Firebird Effects by Ted Kierscey...

I ripped this extra off of the Fantasia DVD anthology, a set that every animator should own (buy it! worth every penny). It's simply stunning the amount of detail and dedication to timing and mood that Ted Kierscey was able to put into this sequence. It puzzles me that Ted Kierscey is not a household name, which he clearly should be. I show this sequence to my students every year, just to remind them(and myself) what this medium is capable of accomplishing. In particular, what the pencil on a piece of paper can accomplish; texture, tangibility, and an overall essence that only a hand carved line can create. I've watched this so many times, and it never fails to invigorate me to animate!

Gustav Vigeland..

A friend of mine from England turned me onto the norwegian sculptor Gustav Vigeland (1869-1943) about three years ago. I was already pretty deep into the idea of constructing larger forms from individual figures(something I saw during my time in Indonesia), but this influence really set me on my present course. I don't have a strong desire to work in sculpture, but I think that the solid drawing principles that I admire have a sculptural quality. It's all about weight, and Gustav is a prime example. EVERYTHING he did has immense weight.. you can feel it pressing against the earth! Ironically, the monolith configuration he has constructed are totally impossible to perform in reality, but his representation of the action makes it believable. When you're seeking to create the bizarre, it's effective to construct things in a believable way. The most strange things are best to illustrate within reality, otherwise you risk venturing into that fantasy world, and inevitably lose grounding and meaning. A piece from Sculpture Park in Oslo on the left by Vigeland, and one of my "columns" street art from 05 on the right.
Interestingly, very little of his sculptures have left Norway, partly due to a contract Vigeland made with the city of Oslo in 1921. He was given a large studio near the center of the city, and in exchange, he agreed to bequeath to Oslo all works in his possession as well as all original models of future sculptures. He lived and worked there from 1924 until his death in 1943. Over that enormously productive 20 years, with Vigeland’s design and direction, grew an 80-acre sculpture park and museum entirely devoted to his work.

The sheer scope of Vigeland’s work is astonishing. The park contains 192 sculptures in granite and bronze, with more than 600 figures. Then there's a museum, housed in a building originally erected as studio and home which includes some 1600 sculptures, 12,000 drawings and 400 woodcuts. Check out Vigelands work, perhaps it will inspire you like it did me!

Animators Unearthed by Chris Robinson..

A new book is out by Chris Robinson, it's a good read, and I'm not just saying that because I'm one of the animators featured;) actually, two NYU faculty are represented, myself and John Canemaker.
"Animators Unearthed" is an introduction to some of the world's top animation filmmakers, whose faces and voices remain largely unseen and unappreciated outside of the animation community. Chris Robinson discusses why it's been neglected and where you can find the work. He aims to bring this art form, and its creators, to the forefront by tracing the history of this personal and artistic animation. Throughout its history, animation has been primarily defined as cartoons that make people laugh, a medium of gags, caricatures, animals and fart jokes. Most people have no idea that there also exists a more personal, provocative and poetic side of animation, one that is not made for money and mass audiences. Robinson profiles 20 animators, known in the field, including: Patrick Smith, Don Hertzfelt, Chris Landreth (2004 Oscar winner for "Ryan"), John Canemaker (2005 Oscar Winner for "The Moon and The Son"), Joanna Quinn, Run Wrake, Chris Hinton (Oscar nominee), Bob Sabiston ("Waking Life", "A Scanner Darkly"). After spending 16 years fighting the stereotype that animation exists for kids and laughs, Robinson's tome spreads that message to introduce these incredible artists to a wider audience. Most of all, he hope that people will come away with the feeling that animation is a great art form that rivals any of the classic arts.
A noted animation commentator, curator and historian, Chris Robinson has been a director of the Ottawa International Animation Festival (OIAF) since 1994. His previous books include Unsung Heroes of Animation (John Libbey & Co., 2006), Estonian Animation: Between Genius and Utter Illiteracy (IUP, 2007) and The Animation Pimp: AWN Official Guide (Course Technology, 2007).

On another note, sorry I've been so lame about blogging. Blogging tends to get in the way of my lying around time.

Guard Dog Global Jam

I was at the wonderful Florida Film Festival where I saw a short animated film that was amalgam of circles taken from artists on the internet. It was a very cool film but what really intrigued me was the idea that one could make a film using artists from around the world and never actually talking to them or meeting them.

After thinking about it, the idea came to my mind that perhaps I could remake one of my classics using animators from around the world- kind of a Global Jam.

