Exhibition at Galerie Ardulik, Paris

I've been friends with Jean-Jacques and Diane Launier for many years.  We keep meeting in Paris and San Diego Comic Con, and we've been trying to set up an exhibition of my art from "Cheatin'" for a while. 

Well, finally it happened.  On September 22, I flew to Paris, did a full day of press and then attending the opening at their Galerie Ardulik.  It's a wonderful gallery, they've had exhibitions of such luminaries as Moebius, Peter de Seve, Bobby Chiu, H.R. Giger, and films from Disney and Pixar.  So I'm in some pretty fast company.

I must say that they did an excellent job with the art selection and the mounting of the show.  Perhaps it's the best exhibition of my art that I've ever seen.  There was a nice crowd at the opening and I sold a few pieces, but I was very fatigued and got a little drunk. 

The next day, I got to relax and prepare for the big show at Jean-Jacques and Diane's museum, Art Ludique.  It was a fabulous exhibition of art from video games, and it was a knockout.  The art and videos were stunning, plus they had a lot of concept drawings and sculpture models.  Every piece was so compelling!  But the highlight was a life-size video recreation of walking through Revolutionary Paris in 1789 - like being transported to and immersed in another world and time.  It was incredibly realistic, I had to watch the 5-minute "walk" a number of times because it was so compelling. 

The cool thing about the Launiers' exhibitions is that they consider animation, graphic novels, comic art and video games to be valid forms of art.  In fact, they believe they have much more resonance with the public than the art in the Louvre - and I agree.  Of course, here in the U.S. and specficially in NYC, it seems the art crowd couldn't care less about comic culture - it's below them, it's for children.  This is why I rarely go to art museums and galleries.  Most of the new art stuff there is so aloof, it doesn't communicate with me.  Also, there's no real emphasis on drawing and draftsmanship. 

(And that's why my favorite gallery here in NYC is the Society of Illustrators.)

But if you're in France, or going to France, or know someone in France, I encourage you to check out or recommend my exhibition at the Galerie Ardulik.  It will run until October 31, and it's a great show!   For more information, please visit:  http://www.arludik.com/

Merci beaucoup,

Bill

Pixelatl Festival, Mexico

I met Jose Inesta in Annecy a while back - he's a really cool guy and a lover of animation.  Last year, he invited me to his festival in Cuernavaca, Mexico, however, I had a scheduling conflict and I couldn't make it there.  But my friends who did go came back raving about the event, so I said I'd love to come this time. 

Cuernavaca is a large town about an hour and a half south of Mexico City.  It's a beautiful place, full of palm trees and cute shops.  The festival takes place in a five-star hotel, Las Mañanistas Casa Nueva.  It's one of those large landscaped, protected hotels with walls all around.  It seems like it's 20 acres wide, with parrots, peacocks and pink flamingos wandering everywhere, including the hallways.  There is a giant spa and two large swimming pools, so you know I was happy.

The event wasn't just animation, it also included games and comics - there were thousands of students there to hear from such professionals as Jorge Gutiérrez ("The Book of Life"), Phil Tippett ("The Empire Strikes Back"), Mark Osborne ("Kung Fu Panda") and myself.  The noble purpose of the 5-day festival is to build a culture and perhaps an industry for animation in Mexico.

My screenings were packed, standing room only, and the students were so interested in animation and the possibility of a career in it - their excitement was contagious.  I also did a "coffee talk", where we took over a hotel dining room to discuss the business and art of animation more intimately. 

I do hope this event becomes successful, because it's very important for the future of Mexican animation.  Two of my favorite programs were talks given by Jorge Gutiérrez - he was born in Mexico City but now lives in Texas, and he talked about his career in TV cartoons, and his big success with "The Book of Life" - he was totally entertaining.

                                                  with Jorge Gutiérrez at Pixelatl Festival

My good buddy, Mark Osborne, discussed the making of "Kung Fu Panda" for Dreamworks, and then he showed some amazing clips from his newest unreleased film, "The Little Prince" - it looked gorgeous. 

                                     with Mark Osborne, Sam and festival director José Inesta

So, if you're looking for a festival that has amazing guests, luxurious environments, awesome food and amazing audiences, then check out the Pixelatl Festival in Cuernavaca.  I give it an "A".

--Bill Plympton

Telluride Film Festival, Part 2 - "Anomalisa"

As you saw from the photo in Part 1, while I was in Telluride, I ran into my old friend, Tom Noonan.  I first met him years ago at Sundance where he showed his films.  He's a fellow Lower-East Sider and I used to go see his plays.   In fact, I cast him as the voice of the principal in my high-school horror film "Hair High", and we went to Slamdance together in 2004 to promote it. 

