Tuesday, July 14, 2015

We Survived San Diego Comic-Con 2015!

Hey Plympton fans,

I'm away in Oregon for a week following San Diego Comic-Con, so I'm going to put my blog in the hands of my office manager, John Holderried, who ran my booth at SDCC, for a rundown. See you next week!

 --Bill

Well, unlike Bill, I'm back in NYC, here to talk about our crazy time, what went wrong and what went right.  This is about the 12th or 13th year I've gone to San Diego with Bill, and I'd like to think I've learned a few things about running the booth and how to survive the convention - but even still, I try to look for better, more efficient ways of doing things as we go.  I've never been in the military, but I tend to regard the convention as something of a combat zone, and these are my "war stories".

If you've never been out to the Big Daddy of Comic-Cons in San Diego, it's an enormous event that's now grown bigger than the convention center itself.  Panels, screenings and parties now take place in hotels on both sides, and in various restaurants in the Gaslamp Quarter.  It's so big that you have to sort of plan in advance what shows and movies you like in the geek world and try to focus on those, because there's no way you're going to see everything.  I have to start our plans 8 months in advance if we're going to get decent flights + hotels, and then the official SDCC paperwork starts to kick in around March, like requesting a panel and registering with the CA Tax Board, so we'll be cleared to legally sell items in another state.

This year, the hotel where I usually stay wasn't taking reservations, so I tried something new, renting a room on AirBnb.  Since I've stayed in a converted YMCA for the last 5 years, which had very little in the way of services and amenities, I figured I couldn't do much worse.  I arrived to find that my host was out of town, and after getting the key from a neighbor, I had the whole apartment to myself for a few days.  Even though I was far off from downtown, I walked down the hill toward the bus stop on my phone's map, only to see a trolley stop a few blocks further.  Aha, luckily I figured out the San Diego trolley system two years ago when I went down to Chula Vista for a movie (that horrible experience is detailed here:  http://honkysmovieyear.blogspot.com/2013/07/iron-man-3.html ) so I figured I was all set.

I'd shipped 4 boxes of Blu-Rays to the UPS store about three blocks from the convention center (across from my old hotel) and 1 more box of Plympton DVDs and books.  It's a tricky thing each year, trying to predict how much we're going to sell of each item.  If we run out of something, clearly I didn't bring enough of that, and if we have a lot left over, it seems I brought too much.  But we managed to get the CHEATIN' Blu-Ray labelled as a Comic-Con exclusive, which meant it was going to appear in the convention promotions as such, and we figured we'd get more sales that way, so this year we were sort of shooting for the moon.

James Hancock helped me get the 5 boxes, and my suitcase filled with booth supplies, over to the convention center, where we laid out the merchandise on the table and hung up our banner.  James was even there at the convention the day before to receive the A/V equipment we rented - for some reason the convention starts on Wednesday, but they deliver the video rentals on Tuesday, and you MUST have someone there to sign for them.  This is one of those little rules we found out about along the way, that we have to comply with.

When I say the convention is made up of a big bunch of rules, it starts to resemble the sort of organized intelligence you see in a military operation, and after a while a lot of it starts to make no sense.  Imagine a convention center filled with 125,000 people - and the way the aisles are spaced out, it doesn't take a lot to clog up the aisles.  One celebrity does a signing in a booth, people gather around to take pictures, and the aisles get clogged.  Or sometimes it's just some people who decide that they want to stand in an intersection and talk or just look around, and the whole thing grinds to a halt.  People with costumes posing in the aisle, or someone who insists on carrying around an enormous prop hammer, or worse, pushing a baby stroller, and, well, you get the idea.

                            The madness of Comic Con (and this is not on the busiest day!)