My most famous film "Your Face" would be great but it's one complete shot so its hard to break up into short sections. Then I thought "Guard Dog." That's perfect- it's made up of 70 little shots, a great animal star (everyone likes to animate animals) and its Oscar nominated!

So two weeks we opened up the competition for animators from around the world to submit for their favorite shots on Sept. 1 at noon EST. And the selection will be made on a first come first serve basis.

Unfortunately I can't pay filmmakers who join in the fun. But I will give them a credit in the film- a free DVD and an original drawing from my "Guard Dog" series.

I think the finished product is going to look very cool when it is finished. However I can't foresee it getting a whole lot of sales since its kind of a squeal to the original "Guard Dog." But I believe it will be a wonderful collaboration of the wide range of styles and humor available in animation.

Check out the rules that are included on Plymptoons.com and stay tuned for an update on the project. Also I've just decided to give a special prize for the single clip that I think is my favorite.

ANIMATION, ACCORDING TO CORDELL BARKER

Dear Readers,

Here is a drawing by famed Canadian Animator Cordell Barker (“Cat Came Back”, “Spaced Invaders”, “Runaway”) that perfectly captures the myth and reality of being an animator. Its wonderful. I just wanted to share it with you, although I must say I really love my drawing board. Thanks to Cordell.

Summer Events, Salem, Comic Con and More!

This summer there are a lot of Plympton activities that you need to be aware of.

I start by taking my summer Oregon vacation after the 4^th of July, where I have two major events. The first one is a double show I'm doing at the Salem Cinema located on 1127 Broadway (at the corner of Broadway and Market Streets) on July 11^th.

At 5pm, I'll be showing all my safe-for-kids short films, the Dog series, and the premiere of “The Cow How Wanted to be a Hamburger” in Oregon. And then, the 8 o'clock show will be for adults only – Some sex, some violence, and a lot of laughs. Plus, I'll be creating some drawings and telling some stories. Everyone who comes gets a free Bill Plympton sketch – so if you're in the Salem area, please stop by and say hello.

Then, on July 19^th, I'm having a big DVD party at Dante's Cabaret, 1 SW 3^rd Ave at Burnside from 6 – 10. A lot of the actors and crew from Guns on the Clackamus will be there and we'll be showing clips from that film. Also, we'll be celebrating the Hair High DVD release. It's open to the public, so bring your friends; it'll be a blast!

Then on the 21^st, I'm heading down to San Diego for the prestigious Comic Con. I'll be sharing booth #5552 with the duo who are making my documentary, "Adventures in Plymptoons", Alexia and Kevin. We have three major events to tell you about. The first is my panel on Thursday at 1:30 – 2:30 in Room 8. I'll be showing lots of cool things – besides some of my commercial work, I'll show "The Cow Who Wanted to Be a Hamburger" and a clip from my new feature film, Cheatin'. It has a unique style. We'll also be screening a clip from the documentary "Adventures in Plymptoons", which will be introduced by Alexia Anastasio, and of course, everyone who comes gets a free Bill Plympton drawing.

The second event is a screening of my newest short, “The Cow Who Wanted to be a Hamburger” at the Comic Con Independent Film Festival on Thursday, July 22^nd at 3:25pm. The screening will be held at the Marriott Hotel and Marina, In Marriott Hall 1&2.

Thirdly. on Friday night from 7 – 10, we're having an exhibition at the Chuck Jones Gallery, located at 232 Fifth Avenue. We'll be showing all the best drawings from “Idiots and Angels”, my “Dog” series and select artwork from other shorts, including "The Cow Who Wanted to Be a Hamburger". We'll also be playing some of my classic shorts and other extras. It's open to the public, so please stop by and bring your friends. I'll see you there, and have fun at the con!

We have two new surprise announcements coming up, probably within the next two weeks, so please stay tuned to Scribbles Junkies! You're going to love these announcements!

Annecy Part Trois

Serge Bromberg before the Tango.

The Annecy festival was a huge success. Already I'm starting on my new film to hopefully get me invited back to the festival in 2011.

I took the train back from Annecy to Paris and did a few meetings about the Frenel book called “Bill Plympton: Portrait of a Serial Cartoonist.” I had a free afternoon so I decided to see the Louvre. As many times I've been to Paris I've always been too busy with interviews and signings. Now I finally had some free time to visit “the greatest art museum in the world.” Apparently it started out as a fort complex, then became The King's residence and office buildings until The French Revolution when it became the residence of all the great French and Italian art.

