Back again: Belated respone to Toys and Bad Guys

I apologize for not showing up here in nearly four months. These past four months haven't been easy. Back in March, where I last left the Domain, I got screwed over by two jobs.

When that happens in the same week, your judgement gets messed up. I saw How to Train Your Dragon that same week, but in the midst of everything going, I think my judgement of the movie was clouded. I will wait for the DVD, and watch it on a day when I'm feeling pretty good about stuff.

To be on the safe side, I probably shouldn't discuss one of the issues. But I can safely give the reasons I have been away from this blog for so long. Its simply been an issue of work, and the intolerance of not being paid. I did managed to snag a couple of jobs, but they require me not disclose them anywhere. But in all, everything that happened in 2009 caught up with me, and I saw just how degraded the animation industry has become. While waiting for the industry to clear up (if it ever does), I have focused exclusively on improving my writing skills. Now that might sound ironic as I am explaining why I haven't been around here. But some things I have to keep to myself in the meantime.

In the meantime, my movie-going has been few and far in-between. Again, this is due to money. There were few movies I wanted to see in the meantime anyway. The only two animated features to grab my attention were Toy Story 3 and Despicable Me. Every other animated trailer I've seen...zip. I managed to see both Toy Story 3 and Despicable Me, without clouded judgement, even in a summer-swollen New York City.

I have written reviews for both, although they are both late. I've been too distracted to write them as quickly. They simply take no immediate priority. But I still have my right to comment on them, even if nobody is interested in them now.

TOY STORY 3

If this is to be the final installment of the Toy Story movies, they did a terrific job.



I also kind of hope this is the last Toy Story movie. When Pixar did the first two movies, they were still perfecting their technology, and trying to get a natural look for their movies. As such, the first two movies don't look as unique and exaggerated as Pixar's more recent endeavors. But to keep Toy Story 3 in the same vein as the first two, I guess it was important for it to look slightly realistic so as to keep it in close relation to its predecessors. After this, I would prefer Pixar to continue expanding the different directions the visuals of their movies can go.


The first movie focused on Woody and Buzz. The second movie did the same, but also equally focused on Jesse and the new introductions. This movie gives its total focus to all of the main characters of "Andy's Toys," making it an ensemble film of sorts. And it works. While not all the characters get equal screen time (there's just way too many), they are given enough development for the audience to identify them.


The new characters are given fresh twists, both amusing and dark, compared to how toys were portrayed in the previous movies. In the daycare center, new characters like Lotso (Lots-o-huggin Bear), Ken (Barbie's companion), and Lotso's henchmen are complex toys that have lost their owners, and been given a desolate view on life. Lotso felt abandoned, and his own psychology told him that everyone should be made to suffer just as he did, and they earn their rewards. Ken is a unique character, as he is male but has all the accessories of a girls toy. He's probably been mocked his whole existence, and feels the need to be one of the tough guys to prove his "boys-toy"-hood.


The toys in Bonnie's room are among my favorites. Whereas in Andy's room, the toys treated it like an office job, the toys in Bonnie's room are like a theater troupe acting in plays with their owner. My favorite new character would have to be Mr. Pricklepants, a cute hedgehog in lederhosen, who thinks of himself as a thespian actor.


The garbage dump/incinerator scene is one of the high points of the movie. I have to admit, some children may be scared of this scene, but that's not my problem. This scene kept me on my seat, and the character animation enhanced the emotion of the danger beautifully without overdoing it (i.e. getting too wordy and sentimental).



Now that I am into the Toy Story movies for the time being, I will wonder if anybody is interested in the twisted logic behind the movies' universe. Does anyone care how these toys come to everlasting life? How can toys made of plastic and cotton have vocal chords? And why hasn't the government latched onto these potentially useful weapons of home invasion? Just let that sink in for a bit.

All in all, as I said before, a nice finale to what turned out to be a trilogy. Pixar really pulled it off this time. I like the dark direction they are going into, as it seems to relate to most of the movie going audience nowadays.



Day and Night.
This may be the best Pixar short in years. Technically, the concept is simple. The two main characters are hand-drawn, but colored with 3D animation. The simplicity ends there. They are fun to watch, and we are curious about their interactions. I do have to admit though, the concept gets a little lost in the middle, when a paranoid radio broadcast in played. That seemed kind of forced. Also, I would have preferred a music different from the happy-go-lucky 1950's soundtrack. That keeps the designs tied in with 1950's UPA.

Despite all that, a good experience.

DESPICABLE ME

This movie came from Illumination Entertainment. It's not immediately original, but its not a bad movie really. Some studios are really trying to put their best foot forward, even though the economy prevents them from getting too far. The plot of the movie sounds unique, in that a "bad guy" is the protagonist this time around. The main character, Gru, is not a pleasant looking figure, but we grow to appreciate him as the movie goes along. Something of an anti-hero, Gru is trying to maintain his status as a super-villain, while dealing with an unexpected new role as adoptive father to three little girls.


The animation is very cartoony. Lots of exaggerated poses (well not a lot, but more than what you'd find in a Dreamworks movie).