But that's not the half of it - Comic-Con has a lot of great panels every year, yet they don't have time or the manpower to clear all the rooms in between the panels.  So someone got smart and realized that if they want to see the "Big Bang Theory" panel at 3 pm, they could go to the previous panel at 2 pm in that same room, and keep their seat, guaranteeing them a spot in the panel they want.  Once word got out that was possible, people started jumping into panels 2 or 3 hours before the one they wanted to see, which then defeats the whole point.  Someone's presence in the wrong panel could easily prevent someone who DOES want to see that panel from getting in.

The same goes for the annual Masquerade on Saturday night - if you want to attend in person, you need a free ticket.  They give out the tickets on Saturday afternoon, but of course there's competition to get them, so people wait all morning in a line to get a ticket for that night's event - and by the time you get the ticket, it's almost time to start lining up to get a good seat.   So they've wasted their whole Saturday at the convention just to make sure they see the event live, when they could also watch it on closed-circuit broadcast up in the Sails Pavilion, and get their Saturday back.

The famous Hall H works the same way - once you're in a seat, you're there as long as you want to be. This is the giant, 6,500-seat theater where the big Hollywood companies put on their presentations.  If you know that a little film called "Star Wars" will be screening footage on Friday night, then you have to get in the hall on Friday morning, which means camping outside overnight on Thursday to hold a spot.  This seems like way too much work for me, plus why would I pay for a hotel room and then sleep outside in a sleeping bag?  By the time the "Star Wars" footage screens in the evening, the fans are probably too exhausted to enjoy it.  I'll see it in theaters in December, right?

                   The convention center - those white tents are where people camp out for Hall H.

Or, let's say you're enjoying the convention, and you want to buy an official Con t-shirt.  There used to be a booth that sold them in the Convention Center, you just went up to the booth, told them your torso size, gave them your money, and you got a shirt.  But I guess one year they ran out of the good sizes on Saturday, which wasn't fair to people who had a one-day pass for Sunday, and someone complained about that, so they figured the fairest thing to do was to take only pre-sales via the internet, and then people could just pick up their shirts at the booth.  But then they realized that the t-shirt booth was taking up valuable real estate, so they moved the pick-up point to a lounge in a nearby hotel.  Bottom line - you can no longer buy a San Diego Comic-Con t-shirt AT the San Diego Comic-Con.  Crazy, right?  (I went to the lounge two years ago and tried to buy a shirt, money in hand, and they said "no dice".  But if you learn how the process works, and remember to order in advance, you might get one.  First-time attendees not in the know, you're out of luck.)

In a larger sense, the whole city of San Diego doesn't run right, either.  It's as if whoever designed the city just wasn't thinking clearly.  Whose bright idea was it to put a convention center on the other side of a highway, trolley tracks AND a set of freight train tracks?  People flood out of the convention center in waves upon waves, and sometimes they're directed across the highway safely, only to have to wait for a trolley and/or train to go by.  Imagine thousands of people trying to get into the Gaslamp Quarter to have dinner, and how frustrating it is for them all NOT to be able to get there.

Someone FINALLY built a pedestrian bridge - but it's about 3 blocks east of where it needs to be.  If your booth is in Hall A or B, or you just happen to be on the west side of the convention center, and you want to cross the street over to your hotel on Third Ave., to use the bridge you'd have to walk the whole length of the convention, two more blocks, then up the ramp, over the bridge, and 5 blocks back on the other side.  Most people are just going to take their chances with the highway, I'm betting.


And if you look at this picture of the pedestrian bridge, you'll see there's a safety fence on the left  over the railroad tracks, but NOT on the part that's over the highway.  Someone could jump from the bridge on to the highway, and this needs to be fixed right away, if not sooner.  This is why I call San Diego "The City That Means Well", because it seems like everything they do to improve things just makes them a lot worse. 

