Michael Sporn Animation – Splog

- Picking up right where we left off last week, here are Rowland B. Wilson‘s TV Guide illustrations. In many cases it’s the rough drawings followed by scans of the color original artwork. The roughs came from Bill Peckmann‘s wonderful collection, the colored originals came from Suzanne Wilson. I couldn’t be more grateful to both of them and thank them profusely. (See part 1.)

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- Here I complete Seq. 02 Sc. 15, animated by Milt Kahl for 101 Dalmatians. This is the song Roger has just completed and playfully sings as Cruella de Vil exits. I have several more scenes from this sequence and will probably continue on with them next week.

They’ve all been animated, for the most part, on twos by Kahl, and it shows that not every drawing has to be on ones, which is the current fashion. Kahl knew what he was doing mechanically.

We start with the last drawing from Part 1.

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The following QT includes all the drawings from the scene.
Including Part 1.
The registration is a bit loose. Sorry but, these are copies of
copies and there’s plenty of shrinkage.

If you click on the right side of the lower bar
you can watch it one frame at a time.

You can find the drafts for this film on Hans Perk‘s invaluable site, A Film LA. You’ll find this particular scene on page 30.

Mark Mayerson has also devised a helpful mosaic for this film and written some extraordinary commentary about the scenes. You’ll find this mosaic page here.

- W. Harrison Cady was a well-known illustrator for over 70 years. He illustrated for The Saturday Evening Post, Ladie’s Home Journal, Good Housekeeping, St. Nicholas Magazine and the Herald Tribune Syndicate. Cady was born in Gardner, Massachusetts and best known for his works in Bedtime Stories, a daily-newspaper created by book and magazine writer Thornton W. Burgess. Burgess conceived the character of Peter Rabbit (not to be confused with Beatrix Potters creation of the same name), and each of these Bedtime Stories was illustrated with a drawing by Cady, who had illustrated some of Burgess magazine stories as early as 1911.

Bill Peckmann has generously sent me an article on Cady and the illustrations from one of his books,

When I first came across Fritz Baumgarten, years ago, the first thing I thought was, that I was looking at the German Harrison Cady. Unfortunately, I only have this one book of Cady’s, it’s a reprint, but I also have a Cady article that appeared in Nemo magazine, together they’ll make a neat post.

Here are Harrison Cady’s illustrations from “Mother West Wind’s Neighbor’s”. There are eight color plates and the equal number of black and whites.

The book’s cover.

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What follows is an eight page Cady article by Richard Marshall;
it’s from Richard’s magazine, Nemo, No. 4, Dec. 1983.

A blow-up of one corner of the illustration to show the detailing.

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Finally, here is a CARTOONIST PROfiles article about Cady.

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- Since it’s President’s Day, I thought I’d give you a small bit of the show I did this past year for HBO, I Can Be President.

Actually, this is a rough animatic for a sequence that was cut out of the show. Had it been approved, we would have animated it and properly finished it. We did about ten segments like this when we were forming the material, and it turns out we were taking the show in a direction that was not desired.
Sheila Nevins, HBO’s VP of programming wanted the show to not focus on the past (rightfully so as it turns out), and we had to dump any but a small part of the history of the Presidents. This show had a long history which took quite some time to get through the production. It was also done for a very low budget, but turned out quite well. Special thanks go to Matthew Clinton and Katrina Gregorius for their tireless and charming work.

We had sequences on John Adams and his son John Quincy Adams making a disastrous sea trip to Paris; there was another section on the animals kept by various Presidents at the White House (J.Q. Adams, himself, had a pet alligator at the headquarters. Coolidge had dozens of dogs, cats, birds, a wallaby, a baby hippo, a donkey and many other animals. He basically made a zoo of the White House.)

The sequence below shows a couple of actual stories about Franklin Delanor Roosevelt in a time before he caught polio and was crippled by the disease. He came from a wealthy family, and had more access to the world than your average would-be-President.

The bad temporary Voice Over is mine, the cheapest actor I could find. The plan was to replace mine with a celebrity voice.

The gifted cartoonist, Tom Hachtman, did a number of caricatures of the Presidents for these sequences. It would have been nice to have used the material he delivered, but such is this type of production.

