opens up avenues you didn’t expect to see explored. Van Citters financed this book, himself; he believes in it, and you feel that from the first page. It’s a fine book.
– We continue with Frank Thomas’ scene from the Jungle Book.
His animation is certainly a piece with the work he did on Sword in the Stone. I assume he did a large part of this show, as
he did with S in the St. These were very productive and fruitful years for Frank. It’s a shame the films didn’t have more depth.
This part of the scene starts on ones and soon goes to twos. Watching the QT movie, it all moves so fluidly that it all becomes solidly one.
To view the first Part of this scene go here.
I start off this scene with the last drawing from Part 1.
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The QT movie below includes all drawings of this scene.
Mowgli & Kaa Click left side of the black bar to play.
Right side to watch single frame.
The remainder of this scene will be posted next Monday, and the full QT will be made.
- Maspeth is a small, industrial part of Queens. The neighborhood is semi-suburban with a lot of row houses and small front lawns/gardens. There’s a large catholic contingency within the area, and, consequently, the statuary on the lawns tends to offer more than lawn-jockeys; the lawn-madonna is also a staple.
Steve Fisher lives in Maspeth, and has captured a number of these Madonnas on film. Here are some of his collection.
Here’s the standard for local lawn-Madonnas.
(Click any image to enlarge.)
Sometimes they have to be wrapped in Saran Wrap to
protect them from the crazy weather we’ve had lately.
Here, the Madonna becomes Our Lady of Fatima when
two small children-statues are placed kneeling in front of her.
Of course, the lawn-jockey was also one of the witnesses at Fatima.
It’s rare to see Joseph be honored with his own lawn statue.
Fortunately, he’s protected.
The entire holy family gathers with a different
kind of security protection.
Perhaps the protection can get outa hand.
I’m not sure the chef-pig offers any protection at all.
Perhaps the Madonna-in-the-shadow is protecting him.
We all know that it’s hard to keep the flamingoes from
gathering around the Madonna when they see her.
Naturally Christmas brings more, different, surrounding statuary.
This is a fully grown Jesus (with sacred heart exposed) for Christmas.
Mary naturally would be surrounded by a
deformed Santa and a wierd football player.
The one Wise King stands alone.
I take that back, he stands with a ghostbuster.
And, of course, just in time for Halloween,
the Madonna meets varied spooks and goblins.
Thanks, again, to Steve Fisher for his great pictures.