Or consider the San Diego trolley, which is the only mass transit system I've seen anywhere that has to yield to auto traffic.  It takes people straight to the convention center, but as soon as they get off the trolley, they have to stand there and wait for that same trolley to move forward before they can cross the tracks, which is ridiculous.  Why get them almost all the way there, and then make them stand still?  With the exception of the convention center, I found that the trolley never took me directly anywhere, I always had to walk 5 or 10 blocks after getting off the trolley - meaning there are large parts of the city not covered by the trolley lines, so it's essentially useless.  When you add the lack of coverage together with all the delays, I'm guessing it's usually faster to walk where you want to go.  I only took the trolley everywhere this time because my feet were hurting.  In my case, I took the trolley back to my stop every night, and had to walk 10 blocks up a big hill to get to my apartment.  Well, at least I guaranteed I'd be tired and able to sleep once I got there.

San Diego's like a big mission burrito, one with pork and rice and beans and cheese and guacamole, and you really look forward to how all those things are going to taste together, but then the guy making the burrito folds it the wrong way, so nothing mixes right and you have to eat all the rice first before you get to anything else.   Form needs to follow function.

Another example - the city has its share of homeless people, as I'm sure most cities do.  But while a city like New York has chosen to deal with this situation head-on, through a combination of workfare and occasional incarceration (the Giuliani/Bloomberg approach) San Diego has a much more liberal attitude, it seems.  They even built a bunch of free public restrooms a few years back, so the homeless population could have someplace to go, and the city could be a little cleaner, but all this managed to do was make it easier for it to BE homeless, so now there are more people living on the streets than ever.  I passed a couple of shantytowns on the trolley, and even got harassed by some homeless men while waiting for my ride.  I was shocked how quickly "Hey, you here for Comic-Con?" turned into "Well, look at Mr. Fancy Pants, going to Comic-Con!  You think you're too good to talk to me?" and suddenly two guys turned into four guys around me, and I didn't know what to do - if I gave them money, then they'd realize I HAD money, and that if they worked together, they could probably get ALL of my money.  Fortunately, the trolley came and I was able to jump on board and get away. 

We got more bad news when we learned that Bill's flight out of New York got delayed, so he and Sandrine missed their connecting flight in Chicago.  And Comic-Con is so popular now, most of the other flights to San Diego out of Chicago were booked, so instead of arriving on Thursday morning, they came in at 8 pm, and the convention closed at 7.  We missed nearly a whole day of sales without Bill there - people like to buy a DVD or BluRay or a piece of animation art and have Bill autograph it.  We encouraged people to buy things and come back on Friday to get them signed, but some people only go to the convention for one day. 

On the upside, I didn't have a lot on my agenda, I just like to buy my weekly comics, a couple of Star Wars Mimobots, and maybe something funny for the wife and some collectible toys for my niece and nephew.  I was able to get all of this done in the first HOUR of Preview Night, which means I guess I'm some kind of convention shopping expert, and this freed me up to just sell merchandise and take pictures for the next four days.

On Friday, Bill arrived and got his badge, then went straight to Hall H, where Ron Diamond was giving a presentation of animated shorts, and he included Bill's new film, "The Loneliest Stoplight".  Since "Star Wars" was having its presentation in Hall H on Friday evening, the place was packed with people who were planning to stay in there all day.  The upside that about 6,500 people got to see the premiere of Bill's film!  We have to score that as a win. 

                                  James Hancock and Bill Plympton invade the famous Hall H!

                                 Ron Diamond and Bill introduce "The Loneliest Stoplight"

Friday afternoon we had the big panel for "Revengeance", with Jim Lujan and Bill giving fans an update on the new feature's progress.  In addition to trailer for "Revengeance" Bill also screened "The Loneliest Stoplight", and clips from his new mockumentary, "Hitler's Folly", to a packed house. 

                                        Jim Lujan and Bill, writer + director of "Revengeance"

Finally, we got Bill to the booth and put him to work, signing Blu-Rays of CHEATIN' -

                
And he started drawing caricatures for fans, which has become quite popular.  People love to see what they might look like if they were a Bill Plympton cartoon!


                            David Silverman, director of "The Simpsons Movie", stopped by...