Ironically, he was in Telluride to promote his work as a voice artist for Charlie Kaufman's new animated feature, "Anomalisa" (try to remember that title) where Tom did about 30 voices for the film, and David Thewlis and Jennifer Jason Leigh provided the voices for the two lovers.

  

It was a real pleasure to meet Charlie Kaufman, I've been a fan of his for a long time.  He doesn't say much, so we didn't really connect.  However, the film is a unique, very special animated feature.  If you've seen "Being John Malkovich", "Adaptation.", "Eternal Sunshine of the Spotless Mind", or "Synecdoche, New York" (all films written and/or directed by Kaufman), well, this film is equally weird. 

It's a story about a motivational speaker visiting Cincinnati and falling in and out of love with one of his fans.  The animation is realistic stop-motion, which doesn't really use animation to its best surreal potential, but I think that was his point.  That in a way, we're all puppets.

Other people may have different reactions to the film, but to me the concept is about how we all are looking for that special love, a unique voice, and often it turns out that when we think we've found it, that person just turns out to be like everybody else. 

I heard that the film won the big prize in Venice, so perhaps it will get good distribution.  But I'm afraid that he'll run into the same problems that I had with "Cheatin'", since here in the U.S., distributors believe that there's no market for animation aimed at adults.  "Anomalisa" has a very mature and sophisticated story - plus there's nudity and sex.

However, I pray that this film will break through that evil stereotype and open the doors for more adult-style animation, like my upcoming film, "Revengeance".  So, good luck to you, Charlie Kaufman.

--Bill P.

Telluride Film Festival, Part 1

I've screened my animated shorts at the Telluride Festival about 5 times, 4 times in the normal festival and once at the Telluride MountainFilm Festival.  My first time there was around 1989, when I showed "How to Kiss" and it was a real mind-blower.  Not only were the films and the audiences wonderful, but the location was utterly spectacular. 

And it seemed like all of the big Hollywood directors and stars were there - and that was where I met the great animator, Chuck Jones, who was an important part of the festival.

After the festival, I made a specific note to return to Telluride, however after entering new films, year after year, I kept getting rejected.  It wasn't until 2010 that I made my return with my short "The Cow Who Wanted to Be a Hamburger".  It felt great to be back, and now I've been going there a lot more frequently - thank God.

It's still one of the primo festivals in the world.  I wasn't able to see many film this time, because of my social schedule.  I was there to do some business - and even though Telluride discourages agents, lawyers, corporate executives and distributors, I was able to make some valuable business connections. 

                         With my old friend, Tom Noonan, and my new friend, Charlie Kaufman.

The highlight for me was the Academy of Motion Pictures party - it was like going to an Oscar party, with Danny Boyle, Sid Ganis, Todd Haynes, Rooney Mara and Charlie Kaufman in attendance.  I saw Kate Winslet flirting with Apple co-founder Steve Wozniak, and after a few drinks, I had enough guts to introduce myself to one of my favorite comedic actors, Seth Rogen. 

 Fortunately, he turned out to be a big fan of my work and he was very friendly - but then, he was friendly to everyone.  I mentioned to him that I have a new script for an animated short, and his voice would be perfect for it - and he seemed excited.

One thing that confuses me about Telluride - they just opened a new, large cinema, the Werner Herzog Theater. (seats 650 people)  Why name it after Werner Herzog?  Sure, he comes to the festival a lot and he has made some nice films, but there are certainly other filmmakers who have larger reputations and are more frequent guests.  To me, the real problem with Werner is - he hates films.  I talked to him and asked him about the fact that he never watches movies and only sees about 4 films a year!  He confirmed that fact and said that he doesn't like the films that are coming out these days.

Now, maybe he was putting me on and trying to make a joke, but I've heard this about him from other people.  If any of you blog-readers out there are friends with Werner Herzog, please set me straight.  In any case, it seems to me to be an insult to cinema to name a theater after a guy who hates watching films. 

                     With famed animator Richard Williams, promoting his new short, "Prologue".

I'll have more on Telluride in my next blog - in the meantime, you can check out the Telluride experiences of my executive producer, James Hancock, here:

http://wrongreel.com/

--Bill P.

Secret Festival

About a month ago, I was told that my new short film, "The Loneliest Stoplight", voiced by Patton Oswalt, was accepted into a very prestigious film festival.  But I was warned that telling anyone about my film's scheduled screening at this festival was a serious "no-no"!

