King Garp - Faroutski - Farout Chicken Ride (CD)

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But dammit friends, what a blast on stage! And what a revelation! The dude was a member of the band, he was some sort of dancer. I told my mates we should stay, now that we were there, to take advantage of the opportunity. But no, we returned that night. The next day, there was someone who had to do something.

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To find out more, including how to control cookies, see here: Cookie Policy. I would think so, probably, in terms of combining classic Disney with strong influences of the modern. Moonbird was animated by Bob Cannon, and there were a couple of other great animators who found a way to bring personality animation to these very, almost-expressionistic creations—Tissa David, for example, who was another of my mentors.

She had a direct, economical yet highly emotional way of animating. So, that was always a great inspiration for me. It definitely demonstrates that you can do very interesting, innovative things without necessarily giving up on King Garp - Faroutski - Farout Chicken Ride (CD) tradition; you can embrace it.

Have you seen Bridgehampton? It is one of my earlier films You got all of this kind of line of action and the transitions from convex to concave, all of these things going on, and the dynamics are just beautiful.

So, was there any other consideration at the time for an alternative approach to the music, or did, possibly, the music come to you first? I love the music. He created the track, and I worked to the track. Would you also do a frame-by-frame sound breakdown? Oh, yes. Ironically, nowadays, using digital tools, you still do it, basically with the old method: dragging the soundtrack back and forth and really listening to where the sounds are.

That way, you still get the most accurate results. This project goes back to my grant from the Rockefeller Foundation, for a residency in Bellagio, Italy. I started by reading the story, the original story. So, how does your filmic version compare to the book? It was a question of being respectful of the writing, because King Garp - Faroutski - Farout Chicken Ride (CD) book from was extremely important for Hemingway, Faulkner, and Thomas Wolfe, who were all influenced by it.

So, I wanted to be respectful of the writing. And achieved artistic success? It would probably have been very difficult. And in a way his Tempest is as perfect as it can get in terms of just being an intriguing short piece. I think, in general, that animation works best in the short form.

The whole production pipeline for a short is quite challenging. My career is split up into making animated films when and how I want to and writing about animation history and also teaching animation at NYU. Well thank you, I hope it does I met John Bray, the so-called Henry Ford of animation studio production methods. I feel so fortunate, even to be able to converse with and interview someone like George Dunning, Faith Hubley, Tissa David, or Chuck Jones, or Richard Williams, who has been a close friend for over 40 years.

Through my books and teaching, I hope to pass on what I have learned from and about these amazing filmmakers. Separated at birth laughter. What you showed me now, about your new film project Hands, this is really something very much to look forward to. Well, I think it gives you a grounding. It gives you a real solidity, if the characters and basic plot have already been worked out, and then, you can take off from there.

When I teach storyboarding, I give the students a choice of three literary properties to create a storyboard from—it could be a fairytale, a folk tale, or a short story, all public domain material. I want them to take off from something solid, a story that has a beginning, middle, and an end, and characters that have dimension to them.

And then, how do you visualize that in story sketches and animation, how do you adapt it? Show that in some pictures. Let one picture lead to the next. Icarus, who disobeyed his father and flew too close to the sun. What do you see in your imagination? How do you see him flying? Does his father instruct him? How do you see Icarus when he goes too close to the sun? Does he play with birds and fishes as he flies?

Draw them. So, the process is very much having a grounding in a real story, with elements of suspense, comedy, characterization, or joy, or whatever it is, and then, letting the story artist take off from there. I also have them draw scenes in a sequence from, say, Black Narcissus dir. Draw it. Talk King Garp - Faroutski - Farout Chicken Ride (CD) it. What do you think the director was thinking? Why did the editor cut here? How many frames in this brief scene? Some, who never thought of storyboarding as a career, go into it.

She and many other former animation students return to inspire and encourage my current students. We already talked a little bit about the fact that we both share the opinion that change is necessary for adaptation for animation.

Why is it necessary to change? Because it is a different form. I go back to the fact that to take the story as it is, there are descriptions there that need to be visualized, and depending on what you are trying to say as the filmmaker, you may want to start out with an interesting image, a strong visual statement.

