Michael Sporn Animation – Splog

– Adam Abraham‘s new book, When Magoo Flew: the Rise and Fall of Animation Studio UPA, is a gem. It’s an intensely researched and informed book about a studio that has gotten little real attention before this. There have been bits and pieces about specific films and people at the studio, and there’s the extraordinary chapter in Mike Barrier’s Hollywood Cartoons which encapsulates much of the material in this book.

When Magoo Flew starts off in a political mode, and in some way it stays there throughout. Perhaps that’s at the heart of the UPA story. At first, we read about the Disney strike which caused many artists and renegades to leave the Disney studio and strike out for something bigger, freedom to draw in a more modern mode. The book stays with politics as we see the formation of the UPA studio; there’s so much in fighting as partners turn on each other to take control of the studio. Once they’re in the heyday of the studio it’s the politics of who’s doing what. Animosities played a large part. When John Hubley didn’t like the painting of Herb Klynn, (“I cannot stand another touch of that Klynn green!”) he brings the brilliant painter, Paul Julian, into the studio. When Jack Heiter refused to listen to Jules Engel‘s demand to change to color ofthe sky in a background, Heiter was fired. Eventually we move to the politics of the HUAC hearings and the McCarthy era anti-Communist attacks on Hollywood. Finally, it gets down to the politics of selling and reselling the studio and the archives.

It’s a compelling story.

Within this book of politics, we see every film develop and succeed or fail. From Hell Bent for Election to Ragtime Bear (and Mr. Magoo) to Gerald McBoing Boing to Rooty Toot Toot. We see the careers of John Hubley, Bobe Cannon, Pete Burness, and many others develop and grow. All the info is in there: the history of the key shorts as well as the many feature attempts amd the two completed, as well as the mini-bios of all the people. It’s one of those books where you trust the facts and are sure the author did the homework. (The only quibble I had was in his saying that Hubley had one “big” shot at a feature with Watership Down, when in fact Hubley produced and directed two features of his own within his studio, although maybe Abraham didn’t mention them because they weren’t “big”.)

This is what I consider to be an important book in my collection, and I’d encourage everyone interested in animation history to get a copy if they can. At least, get yourself to a library to read it. I’d also like to suggest that you check out Mike Barrier‘s comments about the films of UPA in his review of the DVD. He links to the chapter in his book about the history of the films.

There’s also a companion piece – a DVD that was released by Turner Classic Movies, and it, too, is a treasure. Jolly Frolics, the UPA Collection contains beautifully reconstructed copies of many of the one-off films, the Jolly Frolics. These, for the most part, were the non-Magoo shorts. (There will be an all Magoo release this coming June.) Many were directed by Bobe Cannon, but there are plenty of othrs by Hubley, Babbitt, and Burness as well. (I ceertainly plan to use this DVD to really go into the films and comment on some of them in the future. There’s too much wealth here for me to pass by.)

The brilliance of Rooty Toot Toot or Gerald McBoing Boing or The Tell Tale Heart stands out against many of the others which here seem even more ordinary. The Man on the Flying Trapeze or Baby Boogie or Giddyap prove that not all UPA films are gems. Like any other cartoon studio’s product, there were good, bad and, mostly, mediocre films.

However, this collection are all marvelously brought back to their original life with this release, and TCM has to be applauded for this first collection of cartoons among their releases. The extras on the DVD includes commentary tracks by Jerry Beck and Leonard Maltin. These are worthless, as far as I’m concerned. Half of their comments involve complimenting the newly found colors of the DVD copies. Neither seems to know more than the basics about UPA. After the first commentary track, they’re all the same. With this DVD, you’re buying them for the fantastic originals on display.

When I was 11 The Gerald McBoing Boing Show premiered on CBS. Anything to do with animation meant it was playing on my family’s TV set. Ohere than these cartoons, everything anmated on TV meant the old B&W WB cartoons featuring the fat Porky Pig. There were early B&W Terrytoons as well, and even some Aesop’s Follies (silent cartoons with classical music tracks added) running on ABS. Of course, there were the special Disneyland TV shows which ran not often enough for my taste.) But the UPA cartoons were different. They looked different, they moved differently, and they struck my young eyes as important. I became an instant fan. I’ve waited for this book and DVD most of my life. It was worth the wait.