                                                          and so did Matt Groening himself!

                         Bill, Sandrine and Lucas in the booth, where CHEATIN' played on the TV

                            Bill with Christopher Miller (co-director of "The Lego Movie" and
                                "Cloudy With a Chance of Meatballs") and Rick Farmiloe

                              James got to meet one of his comic-book idols, Grant Morrison
                                     (JLA, New X-Men, Final Crisis, All-Star Superman)

                             Bill with Geoffrey Gilmore, director of the Tribeca Film Festival

                              A rare break between signing DVDs and drawing caricatures

While some things went wrong, most things went right, I got to visit my favorite San Diego restaurants, and James got to attend some great panels - Check out his own blog here:

http://wrongreel.com/comic-con-day-1/

But eventually it was time to shut things down for another year - I was dreading the load-out because it looked like we were going to have about two boxes of merchandise to ship back, which meant I'd have to take them, along with my suitcase, in a cab back to my flat, and then somehow get them back downtown to the UPS store, by myself, on Monday morning before catching my plane.  (Two years ago I thought I'd allowed myself enough time to do this, but ended up missing my flight.)

Just then, an amazing thing happened.  With an hour to go on Sunday, my developing head-cold (thanks to the shared air in the convention center, no doubt - thanks, nerds) really kicked into high gear, my head was swimming and I figured I needed some medicine and/or caffeine to get me through the last push, so I ducked out to the hotel next door.  I figured every decent hotel has a pharmacy, or at least a gift shop, that has cold medicine available for its guests.  When I asked a restaurant hostess where the gift shop was, she said, "It's right down the hall, past the UPS Store."  Wait, come again?  There's a UPS Store about a 2-minute walk from our booth, in the next building over?  This seemed too good to be true.

Now, I had a bad experience years ago shipping out boxes via the FedEx in the convention center - they didn't do ground shipping, their rates were jacked-up, and they tacked on an extra $100 as a surcharge, just because they could.  I swore to never fall for that trick again, and I figured there had to be a similar catch with this UPS Store.  OK, there was a surcharge, but for a 10-pound box they added on just an additional $6, and for a 15-pound box it was just $12.  I could live with that.  AND they were open until 8 pm on Sunday, AND it didn't seem that crowded.  Suddenly, it seemed like time to update the plan. 

Bill left just before 5 to catch his plane, the exhibit hall closed, and a cheer rang up from the vendors.  James and I started breaking down the booth, and by 5:38 we had the supplies back in my suitcase, and all the unsold merchandise loaded into 2 boxes to ship.  We walked over to UPS, where there was NO line, and we were all done by 6 pm.  That's got to be some kind of record.  Now, I'm not saying exactly where the UPS Store is, because I plan to use this little trick next year, and I don't want it to be all crowded.  But it's there, and it saved my bacon.  The next morning it was much easier for me to get to the downtown UPS (to ship out everything personal I bought, which turned out to weigh more than I thought it would), grab a bagel, and catch the bus to the airport.

So in the end, something went very right - but with Comic-Con, it's always a struggle.  It's a maddening, confusing, crazy place, and we all can't wait to go back next year.  I guess that makes us kind of crazy, too.

Here are some of my photos - for more, please visit:

https://www.flickr.com/photos/66064297@N00/sets/72157655450126599

--John Holderried














                                                   Lucas Plympton, enjoying Comic-Con -
                                                        just wait until I put him to work!
Sketch-A-Day

Thursday, July 2, 2015

Epic Sketchbook: 360 degree paintings by Cinta Vidal..


Ok.. this isn't from a sketchbook, but I wanted to post anyway.  Cinta Vidal is a spanish illustrator, these pieces are on wood and can be rotated 360 degrees (perhaps a bit of a gimmick, but interesting). I particularly love the containment of these works.. the complete in tact feeling and weight(less) of each little world that is rendered. Enjoy.  For more of his paintings, illustrations and commercial work, go here.