The roller coaster scene is actually pretty impressive. The way the shots are positioned and sustained, you really do get the queasiness of being high up on rails.



Nice characters designs. Nice to see a unique one for the main character. There's nothing typical about Gru's design, as he is supposed to be a bad guy, and bad guys usually have interesting appearances. According to interviews, the designers referenced Ronald Searle for inspiration. The could have done a little better for Gru's mother, who I felt had a tired design.


The minions are never explained. I read somewhere that they are genetically enhanced corn pops.


We have the usual half-hearted voice overs. Steve Carrell's faux-german accent is pretty funny most of the time, although a little forced in parts. Russel Brand does the best job as Gru's aging scientist.


A big plus for the screenplay is the humor. There is very little reliance on pop-culture for the most part. The interaction between Gru and the little girls provides a unique backdrop for some very humorous conversations.


I didn't like the last 15 minutes of the movie. It was in the end that it got too cliched. It gets too glossy at the end, with a big disco scene, and everyone suddenly accepting one another. And this disco scene wasn't the first in the movie. I didn't understand the connection between Disco and super-villany. Sometimes, opposites don't always attract.


Not a perfect movie (again), but not a bad one. I didn't cringe anywhere in the movie, so that's a big plus.

An Inspiring Warning

This was already posted on Cartoon Brew, but I found it very inspiring.

The Revolution Will Be Animated from Marine Lormant Sebag on Vimeo.

It is a short documentary by Marine Lormant Sebag about Nina Paley's struggles and resolution with copyright. For those who don't know, Nina Paley's feature film, Sita Sings the Blues, is a marvelous undertaking, which she produced and funded all on her own. The rest is explained in the clip, but it is an interesting insight into how indie filmmakers like Paley and Bill Plympton make their living, and the confines one could face from a business perspective. There is a lot to be aware of here. I'm not sure what Paley was thinking from the very beginning. As a devoted music fan, I am aware of the dangers of using copyrighted music against my own art. While some big distributors are able to secure the rights to some music, it is difficult with indie filmmakers searching for distribution. Clearing the rights to just two songs could consume half your budget.

Just something to be clear on. I don't know if this would be harder, but I would much rather collaborate with a famous songwriter or composer, than borrow a famous song. It may sound like a pipe dream, but it also sounds a hell of a lot more logical.

Half-Assed Update

I have been concerned lately, because I can't seem to come up with any decent ideas for a new film. And it doesn't help to continually read about the destruction of commercial animation.

I have just read John K's latest blog entry, which happens to be part of something larger. Mr K is currently writing up a very informative history of Canadian Commercial animation. Although distinctions are pointed out from American animation, I feel like some of the noteworthy criticisms Mr. K has to offer are mirrored in the history of American commercial animation. The parts that really shattered me was where he detailed the devastatingly unoriginal ideas behind the characters and stories in some of these shows and movies.

Not coming up with any good ideas lately is frustrating. And when I see things that have half-assed ideas, a part of me should feel determined not to follow that route. But then another part of me fears that I may follow that route without knowing it. After all I must admit: I did not know what made lousy animated shows/movies until after I turned 18. I grew up on certain things, and recently I watched them again. The feeling just isn't the same.

I don't know why I am saying all of this. I guess I just need to blow off some steam (and this seems like a harmless way to do so). I enjoy Mr. K's amazing insight into the art of good animation and filmmaking. But even though I am no longer an enrolled student, I still feel like I don't even know half the game. I completed Parasite's Delight having learned a great deal about structuring a short film. But the feeling is fleeting; I was wondering how much work it will be to do it again. I don't learn as quickly as some of my peers.

Daws Butler in the 1980's

I’m back at Pratt, and I have a long and stressful semester ahead of me. Thankfully, I am not alone; there are nearly twenty animators in my senior class, many of whom I hold in the highest regard. Hopefully, by the semester’s end, I should have a good film in my hands.


I was checking the official Daws Butler website recently, and saw this article about him, written back in 1985. Butler is perhaps best known as the major voice talent in the early Hanna Barbera period.


Anyway, I found the article to be quite an intrigue. By 1985, Hanna Barbera was going even lower creatively, and their shows from that period are barely remembered. Butler, who died in 1988, expresses his dissatisfaction with the animation industry in this article. I find it comforting to know he felt this way. I don’t want to repeat what the article said, so I clipped the part I liked. I suggest you read it.


Recently, somebody uploaded a bunch of episodes of a HB all-star show called Yogi’s Treasure Hunt on YouTube. And what can I say, other than its a really bad show. But its bad in rather amusing way. At least I am amused by it, because it stars characters I really enjoy. One thing that makes this show watchable are the voice talents employed in it. Among those are Charlie Adler, Michael Bell, and veterans Frank Welker, and Don Messick. I can safely say these guys provided the last little bit of soul left in these economically bloated shows.




And despite being able to afford more animation than before, the look of the shows is still terrible. The Korean labor practice is, in my opinion, one of the worst practices in the animation industry. There’s no director to approve, and there are mistakes that are more noticeable than ever. Bill Hanna and Joe Barbera blew so many opportunities to re-invent their characters, and take them to new heights.