Why is this program line-up so hush-hush?  Because this festival likes to announce their program on the first day of screenings - which seems to me like a silly way to promote a festival.  However, it seems to work very well for them - this festival is now one of the top-rated festivals in the world, and it always seems to premiere a lot of future Oscar-nominated films, and usually even the winning films.

How they do it, I do not know - but it's been one of the reasons that this festival, as remote and expensive as it is, remains so popular and hard to get into - films like "Blue Velvet", "Bowling for Columbine", "Brokeback Mountain", "Capote", "Juno", "Slumdog Millionaire", "Up in the Air" and "The King's Speech" all premiered there.  Last year, they screened "Foxcatcher", "Wild", "Mr. Turner", "The Imitation Game" and "Birdman" - wow!

You've probably already guess that I'm talking about the Telluride Film Festival, and even though I'm writing this 4 days before the festival begins, I think I'm reasonably safe - we'll post this blog on the opening day of the festival, so at least everyone will know.

So, if you have any friends going to Telluride, please tell them to come and see my newest short film, "The Loneliest Stoplight".  It will be screening with "Mom and Me", on Friday, Sept. 4 at the Le Pierre at 8:15 pm, on Saturday, Sept. 5 at the Nugget Theater at 9:30 pm, and on Sunday, Sept. 6 back at the Le Pierre at 1 pm.  Please check Telluride's web-site for more information: http://www.telluridefilmfestival.org/

And when I return next week, I'll file a full report on the festival, including photos and celebrity sightings.

--Bill P.

SVA's After School Special Show, September 18

As many of you know, when I first moved to NYC in 1970, I enrolled in the School of Visual Arts on 23rd St. in Manhattan.  My dream was to take a class from the famed Push Pin Studios illustrator and designer Milton Glaser - he was one of my heroes.  Unfortunately, once I had arrived at SVA, I learned that Milton's class was a special night class, and he personally selected his students.

Yet, I did have some great teachers there - Charlie White III, Étienne Delessert and the great draftsman and "Tarzan" artist, Burne Hogarth.

Over the years, I've kept my connection with SVA - doing lectures, classes and going to their graduation screenings.

I was very delighted when SVA bought an old, rundown cinema on 23rd St. and 8th Ave.  They redesigned the entire theater using Milton Glaser's concepts and art.  Well, it's all come full circle now - I've been invited to do a show there, featuring all of my newest animations.

So, for all my fans who live in commuting distance to SVA - as part of SVA's 2015 Alumni Film & Animation Festival's "After School Special" program, I'll be doing an exclusive presentation of my newest short films on Friday, September 18 at 8 pm.  This will include "Cheatin'" and sneak preview excerpts from two upcoming features, "Revengeance" and "Hitler's Folly", plus the NYC premiere of "The Loneliest Stoplight", narrated by Patton Oswalt.

Preceding those films will be the New York premiere of the new short film "Dime Crimes #34", featuring the work of 11 SVA alumni, including director Ed Hellman.   It's going to be a great evening of animation, all the cool people will be there.

Also, the show is FREE!  That's right, all you students, it's a free event, open to the public - and everyone who comes will get a free Bill Plympton sketch.  So mark your calendars and bring your friends to the SVA theater on Friday, September 18.  I'll see you there!

For a full list of SVA's Alumni Film & Animation Festival events, please visit:
http://svatheatre.com/events/alumnifest2015/

--Bill

"The Loneliest Stoplight" screening in L.A.

Big news! My new short film, "The Loneliest Stoplight", is going to be screening in Los Angeles, starting this Friday, August 21 at the NuArt Theatre, located at 11272 Santa Monica Blvd.

If you haven't heard me talk about it yet, my new short features the voice of Patton Oswalt, who narrates the story of a stoplight who feels unnecessary when people start using a new 8-lane freeway.  Patton did a great job, and I'm really proud of this one, so it's great to see some screenings lined up already!

The NuArt is a fantastic theater, and they've been very helpful in getting my shorts screened in order to qualify them for Oscar consideration.  I win, they win, and if you go to see the film, you'll win too!

So, beginning August 21, you can catch "The Loneliest Stoplight" at the NuArt Theater in L.A., opening up for a documentary called "Station to Station", which looks like an amazing film about a train full of artists and filmmakers on a trip from NYC to San Francisco. 