Wednesday, July 1, 2015

"Frozen" fallout

I've been to a number of children's birthday parties recently, because my 2 1/2 year-old son now has a lot of friends, through his school and it's uncanny how many young girls are wearing princess gowns to parties, to look like Elsa or Anna from "Frozen".


But not only are they spellbound fans of those Disney princesses, they also act like princesses, and that's where the trouble starts.  It seems there are all these young girls ordering everyone around, because, hey, they're princesses, and that's what princesses do.

I can foresee that there will be a problem, since now there is a whole generation of young females who want to take charge - and when they grow up, they will all be demanding this and ordering that.  And our son will be faced with dating girls who demand nothing but total domination.

I pity my poor son in 20 years.

I'm glad that Disney has such a big hit with animation - yay, cartoons - but the cultural influence of "Frozen" is going to doom my son to a life of servitude.

--Bill Plympton

Tuesday, June 30, 2015

Epic Sketchbook: Stefan Zsaitsits...


Austrian artist Stefan Zsaitsits draws primarily in pencil, and focuses on the idea of transforming the head.  Both Bill and I are big fans of head transformations and morphing, so it's natural that I gravitated toward Stefan's sketch work.  Enjoy, I find these images totally hypnotizing..






Thursday, June 25, 2015

Lou Reed ink sketches..

Here's a quick design sketch I did of Lou Reed for the Blank on Blank series.  I always use ink in my sketchbook, it's a trick I use to keep my drawings quick, and build a habit of committing to your lines. I wrote an entry about using ink a while ago here. Lou was fun to draw because of the curious lines in his face.. and his floppy ears. His leather jacket collar created a nice framing element for his under bite jaw.  I love the first stage of production, when I can just sit with my sketchbook, draw designs and come up with ideas for shots.  Since we wrap each episode in about a week, this part of the process only lasts a half day or so.
And here's the final episode from PBS Digital, it was published a few months ago, and is possibly my favorite of the last dozen or so that we've produced.

Tuesday, June 23, 2015

Epic Sketchbook: Régis Loisel

I bought a hardcover sketchbook called "Peter Pan" when I was in France years ago, it's by comic artist Régis Loisel, who is legendary, even though I didn't know who he was at the time.  The book is filled with wonderfully raw renderings of his interpretations of the Peter Pan characters. He goes from pencil to ink, to marker.. the notes give each page a beautiful sense of construction, illustrating a remarkable thought process. Enjoy.





Friday, June 19, 2015

Friday Inspiration: Albert Dorne..


As an animator, you are most likely very familiar with Albert Dorne.  His effortless illustration style is intoxicating. Enjoy.  Here's a collection of Flcker that does justice to his wide variety of commercial illustration, way more depth than I can add on this blog.


Albert Dorne is a true artist success story.  he was born in the slums of NYC, and had miserable health problems. He dropped out of school to support his family with jobs such as managing a news stand and being as an office boy, as well as a short boxing career. Then he began drawing for the advertising industry. His illustrations started appearing in such magazines as Life, Collier's and The Saturday Evening Post and was very famous in the field of advertising by 1943.



In 1948 Dorne conceived the idea of a correspondence school for art, and recruited eleven other well-known artists and illustrators, including Norman Rockwell, to found the Famous Artists School.




Wednesday, June 17, 2015

What's Up this Summer

My new short failed to get into Annecy's competition program (although it is being screened in Panorama) so I decided not to go to Annecy, after 15 years straight of attending.  Signe Baumane is going to represent me at the famed Annecy Plus event - the screening is on Friday, June 17 at 7:30 pm, and you can get more information about it here:

https://www.facebook.com/pages/Annecy-/116891325091116
So, my summer is very open this year, which is fine - now I have time to work on my other films.  Each day I get up at 5:30 to animate "Revengeance" - it's going very fast.   I can do about a page of the storyboard every day, I'm now on page 95 and the storyboard has 240 pages - so you can see, I still have a lot of animation to do.  I hope to finish some time around New Year's. 