If anybody wants to see these, I suggest the episodes “Goodbye Mr. Chump” and “Snow White and the Seven Treasure Hunters.” I chose not to embed them here, because I think I got the point across already.


John Kricfalusi took Yogi Bear to a whole new level with his Ranger Smith cartoons, the most notable of which is "Boo Boo Runs Wild." His cartoons proved a new way of bringing these characters to life, mostly due to his great admiration of character designer Ed Benedict.

What's the argument?

I've been sort of flaky recently in regards to the current Writers Guild Strike. It's one of those things that has details I can't seem to follow. However, in the last couple months, it seems to have influenced discussions on some animation blogs.



There seems to be a debate about the role of writers in animation. From what I know, the general consensus is that not all screenwriters can think in terms of an animated format. Many animation directors (as far as I know) still favor the process of relying upon storyboarding. It seems that up until some point in the 1980's, the industry standard was to start off with storyboards and illustrations, and then improvise and pitch ideas into the story. Of course, that's not to say that scriptwriting is unnecessary. But the general idea is that writing for animation requires a vast level of visualization. After all, animation is a visual medium.





Now I read about the defense and the insults of animation writers. Personally, I find it a little overblown. There shouldn't be (and doesn't seem to be) a one standard procedure for putting together an animated piece. It should depend on what the filmmakers want to accomplish, and estimate what's best for that particular piece.



John Kricfalusi makes cartoons. He believe that only cartoonists should write cartoons. As far as I can tell, everything John K. has done has has visual aid all the way.

Brad Bird, in a recent interview, talks about writing scripts long before the storyboard process. Yet he states that he writes with the knowledge of what animation is capable of.


Samurai Jack (one of the best animated shows of the last ten years) reportedly never had any scripts, and the artists improvised upon storyboards.

I find these arguments to be pointless. I like filmmakers who can try different things. If there's a process that works best for the individual, then good for them. Otherwise, a personal preference should not become an industry debate.




I feel like I should be putting more of my own drawings up here. I am not as excessive as most illustrators I know. However, if anybody wants to make a suggestion for something to draw, I'm open (I try to do this as much as possible).

Twoben Update

I’m keeping myself as busy as possible.

I am finally getting my website up on the internet. Lee Rubenstein has been helping me out with the process, which is pretty tricky. Lee is great at this stuff; he is the master of self-promotion. There isn’t a whole lot up yet except a link to this blog, but the site is active and up on the net.

Check out Twobenfilms.com, if you are interested in checking out the progress of the site.

It will feature all my animation, a personal bio, and hopefully soon, an image section. I’ve signed on to Flickr, which puts together image slideshows. I intend to make one that follows the run of my thesis. I should have that up by September.

In the meantime, John Kricfalusi had an amazing entry on his blog regarding the blandness of today’s animation. For the most part, I agreed heavily with much of what he said. Much of today’s commercial animation is very indistinct, and too money-oriented. However, I was suprised that he made no mention of the world of independent animation. Having met many independent animators here in New York, I can safely say that they are anything but bland. These artists are not bogged down by commercial executives, and have total control over their artistic visions. The only drawback to independent animation is that it is extra work to get your stuff seen. But there is an audience for it, as I am part of it.





Also, I don’t count Pixar as being bland. And that is further evidenced by the brilliance of Ratatouille.



Also on a side-note, my short film, Ivan’s Act, made it into the Animation Block Party. These are three animation shows being held in Brooklyn over three nights, starting July 27.

Insecurtiy ~ Animation Blogs

The other day, after I finished posting my personal review of Ratatouille, I started looking up other reviews of the movie. Not film critic reviews, but reviews from other animation blogs. Particularly those of Eddie Fitzgerald, Michael Sporn, and Mark Kausler. Though the reviews of Ratatouille have been generally positive, there were things common amongst the reviews that I didn’t pick up on when viewing the movie. I loved the movie the way it was, and yet things that I thought were unique and original in it, were considerable burdens to other animators.

Because I don’t consider myself a well versed animator, I have never commented on any of these blogs. The only blogs I have commented on thus far are Jerry Beck’s Cartoon Brew, and those of animators I know personally. For the most part, I am afraid to comment on animator blogs, because they speak a language that I don’t fully understand. I would like to understand it, because most of the animators I know personally understand it, and I am quite fond of their work. But other blogs (John Kricfalusi’s blog for example) I am too afraid to comment on, because I don’t always understand the point they are trying to make, and yet their commentors pick up on them right away,

For those who know me, its no surprise that I tend to be self-effacing at times, particularly when it comes to my own artwork. Although I love to draw, I have never fully grasped most drawing principles. As hard as I try, I have never been the best at life drawing. And since great animation requires dedicated drawing, I still feel like I am at stage one of the learning process. This is probably a little much, because I am 21, and have only been learning animation for the last two years.

For those who are reading this (I don’t expect too many to be reading this), this is NOT a cry for help or anything. I just felt a sense of insecurity the other day, and I need to let it out. I am going to keep learning animation. I intend to talk more about this later on.