"Station to Station" is a revolutionary feature comprised of 62 one-minute films highlighting an exciting and eclectic mix of artists, musicians, writers, places and perspectives. In the summer of 2013, a train designed as a kinetic light sculpture by artist/filmmaker Doug Aitken traveled from New York City to San Francisco over 24 days. Rolling into ten stations on the route, the train set in motion a series of happenings, each unique to its location and mix of creative participants. Featuring performances by and conversations with Beck, Jackson Browne, Mavis Staples, Patti Smith, Cat Power and many more.

You can get more information and buy tickets here:
http://www.landmarktheatres.com/los-angeles/nuart-theatre/Film-Info/station-to-station

If you can't make it to the NuArt, we'll have some announcements very shortly about some film festival screenings, some festivals where you see me year after year, and there may be a surprise or two coming up also.  Thanks for watching, hope you enjoy my new short!

--Bill Plympton

Kahlil Gibran's "The Prophet"

About 5 years ago, I was contacted by a Hollywood producer, Ron Senkowski, who asked me to meet with him in L.A. when I was attending the Annies. 

We met at a Bob's Big Boy in the Valley and he asked if I wanted to create some animation for a feature film he was producing, a version of Kahlil Gibran's best-selling cult book "The Prophet".

I asked him if he had financing yet, and he told me something I've never heard before in Hollywood (and probably will never hear again) - "We have too much money."  I liked hearing that, so I said, "Sign me up."

It was a long road of production and organization - they had a wish-list of animators including Sylvain Chomet and Marjane Satrapi (both of whom had other obligations).  And they brought on the great Roger Allers ("Aladdin", "The Lion King") to write and direct the story.  Also, the great and beautiful actress Salma Hayek came on board as a producer.  Apparently her grandfather, being from Lebanon, was a big fan of "The Prophet" and he read the book to her during her childhood.

They divided the film into segments, representing different chapters from Gibran's book, and some of the other artists who contributed animation are Joan Gratz, Nina Paley, Tomm Moore and Joann Sfar.  They even invited me to Cannes to watch a sneak preview of a few of the scenes and to do some interviews to help spread the word.  It was a fabulous trip - they put me up in a fancy hotel and I got to hang out with Salma Hayek, although she was pretty busy with her press and social obligations.  The film got introduced by Gerard Depardieu, and I got to walk on the red carpet like a real celebrity.  Then there was an A-list party with famous people like Paris Hilton and Zoe Saldana - but I was too shy to talk to them.

                                    On the red carpet at Cannes in 2014 with Tomm Moore,
                                              Salma Hayek, Roger Allers and Joan Gratz.

Finally, last week I was invited to see the NYC premiere, at the Landmark Sunshine Cinema, and I got to chat with Salma, which was enjoyable.  The sell-out crowd was mostly made up of young women, and they adored the film.  The original book appeals to more women than men, I think, but it somehow manages to touch people from many different countries and religious backgrounds.

But, I have a few criticisms to makeabout the film.  The person who did the shadows on the faces just didn't seem to understand how shadows work - they were all out of shape and that detracted from the facial detail, and it bugged the hell out of me.  Whoever did that should check out my book "Make Toons That Sell...Without Selling Out" from Focal Press - I have a whole chapter on shadows in there. 

Otherwise, I loved the visual style of the film - it's unique in the animation world.  I can't think of another feature that put the work of so many different animators together so well.  I particularly loved Joann Sfar's segment, "On Marriage", and the one from the Brizzi Brothers, "On Death". 

One interesting observation that occurred to me is that, because of the structure of the film, Roger Allers had to make some changes to the main story, and as a result the framing sequence doesn't accurately follow the original book by Khalil Gibran.  So, if the book continues to gather fans and followers, and eventually becomes the foundation for a major religion, then just like St. Luke and St. John for the New Testament, Roger will become St. Roger for "The Prophet".  Next time I see him, I'll get on my knees and genuflect.

So, before "The Prophet" becomes a religous movement, run out and see it for the beautiful thoughts and gorgeous art.  And watch for my segment, "On Eating & Drinking"!

The film opens Friday, August 7 in NYC's Landmark Sunshine and L.A.'s Landmark theater.
Then it opens up in more cities later in August, so check out this list to find a theater near you: https://a.pgtb.me/7fH2z6

--Bill Plympton

Philadelphia/DC Tour and N.C. Wyeth

As I mentioned in my last post, I planned a trip to Washington DC and Philadelphia to appear at screenings of CHEATIN', with a side trip to see the Brandywine River Museum.

In Washington DC I returned to the AFI Cinema, which is actually located in Silver Springs, Maryland (a suburb of Washington).  I've been there a number of times for the Environmental Film Festival, and this time we had a great crowd and an excellent response to CHEATIN'.