After numerous complaints about the length and redundancy of "Hitler's Folly", I've decided to go back and re-edit the mockumentary.  It stood at 90 minutes, and I liked it - I thought all of the jokes were pretty funny, but everyone I showed it to said that it got boring in the middle.  So, snip, snip, snip!  But don't worry, fans, when it comes out on DVD, I'll include the deleted scenes so you can judge for yourself.

                          Bet you didn't know that Adolf Hitler ran an animation studio, did you?

I may have some exciting news about "Hitler's Folly" coming real soon - so please stay tuned.

We've got some more screenings of CHEATIN' coming up in late July and early August, in Washington DC, Philadelphia and Cincinnati - we'll post more details soon both here and on Facebook.

The other big event of the summer is the San Diego Comic-Con - we're planning to show off some great new projects at my panel (date and time to be posted here very soon).  We'll have a sneak peek at my short "The Loneliest Stoplight", the new trailer from "Revengeance", an excerpt from "Hitler's Folly" and also the world premiere of a brand new short.


One of the coolest things we'll be offering at our booth is a special release of my animated feature CHEATIN' on BluRay.  I've never done a BluRay release before, so we're really excited. 

                          We won't be doing "Revengeance" tattoos at the booth (or, will we?)

So, tell your friends to come and see us at Booth 1537, in what we call "Animation Alley" at San Diego Comic Con, July 8-12.  I'll be signing DVDs and drawing caricatures of fans, time permitting.  See you there!

                    Here's how to find us at SDCC - this is the view from the mezzanine, facing north.
                        (The main entrances to the large convention floor are at the back of the photo)

--Bill Plympton

Monday, June 15, 2015

Ayn Rand Animated Interview for PBS..

Mike Wallace interviews Ayn Rand about Love and Happiness.

So, we're heading into our 50th episode of PBS's "Blank on Blank," and while it is still a modest production, I think we're getting better. Ayn Rand (scroll down for movie), a fascinating person whether you agree with her radical philosophies or not, is the latest episode, released the other day.  Some characters are more enjoyable to draw than others, depending on characteristics that I like to draw.. Ayn had these great lower teeth, and a nice little curl of hair to work with.  She's also so serious, which is a nice departure from pretty much every other interview.


I also liked working with the propaganda style images she featured on her book covers.



My other favorite was Maya Angelou, for her it was all about nailing the eyes.  Both Maya and Ayn will probably not get a whole lot of traffic (such is the way of our culture.. if we wanted to get traffic we would feature Beiber, or Taylor Swift.  That's the beauty of working with PBS, they're more interested in content and historical importance that getting views.

Friday, June 12, 2015

Friday Inspiration: Egon Schiele..


Sorry for the hiatus everybody! Thanks to Bill for holding down the fort.  On my triumphant return, I wanted to share some Schiele sketches I've been looking at a lot lately for inspiration.  The Austrian Expressionist (who died at the age of 28) , was a master expressive poses and particularly of drawing hands. Once you get into Schiele, there's no going back.  Enjoy.



Monday, June 8, 2015

"Tomorrowland" and "Inside Out" reviews

Both Brad Bird and Pete Docter are heroes of mine - a list of their films would include some of the greatest films of our generation: "The Iron Giant", "Ratatouille", "The Incredibles", "Mission: Impossible - Ghost Protocol", "Monsters, Inc." and "Up". 

They've both released new feature films, within a month of each other, and I thought it would be edifying to review the films side-by-side. 


"Tomorrowland" by Brad Bird, starring George Clooney is a very ambitious, expensive attempt to save the world.  The visuals are magnificent, as is the production.  However, the story is completely confusing.  I'm still not sure what was going on.  Perhaps the producers had hoped that people were so fascinated by the concept that the audience would return multiple times to completely understand the movie.