The show will air numerous times in March:

Sun March 4, 06:00 AM – HBO – EAST
Sun March 4, 09:00 AM – HBO – WEST
Mon March 12, 06:00 AM – HBO – EAST
Mon March 12, 09:00 AM HBO – WEST
Sat March 24, 06:05 AM HBO – EAST
Sat March 24, 09:05 AM HBO – WEST
Fri March 30, 06:45 AM HBO – EAST
Fri March 30, 09:45 AM HBO – WEST

- Yesterday, I wrote a bit about The Secret World of Arrietty, the newly opened Ghibli film that was planned and co-written by Hayao Mayazaki and was directed by Hiromasa Yonebayashi, the studio’s youngest director.

I went to see the film last night and have to say I proceeded with a bit of trepidation. Without Mayazaki, himself, directing I was not confident that the film would deliver all I wanted. This was a mistake on my part; the film is superb. It’s right in line with the canon of films the studio has recently been producing. It isn’t as emotional as Ponyo, nor as spiritual as Spirited Away, but the film, to me, comes closest in mood to My Neighbor Totoro.

The film starts as did Spirited Away. We follow the rear of a car as it approaches a country house. Like Totoro, there is a move to the rural area. In Totoro, the two girls are moved closer to the hospital where their sick mother is staying. In Arrietty, the boy is moving to the more natural and quieter setting so he can rest prior to a heart operation.

Within the house, where he is to spend some time resting, lives Arrietty a girl about his age who is only four inches tall. She lives with her parents. and they’re not sure if they’re the last of the “Borrowers,” as these small people are known. The boy sees the tiny girl and does all in his power to make friends with her. Arrietty knows that once their secret is revealed the comfortable family must move to another location. They can’t allow the curiosity of the “Beans” (Human Beings) to endanger their lives or freedom.

The film, like all recent Ghibli works, shows a wonderful interaction between plant, animal and human life. We’re all of the same mold, and we all have to treasure the existence of what is around us. It’s a wonderful and precious theme, and I relish their insistence on placing focus on it from film to film. This, to me, ties the work together wonderfully.

The animation is excellent at every turn albeit very gentle. There are always beautiful and subtle motions in the character movement, and each character is developed visually as well as emotionally. This is not something I much feel from animation I’ve seen in Western films recently. Ghibli is not forcing clichéd motion on their characters – such as popping zip actions for everything that moves. It’s a natural animation that I find wonderful to absorb.

I wasn’t completely happy with the voice cast. I found Amy Poehler a bit too shrill and at times overacted, but Poehler’s husband, Will Arnett, does an excellent turn as the father. Most surprising to me was Carol Burnett who did a good job with her character, Hara. The two leads, Bridgit Mendler and David Henrie were also quite fine. Although Hendler’s song tagged onto the credit sequence by Disney is completely off.

See the film if you have any interest in excellent 2D animation or in Ghibli’s work. It’s a bravura performance, though very understated. Beautifully done work which is certainly better than any of the animated features from last year.

Now onto the photo essay for Sunday:

- My friend Steve Fisher sent in this photo essay, and the images are too curious to pass up. Something I don’t see very often – or even at all.

Okay, so it may not have been the most romantic idea, but the chance to tour Polshek’s Newtown Creek Wastewater Treatment Plant, even on Valentine’s Day, was too good to pass up.

Line of “Digester Eggs” from street level

Visitor Center entrance lobby fountain

Massive equipment

By-product Methane is used for heating the plant

Jim Pynn explains that from this command station, six people
will control the entire 53-acre plant’s operation

Views of the plant from atop the digester eggs,
some 140 feet above the street on a skybridge

Digester egg from street and from skybridge

Views across the East River to Manhattan from skybridge

Tissa David‘s enormous seminal Raggedy Ann scene.
The rest of the film was built on the back of this one.

- Back in 1976, I was lucky enough to get hired onto Raggedy Ann and Andy, a feature film Bobbs Merrill was financing with Richard Williams as the newly employed director. I was the first non-animator hired (three animators were hired before me: Tissa David, Art Babbitt, and Emery Hawkins. Corny Cole was designing and doing the storyboard; Gerry Potterton was the assistant director.

When the studio was set up, with its headquarter in New York, they chose a space in a building that had entrances on 45th and 44th Streets just off 5th Ave. The space was enormous and dark. Many of the lights were usually left off. Sometimes the office manager, Bruce , would be there. but for the most part, while the voices were being recorded, I was alone in the space.

