Tag animation

I’m Not Bad, I Was Just Drawn That Way

Remember what a huge deal “Who Framed Roger Rabbit” was when it came out in the late 1980s? It was a monster hit at the box office and was one of the key elements in the re-birth of animation in pop culture that would skyrocket with the advent of “The Simpsons” a couple of years later. But somehow, nothing more really ever came out of that success in terms of developing a franchise except for a couple of Roger Rabbit shorts that were tied to some Disney releases.

This Neatorama post from earlier this week has a lot of interesting bits I never knew: for example, I had no idea the movie was based on a novel, or that the long-shelved prequel has once again been dusted off by the first movie’s director, Robert Zemeckis. There are some other neat little tidbits of info in the Neatorama post, too.

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Why Grandma, What Big Eyes You Have!

A Swedish graphic arts student named Tomas Nilsson has produced this amusing retelling of “Little Red Riding Hood” using the same animation style as this great video of Röyksopp’s “Remind Me” (via a Mutual Friend of Torrez)

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Is There In Truth No Beauty?

A trio of passings to mention.

Over the weekend, the physicist John A. Wheeler died at the age of 96. Wheeler is best remembered in our time for coining the term “black hole” in his cosmological work, though he initially disputed the idea of singularities. His writings and research in quantum physics are the background for the work being done today at sites like the Large Hadron Collider. In his earlier years, Wheeler studied with Niels Bohr, worked on the Manhattan Project, and was the mentor of another legendary physicist, the late Richard Feynman. Writing at the group science blog “Cosmic Variance”, Daniel Holz offered this personal remembrance of Wheeler, who taught him at Princeton (via).

On Wednesday it was reported that former Disney animator Ollie Johnston had passed away at the age of 95. Johnston was one of a group of senior animators who had worked with Walt Disney from the earliest days of the studio and collectively were known as “The Nine Old Men”. These men would animate and direct every animated feature film made by the Walt Disney Studio from “Snow White” in 1937 right up to “The Fox And The Hound” in 1981. Johnston himself directed “Cinderella”, “Peter Pan”, “Sleeping Beauty”, and “The Jungle Book”. He also worked as an animator on most of the other major films of the Disney Studio. Brad Bird, the animator who directed “The Incredibles” and “Ratatouille” for Pixar/Disney writes that on his very first day as a junior animator at Disney, he was assigned to the desk where Johnston had sat for all those years and who had only retired the previous Friday. He got to know Johnston, Frank Thomas, and most of the other Nine Old Men during his apprentice years at Disney, and remembers them all fondly in the article. Bird even managed to squeeze in some “cameo appearances” for Johnston: he appears as a character in both “The Iron Giant” and in “The Incredibles”.

This morning it is reported that another legendary scientist has passed away at the age of 90 — Edward Lorenz, an originator of chaos theory. Lorenz was working on predictive methods for weather systems in the early 1960s, when he noticed that even tiny variances in data plugged into his simulation programs could produce extremely large differences in outcomes. This theory is popularly explained as the “butterfly effect”: one butterfly flapping its wings can change the dynamic state of a weather system on a scale so large as to cause giant storms hundreds of miles away. His work earned him the Kyoto Prize in 1991, and he was still teaching at MIT at the time of his death.

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The Emperor Of The Magic Kingdom

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Writing in the London Review of Books, magazine editor Mark Greif considers two recent biographies of Walt Disney: Neal Gabler’s Walt Disney: The Triumph of The American Imagination and Michael Barrier’s The Animated Man: A Life Of Walt Disney. (via)

Greif looks at an issue raised by the glorification of Walt Disney — is it really legitimate to credit him as an artist considering that he stopped doing any animation himself as far back as the early 1930s? The title of Greif’s review is “Tinkering”, which is an excellent one-word precis of Disney’s actual life’s work — finding a lifetime’s worth of things that fascinated him and tinkering with them to exercise his creative abilities. It’s easy to see that the success Disney was granted with in his early work enabled him to spend the rest of his life exploring and indulging in various pet projects and hobbies. Some of them contributed directly to the creative output of Walt Disney Pictures; Greif talks about Disney’s legendary ability to act out characters and scenes for his animators to provide them with his vision of the stories they would turn into art. But Disney was also personally responsible for developing the multiplane animation camera which created the lush depth of the imagery in the studio’s first (and best) feature films. Other obsessions like his backyard train were merely personal indulgences. And his final obsession, EPCOT, transcended art altogether.

The friction comes from many writers, critics and animation buffs wanting to ascribe total creative credit to Walt himself rather than to the “Seven Old Men” and other creative people who were more directly responsible for the Disney “ouevre”. Sure, it’s his name on the door, but you don’t often see much creative genius credit given to Louis B. Mayer or Carl Laemmle. Yet it’s undeniable that Walt was a man of vision and talent, even if he sometimes frittered it away. In today’s age, we wouldn’t really have this dilemma over how to think of Walt. Billionaire amateurs abound. Nobody thinks Bill Gates codes software do they? Or Steve Jobs? (Did Steve EVER code software?) Yet these guys get to be seen as visionaries in their own field and even dabble into other fields — indeed, these days it’s good old Steve Jobs who has the reins over the Disney movie studio itself.

Excellent review of both books. I am very likely to read the Gabler book; Gabler has pretty good cred as a film historian and I have enjoyed some of his other books. Greif takes him to task for some of the writing, but I think the subject material is good enough to overlook the pop style.

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