Or perhaps they didn't test the film before the release.  Maybe Brad Bird was so sure of his storytelling powers that he didn't think he needed to test the film.  If so, that's too bad, because this film had the potential to be a classic -


When I first heard of the concept behind Pete Docter's "Inside Out", I thought, "What a boring idea.  Just a group of humanized emotions arguing with each other, how uncinematic."  However, about 10 minutes into watching the film, I was hooked.  The concept of a little girl's emotions directing her personality is so ripe with ideas and humor that it seemed very personal to me. 

Of course, being a Pixar film, the animation and overall look are stunning.  Also, as usual, the Pixar greatness in storytelling comes through.  It reminds me a lot of "Toy Story 3", where every character had a distinct personality and they go on a long, arduous mission that results in a surprising yet completely satisfying conclusion. 

I believe that "Inside Out" will receive the Oscar next year - and Pete Docter deserves it.  The film is marvelous. 

I give "Tomorrowland" a B- and "Inside Out" an A. 

Bill Plympton

Monday, June 1, 2015

Indie Philosophy

Last week I visited my "Scribble Junkies" partner, Pat Smith, at his palatial estate in Montauk, and as I browsed his animation library, I discovered a book by the director of the Ottawa Animation Festival, Chris Robinson.  It was a very cool book called "Unsung Heroes of Animation" and it listed short biographies of some of the interesting people making films who aren't big names - people like Ryan Larkin, Raimund Krumme, Steve Woloshen, and Ruth Lingford.  Basically, these are filmmakers whose work Chris loves, but he feels they don't get enough credit.

But what struck me was a reference to my films, where he said (and I'm paraphrasing) "Mr. Plympton will test his films at an early stage, and if the audience doesn't like a certain gag, he'll remove it."  And Chris was using this as an example of my lack of artistic integrity. 

This is an issue that goes to the heart of all creative endeavors - am I making films to please myself, or to please an audience?  There's nothing worse for me than sitting through a screening of one of my films and hearing tepid applause at the end.  My purpose in making my films is to get waves of laughter, and maybe a standing ovation.

To me, the audience is the god - not the critics, or the festivals, or producers, or funding organizations.  I make films for people to enjoy, I don't make films just for my own enjoyment.  What fun is that?  As filmmakers, we have an unwritten contract with the audience to entertain them.  If we can't do that, then we should find another occupation. 

One of my heroes is Frank Capra, because he was a populist and he made films that a broad spectrum of the public could enjoy.  That's my goal, to make animated cartoons that everyone can love - not just some critic in an ivory tower, or some academic theoretician or some government/corporate funding organization. 

The true independent filmmaker is someone who, over the years, is able to make money with their films and not rely on Hollywood, corporate or government funding.  That why to me, making films that are popular with the audience is the secret to my success. 

Over the last 30 years, I've created 10 feature films and over 70 shorts, and I've funded them all by myself, and that's simply because I make movies that people want to see.  And that's the independent spirit!

--Bill Plympton

Friday, May 29, 2015

"Revengeance" Kickstarter stretch goal success!

A big "Thank You" to everyone who helped support our Kickstarter campaign for "Revengeance".  We started with a goal of $80,000 and we surpassed it, with over $90,000 in donations.

Of course, a lot of the credit goes to the awesome Adam Rackoff, who worked his butt off to spread the word and make it a success. 


Thanks to all you supporters, we can now continue the production of "Revengeance", which is written, designed and voiced by the great Jim Lujan and animated by yours truly. 

We're hoping to finish this film by the winter of 2016, and then we'll send it out to film festivals all over.  So hopefully you'll be able to see it in your local multiplex or art cinema shortly after that.  Even better, if you're a Kickstarter contributor, you'll get to see your name in the credits. 

I love Kickstarter!  It's such an important part of me being able to remain independent and make films the way I want to make them. 

Thanks to everyone who helped spread the word, and thanks again to everyone who kicked in some money. 

--Bill Plympton