I decided to start buying animation desks and discs and other equipment. I did this and worked with someone to get holes cut and lighting set up in the desks. We started prepping partitions and just setting up everything. Once bits of animation started coming in Assistant Animators were hired. Jim Logan was the first, and he and I worked together for several months with little to do but laugh and do bits of inbetweening for animation tests.

Dick Williams gave me a scene of a mirage the Camel with the Wrinkled Knees would have. 97 dancing camels spiraling into the distance would be superimposed over the Camel’s head. I worked for about six weeks on this one scene, and until I had to be taken off it. The scene near completion went to the newly hired John Kimball who was going to do a number of other similar scenes, and he’d build them all into the film. I moved to head of Assistants and Inbetweeners and definitely had a lot of work to do.

Hiring lots of people in New York and training many of the new faces was foremost. We ended up with seven rooms with about 15 Assistants and Inbetweeners in each room. Finding new people wasn’t always easy, and they didn’t all work out.

In 1976, the Ottawa Animation Festival had its inauguration year. (That was when Caroline Leaf took over the animation world, becoming a star with her film, The Street.) It was here that I went to look for talent, and I found it in several people. John Gaug came down from Atkinson Film Arts in Ottawa. He was a gifted talent and a very tight style. Sheldon Cohen was closer to my heart. His sensitive drawings and warm approach to the artwork made him a definite person to hire. After getting back to New York I let the powers-to-be know that I was hiring the two and made the calls. Both moved dpwn to the City.

Both continued on after Raggedy Ann ended.

John Gaug moved on to the Williams studio in London where he became an animator, moved back to Ottawa to direct Trolls and the Christmas Express (where I animated freelance for him). Then he moved back to New York working in the commercial studios (I got to hire him again at R. O. Blechman’s studio) until he died in 1984.

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Sheldon Cohen moved back to Montreal where he became a unique artist for the National Film Board. He directed and animated a number of strong films. His most famous, The Sweater, showed an artist in full bloom seemingly right out of the box. He continues doing a number of children’s books and recently has written a oersonal memoir called This Sweater Is For You! published by ECW Press in Toronto. The book will soon be on the market, I’ll get a copy and will definitely review it. I’d also like to interview Sheldon about his 40 year career of making art.

In the meantime, you can see a number of Sheldon’s films on the NFB site. I’ve linked those films below.

Ghibli’s The Secret World of Arrietty opened yesterday to generally positive reviews.

- Manohla Dargis in the NYTimes praised the Ghibli approach to female characters, who often are the leads, but was bothered by some of the elements lost in adapting the original novel, however

“. . . it’s initially a letdown that Arrietty and Shawn aren’t just friends, as in the book, but also something like impossible romantic foils. Yet this disappointment proves mostly premature because Studio Ghibli and Arrietty have a way of taking you where you may not expect, whether you’re scrambling through rooms as large as canyons or clambering into the safety of an outstretched hand, a simple gesture that says it all.”

- Lou Leminick in his 3 star review in the NYPost writes:

Studio Ghibli is at the forefront of keeping traditional hand-drawn animation alive — and it works well even for a story that’s less fantastical than Miyazaki’s signature works.

Many animated and live-action films have dealt with miniature humans, but few have depicted a sheer sense of scale as effectively as this one.

“The Secret World of Arrietty’’ is a feast for the eyes that will engage the entire family.

- Phillip French in The Observer writes a very positive review:

At the heart of the film, is the tender, trusting friendship between Shawn, the boy of the house, and Arrietty. Theirs is a beautiful, perfect love, but ultimately doomed like so many relationships in myths and fairytales. This moving, amusing and resonant tale also touches on environmental and ecological concerns, on xenophobia and the fear of the threatening other. And it has taken on new meanings about the respect and preservation of disappearing species and the need to treasure and recycle valuable resources.

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- Finally, the good news, last night, I won the NAACP IMAGE Award for Outstanding Children’s Program. I’m proud of this one, thankyou very much.

Outstanding Children’s Program

“A.N.T. Farm”
“Dora the Explorer”
“Go, Diego! Go! ”
WINNER: “I Can Be President: A Kid’s-Eye View”
“My Family Tree”

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- On Tuesday, comic book artist John Severin died at the age of 90. It’s only appropriate that we get some representation of his artwork out to you, so I’m posting this piece today that Bill Peckmann has sent me.