At the Louvre

Ready to jump in the canal.

I figured my time was limited so I stuck to French painting (Renaissance to 1860's). Wow. Never in my life have I seen so many religious paintings of Jesus and his crew! I've had enough pictures of Christ to last me to eternity. There was, however, some wonderful art by Millet, Corot, Delacroix and Ingres. Even a Goya. So it was a very rewarding experience. I OD'd on so much art I forgot to see Michelangelo's “David” and DaVinci's Mona Lisa. Doh!

Hopefully next time I visit France I'll be able to see the rest of the Louvre.

Annecy Part Deux

Chris Landreth

Marv Newland, Marc Topet, Paul Driessen

David Silverman. Eating Belgian Waffles.

Another highlight from the famed 50th Anniversary of the festival was the screening of my new short “The Cow Who Wanted to be a Hamburger.” It got a very nice reception which is good because sometimes the Annecy audience can be very harsh critics. As I got on stage to take a bow, the idea occurred to me (too late, I might add) – wouldn't it be great to take a bow then pull out a big fat juicy hamburger and eat it on stage? Not THAT'S performance art!
The closing night ceremonies were quite memorable. I was hoping for an award but knew I didn't have much of a chance; the reason being that the judge knew I've won numerous prizes there before and naturally defer giving a prize to a long-time winner than to a newbie, someone who's looking for a break. Marv Newland calls it “The Paul Driessen Syndrome.” Paul's been coming to Annecy much longer than me and after taking Annecy by storm in the early years its impossible for him to win a prize now, even though his films are better than ever.
In any case, I was asked to come on stage to give out the feature film audience prize and after a short chat with Serge I told him I had learned how to dance The Tango at The Argentinian party the night before (which incidentally was a great party). And so I grabbed Serge's hand and began a long, sensuous tango across the Grande Salle stage. I don't remember if he was the male or the female of the couple, but it was muy caliente! By the way, the winner was “The Fantastic Mr. Fox”, which if you read my blog you know how I feel about that.

Michel Ocelot, Sandrine Flament, Joanna Quinn

Spike of "Spike and Mike", Andreas Hykade, Marv Newland

Will Kraus, John Coates, Jake Armstrong, Jimmy Murakami

John Coates

At the final party it was great because I had so many fans come up to me asking for photos or drawings – even a delegation from Iran. Apparently I'm pretty popular with the kids there – probably not so much with Ayatollah Khomeini. Unfortunately back in New York I walk the streets in complete anonymity, but maybe that's a good thing in New York.

Annecy Part Un

Opening - Peter de Seve and John Musker


Cow Premier Bow

Its been 50 years since the 1st Annecy animation festival gathering in 1960. Apparently it was a small affair: 50 people congregated to watch animation and party. This year being a big anniversary year they asked some of the biggest names in the business (John Musker, Nick Park, Peter Lord, Joanna Quinn, Ed Nazarov, Alexei Alexeev, Matt Groening, David Silverman, Michel Ocelot, Peter de Seve, Raoul Servais, Marv Newland, Paul Driessen, Bruno Bozzetto, Sylvain Chomet, and me) to help celebrate. They put us all up in the fancy Palais de Menthon on the other side of the lake. It's right on the beautiful lac d'Annecy so every morning I got to take a refreshing swim in the crystal-clear waters.
The opening night started off with a bang with Sylvain Chomet's “The Illusionist”, taken from an unfilmed Jacques Tati screenplay. The film took 5 years to make. Even though I loved the art and the beautiful animation I felt that the story was kinda weak. There was no conflict or tension and very little humor for a Tati story. It will probably do well in France due to the personalities involved but I can't see American audiences going for it.
Another film screening there was “Dispicable Me” by Pierre Coffin and Chris Renaud. Its much more of a kid's film and the audience gave it a standing “O”. It had great 3D effects and very great humor.
The organizers produced an exhibition in the old castle illustrating the history of the festival and also a book of 50 years of the festival. I did a signing along with 5 others which included David Silverman, Paul Servais, George Swisgabel, and Alexei Alexeev. Then we visited the Dutch party at the Cafe des Artiste where I got to sit down and chat with Jimmy Murakami and John Coates: 2 guys responsible for “Yellow Submarine.” What great stories they told! I asked them why King Features only gave the studio 11 months to make the film, which is unheard of in animation. Apparently they were afraid that the Beatles would fade away into obscurity by then. Stupid King Features!