The Kickstarter Thing

- It was a kick to do the Kickstarter campaign trying to raise some funds for POE. No luck in the end (I obviously set my aims too high), but plenty of eye opening support from everyone in the animation community. It certainly was encouraging and more than a little heartwarming.

From the center of my being, let me say a loud Thank You to all out there; I am blessed. And you people are all wonderful.

I’m not sure if and how I’d do it again (though a lot of people are encouraging me to start again immediately); it’s a bit stressful in the end. Certainly, I’d work with one of the non-Kickstarter programs where the goal wouldn’t force the cut off. Just the same, it all took a bit of a toll. However, before the week is out I’ll get into it.

Again, many thanks.

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The News of My Demise

- Now another piece of news. I’m not going out of business.

I am closing the doors on my studio space, but we’re just downsizing. The projects I’ve been doing have shown me that I don’t need quite as much space to work since what I have been doing is to work on my own or in collaboration with Matt Clinton, who is in Michigan. I have work coming up, but I’ll be doing it alone. I don’t need 5000 extra feet of space and five desks and computers.

After thirty two years, I’m going to go a bit more virtual. I’ll have the computer out of the home, and I’ll take Candy Kugel‘s incredibly generous offer to do some of the work out of her space, Buzzco. It’ll be fun to be around a good friend during the weekdays, and I’ll continue the way most of the world seems to be operating.

Of course, when the funding for POEor something large does come through, I’ll rebuild and open new doors. That actually may be sooner rather than later, but for now, my studio’s address will be my home address.

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Chris Sullivan

- There’s an interesting, and very independent feature film about to open at the Tribeca Film Festival. Chris Sullivan is an animator workig out of Chicago who is completely independent, and has been working on his film for years. Consuming Spirits is truly multi-media. It jumps from 2D cel animation, to cut-out animation, to clay animation. It breathlessy gliedes from one form to another in a seamless way. The film deserves to be seen on the big screen, and I encourage you to catch it during the Tribeca Fest. I’ve seen about a half hour of the film and look forward to seeing it all together and complete.

1st Screening: Monday, 4/23, 6pm. Clearview Chelsea Cinemas.
2nd Screening: Tuesday, 4/24, 4pm. AMC Loews Village 7.
3rd Screening: Wednesday, 4/25, 7pm. Clearview Chelsea Cinemas.

From the Tribeca program:

Nearly 15 years in the making, Chris Sullivan’s Consuming Spirits is a meticulously constructed tour de force of experimental animation. Shooting frame by frame in 16mm, Sullivan seamlessly blends together a range of techniques into a distinct, signature visual style. In the process, he constructs a hypnotic, layered narrative, a suspenseful gothic tale that tracks the intertwined lives of three kindred spirits working at a local newspaper in a Midwestern rust belt town.

I’ll give more of a reminder when the time gets closer.

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UPA

- I had intended to write extensively about UPA. The new book, When Magoo Flew by Adam Abraham and the accompanying DVDs, the Jolly Frolics, from TCM. These are just the most brilliant thing to happen to animation history this year. I’m slowly savoring the material and haven’t quite finished it. When I do I’ll write a full review.

However, I can guarantee you that my reviews for both are positive, and if I were you, I’d buy either and both right away.

- Given the current release of the Jolly Frolics DVD that has just been released via TCM, and given the release of the new book by UPA book When Magoo Flew, by Adam Abraham, I thought this a good time to repost this brochure which seems to tie into the exhibit at the MoMA.

- Bill Peckmann sent me this brochure back in 2011. I’d not seen it before he’d sent it, so became a bit of a treasure to me, a big fan of UPA.

Here’s Bill’s note:

This is a studio brochure/mailer* reprinted from American Artist Magazine Nov. 1955. I remember reading the article in high school, it had a huge impact. I remembered it for many years after because of the scarcity of animation articles at that time. And, because it appeared in an “art” magazine, it seemed to make “cartooning” legit.
Did Disney art ever appear in an “art” magazine around this time?

*This brochure was given to me by Ruth Mane (UPA Alumni) many, years ago.