With the very sad passing of comic book artist John Severin this week, here are four of his EC Comics war stories that were done with the collaboration of fellow “historian” editor, writer, Harvey Kurtzman. Both gentlemen are at the top of their game in these early 1950′s stories.

The combination of Harvey’s writing, cinematic rough lay-outs, animated poses and John’s dead on photographic, rendered, researched art gives you historic moments frozen in time rarely seen in comic books. All four opening splash panels are worth the price of admission.

The time period goes from the battle of the Alamo to the battle of Iwo Jima.

This first story is from Two-Fisted Tales No. 28.

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The following story is from Frontline Combat No. 9.

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This story is from Two-Fisted Tales No. 29.

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This last story is from Frontline Combat No. 7. All of the exceptional coloring was done by John’s sister, fellow cartoonist, Marie Severin.

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- Bill Peckmann had sent me a number of rough sketches by Rowland Wilson which I posted last week. These were for TV Guide spot illustrations that Rowland had done back in the 70s and 80s. The only problem was that we didn’t have many of the finished spots to show against the ruffs.

Well, this week I got an email from Suzanne Wilson, the wife of the late Mr. Wilson. She offered to send copies of the original watercolor artwork to show what the finals look like. Wow! So . . . here we have a large number of scanned originals from Rowland, thanks to Suzanne’s addition.

Since there are 26 of them, and I’ve decided to post the ruffs again alongside the originals, the piece got a bit long, and I’ve decided to break it into two. Today I’ll post all the sports pieces, and tomorrow the others. Not all of the ruffs have originals that match, and not all of the finals have ruffs to show off. Believe me, it’s a great post, and I think you’ll like it.

Because these are from the originals, I suggest you take some time and blow them up. You can see a lot of the artist’s hand in these, certainly more than you can in a printed copy.

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I had planned to post more of these great illustrations tomorrow.
Because of the death of John Severin, I’ve decided to hold off part 2 of this TV Guide post until next Thursday and instead post something in memory of Mr. Severin tomorrow.
Many thanks to Suzanne Wilson and Bill Peckmann for their generous contribution.

- In 101 Dalmatians, Roger sings the song, “Cruella de Vil,” immediately after Cruella leaves the house. I have three of Milt Kahl‘s scenes from this song, and I’ll post all three. We start with Roger on the stairs coming down from his upstairs studio. You’ll remember that he actually started the song upstairs, making a racket, to force Cruella to leave. Here we go with Seq. 02 Sc. 15, animated by Milt Kahl.

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Missing an inbetween

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Misssing an inbetween

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Missing an inbetween

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The following QT includes the drawings posted above.

The registration is a bit loose. Sorry but, these are copies of
copies and there’s plenty of shrinkage.

If you click on the right side of the lower bar
you can watch it one frame at a time.

- Back in May, 2010 I posted art from a German children’s book, Zwitschi. The book was loaned by Bill Peckmann and featured a group of birds in a beautiful little story. The drawings were gentle, humorus and exquisite. Since then I’ve meant to post another book by the author, Fritz Baumgarten. This also comes from Bill Peckmann’s collection, and I have to thank him for introducing me to the work of Mr. Baumgarten.

Again it features a cast of little birds operating out of a tree. The watercolors are delicate and I think you’ll enjoy seeing the book which dates back to 1900. It’s built on a famous German song written in the 18th Century.

Book’s cover

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The Bird Wedding

A bird wanted to get married
In the green forest.
Vider-alla-la, vider-alla-la,
Vider-alla-la-la-la.

The blackbird was the groom,
The thrush was the bride.

The geese and the ducks
Were the musicians.

The eagle owl, the eagle owl,
Brings the bride her bridal shoe.

The cuckoo shrieks, the cuckoo shrieks,
It brings the bride her bridal dress.

The sparrow, the sparrow,
Brings the bride her ring.

The dove, the dove,
Brings the bride her headdress.

The lark, the lark,
Leads the bride to the church.

The black grouse, the black grouse,
Was the sacristan and the vicar.

The small bird, the small bird,
Brings the bride the dishes.

The peacock, with his colorful tail,
Dances with the bride the first dance.

Mrs. Shoescraper, Mrs. Shoescraper*,
Gives everybody a goodbye kiss.

The bride’s mother was the owl,
Takes her leave with hootings.

The eagle owl, the eagle owl,
Closes the window shutters.

The rooster horns “Good night!”
Now, the bedroom will be closed.

The bird wedding is now over,
All the birds fly home.