Bruno Bozzetto


Rom Clements and Peter de Seve

Toy Story 3

The folks at Pixar are brilliant and Toy Story 3 proves it! What an amazing film. It certainly doesn't have the visual style and punch of “How to Train Your Dragon” by Dreamworks, but it has some of the best storytelling I've ever seen.
One of the things I like about a Frank Copra film is how he's able to bring in numerous characters and each one is detailed and fascinating. Look at “It's a Wonderful Life.” There must be 10 or 15 secondary characters and they're as memorable and important as the lead actors. How does he do that? What's his secret? Well, “Toy Story 3” has some of that same magic. All the minor characters have a very complex puzzle where all the little pieces fit together perfectly. And only because they fit so perfectly does the whole picture have such a powerful impact. Some of my favorites are Ken and Barbie, the crazed monkey guard, the teddy bear ringleader, and the disturbed, abused baby doll.
By now the film has been released and is making billions of dollars. But its the first time that a threequel has surpassed the previous films. Of course its a great film for other reasons: the music, the look, the acting. So tell your friends to go out and see “Toy Story 3.” You won't regret it.

7 Lessons from David Brown - Part 4 of 4

As a long time fan of producer David Brown's films “The Player,” “Jaws” and “A Few Good Men,” I was happy to read his “Lessons From a Life in Showbiz” in Variety magazine. I've had this clipping over my drawing board for 6 years now.
Since he recently died at age 93, I feel its appropriate to pass on these pearls of wisdom. I myself have only been in showbiz 25 years, a small fraction compared to David Brown, yet I agree 100% with all of his lessons.
There are 28 lessons all together, but that's too many to digest in one blog so I've broken them up into 4 parts, thus:

7 Lessons From David Brown, part 4 of 4

22.Not returning phone calls is the sign of a loser. It's always easier to get the CEO or boss of a studio than an underling. That's why they're underlings.
23. You're only as good as your last picture – depending on how long ago your last picture was.
24. Those entrusted with green lighting pictures should become involved with the process at the beginning instead of at the end. This would save scads of money spent by development executives with only the power to say no. In films as well as in television, it is ludicrous for the decision makers to sanction this waste.
25. No matter how successful you are as a producer you're always Willy Loman begging for your next gig.
26. Irving Berlin said, “The trouble with success is that you have to keep being successful.” How tragically true.

27. Actresses (and actors) are smarter than most executives. I don't know why that is, but it is.
28. The best advice I've heard for those of us in this narcissistic business (of entertainment) was from movie star Barbara Stanwyck, as quoted in William Safire and Leonard Safir's book, “Good Advice.” “Know when your time is up,” counseled Barbara. “It's the only advice I have. Hell, I knew 25 years ago it wasn't going to last. Sooner or later, the demand won't be there, and you'd better get ready for it. Get ready for the dream to fade. So I'm no longer in demand, but so what? I've had my time, and it was lovely. And I'm very grateful for it. But now I move over and make room for somebody else. What the hell. Whatever I had, it worked, didn't it?”

7 Lessons from David Brown - Part 3 of 4

As a long time fan of producer David Brown's films “The Player,” “Jaws” and “A Few Good Men,” I was happy to read his “Lessons From a Life in Showbiz” in Variety magazine. I've had this clipping over my drawing board for 6 years now.
Since he recently died at age 93, I feel its appropriate to pass on these pearls of wisdom. I myself have only been in showbiz 25 years, a small fraction compared to David Brown, yet I agree 100% with all of his lessons.
There are 28 lessons all together, but that's too many to digest in one blog so I've broken them up into 4 parts, thus:

7 Lessons From David Brown, part 3 of 4

15.Women are better judges of scripts than me, and 12-year-olds know more about casting.
16. The worst preview audiences are your friends and relatives. Don't invite them.
17. Fame and fortune are temporary and in time will go. Stars and tycoons eventually will be forgotten. The only legacy is your care and love for your fellow man (and woman). Remember Winchell's line, “Be nice to those you meet on the way up – they're the same ones you meet on the way down.” He wasn't – and discovered the truth of his utterance.
18.Scripts with camera angles and verbose stage directions are the signs of an amateur.
19. Booze isn't bad – in moderation. Smoking – even in moderation – is. Water is boring. When health clubs took the place of bars, the quality of movies suffered. So sue me.
20.Meetings are the bane of the business, along with voice mail. Between meetings and dailies, it's almost impossible to communicate on a personal level with studios. Nothing is decided except in person. Finding or hearing a live human being is all but impossible.
21. Never entrust a business manager with your discretionary power. Anyone who makes creative decisions can decide about his investments. It's easier. How you handle your money can be fun.