                                              The AFI Silver Theater in Silver Springs

                             Signing for fans in DC - my thanks to Bruce Guthrie for the photos!

My next venue was a small multiplex in Philadelphia, The Roxy - a nice, large crowd greeted me there.  I have a lot of "phans" in Philly, apparently.

The next day, my wife and son and I picked up a rental car and drove to Chadds Ford, PA, and the famed Brandywine River Museum, home to collections of art from both N.C. Wyeth and Andrew Wyeth.

I've been a fan of N.C. Wyeth ever since I discovered his work while in college - although, as a kid I'm sure I enjoyed his art from books like "Treasure Island" and "Robin Hood" before I was aware of him.  When I became an illustrator myself in NYC in the early 1970's, that's when I became obsessed with his art - he was one of the true geniuses of illustration.

Chadds Ford is not so much a town, it's more like a collection of antique stores and restaurants along Route 1 in rural Pennsylvania.  The Brandywine River Museum itself is a newly-constructed modernist structure that uses part of a 19th century stable as its entrance.

It's situated next to the beautiful, crystal clear stream of the Brandywine with three floors - the first floor shows the history of paintings from the area - portraits, local landscapes and some gorgeous illustrations by Howard Pyle.  He is considered the father of American illustration, and was also a great teacher and an influence for N.C. Wyeth.

The second floor is the N.C. Wyeth floor, and on the third floor are paintings from N.C.'s son, the famous Andrew Wyeth, and Andrew's equally famous son, Jamie Wyeth.  Now, I'm a big fan of both Andrew and Jamie ("Christina's World" is one of my favorites) but I was here mainly to see N.C. Wyeth's work up close, which I've never done before.

As I entered the room and glanced across the panorama of famous art, my body glowed with anticipation.  OMG!  OMG!  OMG!  Look at the beautiful artwork!  I started with the famous piecce of the Indian paddling his canoe - I've stupidly forgotten the title, but it's a classic.

Then I spied 10 large paintings from the book "Treasure Island", written by Robert Louis Stevenson.

I also saw some gorgeous paintings from "Kidnapped" and "Robin Hood".  I kept saying "Stop, please!  No more masterpieces!  My brain can't take it!"  But then, at the end, I was totally addicted - I need more, I need more N.C. Wyeth!
 

Near the end of the exhibition, I saw some of his more impressionistic work.  One of the sad parts of his life was his failure to connect as a "serious" artist.  The big art shows always rejected his independent paintings and he felt shunned by the art community's attitude toward his art, which is too bad because he could paint circles around the "fine art" painters of his day.  (I read where Van Gogh was a huge fan of N.C.'s teacher, Howard Pyle.)

So they hung some of N.C.'s more artistic works - they're very impressionist, similar to Monet paintings, but they lack the power and skill of his illustration work.  There were also some examples of his later "fine art", and those pieces had a sort of Grant Wood/Thomas Hart Benton feel.  I liked them a lot, but I kept being drawn back to his earlier illustrations.

As an animator, I really enjoyed his use of design and shadow - they are so simple in the layout, yet he really controls the eye and makes you look where he wants you to look.  He leaves broad parts of the canas in shadow and then uses bright sunlight to drive the story home.

He was a consummate storyteller - I would have loved to see him make a film.  In fact, it's acknowledged that films like "Robin Hood", "Treasure Island" and "Mysterious Island" used his paintings as reference for design and mood.

After the viewing (I went through the gallery twice) I needed to refresh myself in the beautiful Brandywine River - so I swam to the middle and just drifted, imagining I was in the middle of the Sherwood Forest of N.C. Wyeth's imagination.  I also imagined that N.C. himself might have taken a dip in the river, jumping off the very same tree that I did.

One surprise bonus exhibition at the museum was a showing of 100 year old political cartoons, which included work from some of my favorite artists - Thomas Nast, Charles Dana Gibson, Rube Goldberg and Milt Gross.  Plus, cartoons from two of the masters of pen and ink - Edward Kemble and the amazing A.B. Frost.  Wow, what a day!

If you're ever outside Philadelphia or Wilmington, DE, please try to visit the Brandywine River Museum.  It will amaze you!

--Bill Plympton

Hunter S. Thompson Interview animated..

The latest episode of Blank on Blank features Hunter S. Thompson. Check out this informative page that we make for each episode. The interviews are researched extensively, and the material is taken pretty seriously, particularly if you consider that we're making a cartoon.  Enjoy the gif..