Where do you find it? But where does it go from there with imagery? Look at any of the great stories; they intrigue you visually. Pinocchio dir. Luske, Sharpsteen opens with an insect on a book, singing. He starts to tell the story, turning pages of the book. I also talked with Giannalberto Bendazzi about adaptation in general and Disney adaptations in particular, and he was very strong in his opinion that there is of course a necessity to change.

Beginning with Snow White and the Seven Dwarfs dir. They forget they are watching cartoons. With Pinocchio, there was a design problem. How do you make this angular, wooden, rude creature, as he is depicted in the original book, appealing?

He was very much a cruel puppet when they first drew the concepts at Disney. Animator Milt Kahl suggested that they change Pinocchio into a charming, round little boy who had wooden joints on his limbs. This affected the storytelling. The design softened the personality of Pinocchio, making him rather passive. When thinking about visualizing animated adaptations for Disney, another fabulous artist comes to mind: Mary Blair and her outstanding color designs, whose influence could be felt in Saludos Amigos dirs.

Ferguson et al. Geronimi, Jackson, LuskeAlice in Wonderland dirs. Geronimi, Jackson, Luskeand Peter Pan dirs. Geronimi, Jackson, Luske You certainly did earn some merit to make a broader public aware of the work through your books. With kind permission of Disney Editions. Oddly, she claimed not to understand UPA. Geronimi, Jackson, Kinney, Luske Very close. She thought that the only time it happened was the little pink train with a square wheel in The Three Caballeros dir.

The colors, of course. Oh yes. It would be not what it is. You would have to reinvent the idea of how to do that entirely. But Mary Blair goes off into this not quite abstract but almost expressionist universe.

The Mary Blair color styling really puts Disney on the map in a different dynamic way, when she starts to get going in the South American films. Banks dir. Hancock that retells the adaptation of Mary Poppins dir. King Garp - Faroutski - Farout Chicken Ride (CD) So, do you know more about the backstory there? There are original notes, letters, between Disney and P.

Travers, the author of the book. So, he worked with her, and things changed. The relationship changed. If you think about it, all of those features that he did, Snow White, Pinocchio, Peter Pan, and all of them, the authors were gone.

They were just open and ripe for his interpretation. And it was public domain in the end, right? Some of it was. I think with Peter Pan, he had to pay something to the orphanage. But, obviously, with the fairy tales, it was always public domain. Another aspect is that fairy tales have very often been handed down through generations. The play was adapted from the Grimm version. Sometimes, you pick and choose. This anthology itself exists in many different versions, particularly when it was translated and transformed for Western readers.

I know that this is a very complex question to answer, but I am sure you can offer some interesting insights? Reiniger is King Garp - Faroutski - Farout Chicken Ride (CD) more open to metamorphosis, happening magically, changes that occur in a fantastic world.

They are part of that world. Alice has a dream and gets to surreal Wonderland that way. In Snow White, the wicked Queen takes her potion and shape-shifts into a crone. There you go. Yet, there are also similarities. Disney always asked for strong silhouetted poses, storytelling poses. So, she was quite a film pioneer—a female producer and brilliant animator of great wit and subtlety and the creator of one of the earliest animated feature films.

She had a small crew of about six, I think, at the most. I think a very important point you mention is the suspension of disbelief, which is by far not as important to her as it is to Disney. I mean, it was essential for them both. You have to understand what the characters are doing. And the Disney and Reiniger characters express themselves basically through body language. They are both great entertainers. So, this is not just about graphic experiments. There really is character animation at work there.

She had the design and the look of the characters found in the ancient Asian shadow-puppet tradition. All their expressive emotions are motivated by clear, readable actions.

And for whatever the limitations were by the cutout technique she was using, she was using them quite impressively. I was watching her films as a child; it still felt to a certain extent real to me. So, I think people become engaged with the characters up to a certain extent. One may not need to go overboard with realism. And, of course, also by using silhouettes, you offer some open canvas for the imagination of the audience. A Disney film is a very passive experience for an audience, because everything is worked out for you.

And she was working basically in pantomime. But she was very witty. Did you ever see Galathea dir. Reinger ? Galathea walks through town nude, the reaction of the townsfolk, how they follow her, chastise her, lust after her The film is a variation of the Greek Pygmalion legend.