7 Lessons from David Brown - Part 2 of 4

As a long time fan of producer David Brown's films “The Player,” “Jaws” and “A Few Good Men,” I was happy to read his “Lessons From a Life in Showbiz” in Variety magazine. I've had this clipping over my drawing board for 6 years now.
Since he recently died at age 93, I feel its appropriate to pass on these pearls of wisdom. I myself have only been in showbiz 25 years, a small fraction compared to David Brown, yet I agree 100% with all of his lessons.
There are 28 lessons all together, but that's too many to digest in one blog so I've broken them up into 4 parts, thus:

7 Lessons From David Brown, part 2 of 4

8.Never be mean, chintzy and ugly to your secretary or she'll write a book.
9.Verbal pitches rarely make it to the screen and are frequently forgotten in the passage.
10.Nobody but the filmmakers can be trusted to form a valid opinion of a film by seeing a rough cut or reading a script. Especially marketing people. Show them the finished movie only and even then, their opinion is suspect.
11. Enthusiasm is the fuel of show business, especially unwarranted enthusiasm. Without it you can't go to work in the morning.
12.The larger number of executives in a production department, the poorer their movie. Bureaucracy dilutes the creative process – and slows decision making to a pathetic trickle.
13.This is from Darryl F. Zanuck. Interesting subject matter of a movie is more important than brilliant execution. I'd rather have a fair script on a provocative subject than a brilliant one about the sex life of an earthworm. I've had both.
14.Being a waiter, book salesman or a dealer in a casino is better preparation for a producing career than four years in film school. The best producers often are rogues and super salesmen.

"Masks" premiere this Friday!

So there's a reason why I've been so lame on posting, I've been working really hard ever since I returned from Singapore last month to finish up my latest animated short "Masks." Generally speaking I'm trying to stay away from self promotion on this blog, but I wanted to let anyone who is interested know about the show this Friday at 92Y in Tribeca. Began as an audio experiment with recording artist Karl von Kries, "Masks" illustrates modern exploitation, production and consumption in animated terms. I insisted that the audio come first, thus all images exist to tell the musical story, instead of the typical method of scoring music after animation has been completed. In this manner, "Masks" projects itself as a musical interpretation, a contemporary and disturbing version of the Disney formula of "Fantasia". Me and Karl have collaborated in the past on my films "Drink" and "Delivery".
Please try to make it friday, I encourage you to buy tix ahead of time since it's a pretty small theater and may sell out.

Hope to see you there!

The National Cartoonist Society Convention

As you all may be aware, I started out my professional career as a cartoonist – political, caricature, strips and gags. Even though my boyhood dream was to make animation, it was the print cartoons that really influenced my animated cartoons. My style and sense of humor was all there in my magazine and newspaper artwork, so when I got the opportunity to appear at the annual NCS (National Cartoonist Society) meeting, I said yes.

It was over the Memorial Day weekend at the beautiful Hyatt hotel in fast-growing Jersey City, NJ. They put us up in a wonderful Hudson River view apartment, and the genius caricature artist, Steve Brodner, introduced me. He was the guy that influenced me to leave caricature and go into animation; I couldn't compete with him. I had about 150 cartoonists from all over the country at my show. After, we got a great dinner and party overlooking the magnificent New York skyline. I was able to meet a lot of great friends. Mo Willems, who I've known for 20 years, was there. He's now a major kids' book creator. Also Sam Viviano (MAD Art Director) who was a member of the legendary “Benday and the Zipatones” cartoonist band back in the 80's, with such cartoonists such as Lou Brooks, Elwood Smith, Mark Stamaty, and myself. Then my old friend Patrick McDonnell (Mutts) introduced me to Sandra Boynton of the Hippo greeting card fame.

Me and famous New Yorker Cartoonist George Booth

Me, Sandra Boynton, Patrick McDonnell of Mutts fame and wife Karen

Me and Mo Willems - childrens book creator extraordinaire

Me and Jerry Robinson - DC Comic's "Batman"

The next day I got to meet the great George Booth. During his wonderful show he talked about his early years as the New Yorker's hottest cartoonist. You you may know, as the newspapers and magazines are dwindling, it's a very challenging time for cartoonists, and I believe I opened their horizons with my discussion of my transfer from cartoonist to animator. I do believe there are a lot of wonderful opportunities in animation now – especially if you're a good humor writer or drawer, and I hope their talented kids can take advantage of crises.