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There’s no doubt this article followed up on the Museum of Modern Art‘s 1955 show of UPA art. Amid Amidi posted an extraordinary piece about this show on his Cartoon Modern site. By the way, this is an exquisite site. It’s just a shame that Amid let it lay after his promotion for his book Cartoon Modern. Take some time and browse around that site when you have some time.

A snap of one of the walls at the 1955 MoMA UPA Exhibit.
(from Amid Amidi’s site, Cartoon Modern.)

- Since I’m well into the book, When Magoo Flew by Adam Abraham I thought it an appropriate time to take a look at this comic book I have. From 1953, it’s a Gerald McBoing Boing / Mr. Magoo mash up, a Dell comic book. The artwork is wildly off model from the animated cartoons and is wild enough to look like a Jim Tyer impersonator trying to do 20th Century graphics, just the way UPA would do them.

I don’t know who the artists were, and wonder if anyone out there has a clue. Please to leave a comment if you can figure it out. Here are two of the three stories in the magazine – one McBoing Boing and one Magoo.

The comic book cover

The inner cover

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Story #1 – McBoing Boing

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Story # 2 – Mr. Magoo

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Inner Back Cover

And the Back cover

Jumpin’ John Carter

- I saw Andrew Stanton‘s film John Carter this past Tuesday. Actually, I saw part of the film; I walked out after about 80 minutes. It was unwatchable in my book. Hundreds of computer created alien creatures with long necks and horns on their heads, and they all looked alike even though they were supposed to have personalities, I think.

Meanwhile, John Carter is bounding miles around the Martian desert jumping all over the place for no particular reason. Creatures are shooting weapons at . . . oh who cares!

The film’s like a video game, completely without wit or any real intellect. It’s tedious beyond belief and a total waste of time. Go at your own risk. I don’t think it was worth the money it cost to make; Pixar could have made Finding Nemo 2 & 3 for the price. (By the way, Mars Needs Moms wasn’t good, but it was MUCH better than John Carter.) But I guess my opinion on this is really superfluous, and I’m not sure why I wrote anything about it.

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What’s Opera Doc?

- Now onto a good film. William Benzon has an extraordinary article about
Chuck Jones‘ What’s Opera Doc? on his website,
The New Savannah. Plentifully illustrated he writes an
in depth article about the short, and it’s well worth the visit
for his commentary.

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Newsies on Broadway

- On Wednesday I got to see a dress rehearsal of the new Disney theatrical Broadway presentation, Newsies. This is a brand new show adapted from the Disney movie of 1992 that starred Christian Bale and Robert Duvall. Alan Menken wrote songs for the film, and he’s rewritten songs for the show. Harvey Fierstein has written the book for the Broadway musical, and it’s set to open on March 29th.

The show talks about the child labor laws in the early part of the 20th century and the organizing of a u-nion of the newspaper sales force to protect them from the likes of the major industries seeking to make bucks off their backs. (Needless to say, this is a show for our times, as the super conservatives try to destroy collective bargaining thus destroy labor laws and u-nion representation.)

The show is full of rousing musical numbers, intense power dancing choreographed by a brilliant Christopher Gatelli and superb direction by Jeff Calhoun. It’s amazing with such a large and constantly moving cast, that Mr. Calhoun is able to keep the sight lines so beautifully clear. Excellent work. The cast does not include major stars, and that’s wonderful – almost like something new on Broadway. Jeremy Jordan, who leads the pack of “Newsies,” is obviously going to be a star.

Great use of space for a large cast.

The set design was by Tobin Ost, and it’s basically steel girder like objects that move around the stage forming and reforming different constructs that serve many purposes. It reminded me (very marginally) of the brilliant set to Company by Boris Aronson back in 1970.

There seems to be a bit of work to go in finalizing the show (I would have liked to have seen more intimate moments – especially in the dance work), but it really is all there. A fierce piece from Disney, that I hope does well. It’s supposedly set for a limited run, but I think that’s questionable. It’ll run for a long time – a crowd pleaser.

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Hyperion at A Film LA

- I love a post that’s been placed by Hans Perk on his great site, A Film LA. It’s a real breakdown of the original Disney Hyperion Studio. Hans gives maps and directions to where this historic studio stood, and then proceeds to map out the entire studio giving us charts, photos and background information where everything stood.