He was just amazing. So beautiful his elegant, stylized designs. And again, unrealistic yet so subtle in terms of the movement. The face never changes on these puppets. That is one amazing thing that you can actually emotionally engage an audience without being overly realistic. So, Trnka—I think you mentioned him as a master of adaptation in general but particularly for his Shakespeare-related work?

Yes, definitely. I think one of the important aspects about him is that the design is incredibly beautiful. I saw her in person, demonstrating her work years ago at the first Ottawa Animation Festival in There she was, demonstrating moving figures around a light table. She was elderly, a large woman, but with dexterous fingers working with scissors, and I was privileged to be in her presence.

It was a great festival. Norman McLaren was there, and he talked and demonstrated. Grant Munro made us move like he did in the film Neighbors. He showed us how to fly in pixilation; you know, jump, and tuck your legs underneath and take a single-frame picture.

Coming back to Disney adaptations: There is an ongoing discussion, mainly among fans, but also some academics, about how much The Lion King dir. Allers, Minkoff would actually be a thinly disguised version of Hamlet? Well, maybe. Even if it would be, what would be the problem? I think this discussion has been circulating on and off for basically decades now. Well, what does Hans Bacher say? He worked on it. I think he was not really interested in this as a theory at all.

Actually, it really is quite pointless, because even if it would be the case, what would actually speak against it? If it would have been an adaptation, then why not?

It would have been this well-done adaptation in certain respects. On the other hand, there is this completely different ending, because there is this happy ending with The Lion King, which would speak against an adaptation. I think it is crucial that it does not claim to be an actual adaptation. The absent father. Frank Thomas animated the lamentation scene in Snow White, which was a big breakthrough in terms of animation.

How to so convince the audience that this was real to moviegoers—and worth their tears. It may have been unnecessary. It became all the more powerful for it. Off-screen violence always effectively puts the viewer in charge, in terms of imagining the horrid details. And there you go: This is one of the cases where Disney has some projections, some space for the audience to fill in the blanks, in a way, and probably that is more terrifying than presenting the events onscreen.

So, you imagine her corpse. Because they had to figure out how to make the audience feel for these animals that are drawings and enable it to empathize. And you certainly offered some wonderful insights. Not only on Disney films, but also on your own artistic involvement with adapting literature for animation.

I look forward to seeing your new film. Thank you for this interview. Hee, dirs. Allers, Roger, and Rob Minkoff, dirs. The Lion King. Anderson, Sherwood. Winesburg, Ohio. New York: Benjamin W. Canemaker, John. Glendale, CA: Disney Editions. The Art and Flair of Mary Blair. New York: Hyperion. Nashville, TN: Turner Publishing. New York: Pantheon. New York: Abbeville Press. Treasures of Disney Animation Art. The Animated Raggedy Ann and Andy. Indianapolis, IN: Bobbs-Merill. New York: John Canemaker Productions production.

Canemaker, John, dir. Confessions of a Star Dreamer. Canemaker meets Dunning Accessed May 17, Originally published under the title One has to live in the Jan-Mar issue of Animafilm magazine. Make Mine Music. Clarke, Malcolm, and Bill Guttentag, dirs. Live action documentary with animated inserts.

Los Angeles, CA: Filmworks production. Disney, Walt. How to train an animator. Accessed August 12, Docter, Pete, dir. Inside Out. Emeryville: Pixar Animation Studios production. Dunning, George, dir. Yellow Submarine. London, UK: Apple Corps production.

Damon the Mower. The Three Caballeros. Saludos Amigos. Peter Pan. Alice in Wonderland. Melody Time. Hancock, John Lee, dir. Saving Mr. Live action feature film. Hill, George Roy, dir. The World According to Garp. Pan Arts production.

Burbank, CA: Warner Bros. Hubley, John, dir. New York: Hubley Studios production. Luske, Hamilton, and Ben Sharpsteen, dirs. Gertie the Dinsosaur. New York: Winsor McCay production. Peltier, Melissa Joe, dir. Black Narcissus. London, UK: The Archers production. Galathea: Das lebende Marmorbild. Robert, Bill, dir. Reason and Emotion. Bambi: A Life in the Woods. London, UK: Jonathan Cape.

Shakespeare, William. The Tempest. Sharpsteen, Ben, dir. Stevenson, Robert, dir. Mary Poppins. Live action feature film with animated segments. Wells, P. Thou art translated: Analyzing Animated Adaptations.

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