I’m not sure we even have this with the main studio lot anymore. It was the Hyperion studio where the Disney brothers grew and outgrew themselves, producing all those great Mickeys and Silly Symphonies and Snow White and a lot of the preliminary work on Bambi.

I’m always taken aback by the meticulous detail that Hans provides for us over and over in all these incredible posts on his site.

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Miyazaki to UPA

- In the recent days I’ve been just about all consumed with the Miyazaki canon of films. I spent an enormous amount of time reviewing, watching, scouring Spirited Away and have really been taken with the film, the animation, the direction, the story.

This led me to watch some of the earlier films to see where the film came from. Kiki’s Delivery Service wasn’t much help, though it was good to see where he came from. However, I have been a fan of Princess Mononoke and watching that again gives me a lot of ideas and thoughts. The animation for that film is somewhat limited, but the use of well drawn crowd scenes and maneuvers really is enlightening. Watching some of the natural woodland planning, backgrounds and direction is quite special, and I have to admit a certain awe with how he pulled it out of the film with such seeming effortlessnessand beauty.

I like to think that this is all going into my recent concentration of my POE film, and I’m sure it is. I have so many thoughts about that one. It’s a project that’s pushing me forward like I can’t tell you, and the only inspiration I seem to be getting is from these Miyazaki films. I know the financial direction the film’s going to have to take to get done (next to no money), but I’m determined, and I’m hoping some deal arrangement can be made very soon.

The Kickstarter campaign is the juice for the whole thing, and I can’t tell you how important that’s been for me. I’m trying desperately to get a couple of heavy hitters to get that money realized, but nothing yet. Your support has been enormous and enormously helpful.

Anyway, back to Miyazaki. I have been watching the films of this master, but my tide is turning a bit. I received the new UPA book, When Magoo Flew by Adam Abraham, and have been reading that. Of course, it’ll lead to the shorts when that new DVD package reaches me – hopefully soon. The Jolly Frolics collection.

When I’ve finished reading it, I’ll write a review, and let me tell you it’s a fast read for me even though I’m trying to take my time. There’s a lot of solid research in there with a lot of strong details. It spends quite a bit of time talking about the politics of the time and studio.

However, once into it, I’m hoping for a bit more lyricism in the writing as a way of capturing the inspiration from the work they did on some of those gorgeous films. Perhaps I’ll only be able to get that from watching the films.

However, I still haven’t left the Miyazaki films, and I will write something probably too long when I get into it. The guy has my head twirling, I have to tell you, and it’s a bit hard for me to turn around and think about UPA with the material I’ve been getting from the Japanese contingent. I also want to watch 101 Dalmatians a little closer. I have seen the opening about half a dozen times in the last couple of weeks.

(Click any image to enlarge to a readable size.)

- This is my second attempt at posting this LIFE Magazine story on Rooty Toot Toot from a March, 1952 issue. They obviously enjoyed the UPA films back then, and luckily for us they posted it on something concrete – like paper.

Next Sunday, March 26th there will be a UPA program to be held at the Egyptian Theater in Hollywood. The films scheduled include:

Bobe Cannon’s “Gerald McBoing-Boing”, John Hubley’s “Rooty Toot Toot”, Ted Parmelee’s “The Tell-Tale Heart” and Pete Burness’s “When Magoo Flew”, as well as shorts produced for “The Gerald McBoing-Boing Show”, “Deerfoot Dan” and “Blues Pattern”.

There will also be a preview of a forthcoming documentary THE BOING THAT SHOOK THE WORLD.

In between the films there will be two panels hosted by Jerry Beck. His guests will be: UPA animators and designers including Bill Melendez, Alan Zaslove, Willis Pyle, Fred Crippen, and Sam Clayberger. There will also be contemporary artists: Mark Kausler (BEAUTY AND THE BEAST, THE LION KING), Lou Romano (production designer of Pixar’s THE INCREDIBLES) and author/historian Amid Amidi.

It sounds like an amazing show that I only wish I could attend. I’ll have to satisfy myself with those amazing studio photos posted by Amid on the Cartoon Modern site.

Sunday, March 26 – 6:00 PM
The Egyptian Theater
6712 Hollywood Boulevard
Hollywood, CA 90028