Michael Sporn Animation – Splog

- When I was young, there was little in print about animation. So I kept my eyes open for every newspaper or magazine piece I could find about the subject and I put it in a scrapbook I kept.

The Flintstones debut, the opening of 101 Dalmatians, Mr. Magoos 1001 Arabian Nights, Gay Purr-ee, Dick Tracy, The Wonderful World of Color were all projects that generated some publicity – not like you see today, but some. I collected all I could find.

That scrapbook is in storage somewhere, and I won’t find it for a while. However, I do have a couple of pages that seem to have fallen out. This covers the premiere of The Bullwinkle Show on NBC – just prior to Disney’s World of Color show. None of it is pertinent to anything, and all of it is in lousy condition. Regardless, here are a few pieces including the only review I could find – from the NYDaily News. Remember there was no internet, no way to research papers outside of the ones your parents brought home or you could find in the library. This was all material that I had access to.

In advance, I apologize for the condition of these images. They were well read within a roughly assembled scrap book, and they have seen the battlefield of use.

This article (above & below) comes from an issue of TVGuide just prior to the start of The Bullwinkle Show in primetime. Jay Ward fashioned a big and entertaining publicity campaign to get his show on TV and to keep it there. The article discusses this PR aspect of the show.

You can get more information from Keith Scott‘s excellent book,
The Moose That Roared.

(Click any image to enlarge to a readable size.)

This negative review came from The NYDaily News.
Most of it is legible here.

The gold, for me, came one Sunday in the Westchester edition of The Daily News.
My family was on its regular Sunday summer outing at a New Jersey beach. I came upon the article and spent most of the day reading and rereading it in the sun. I didn’t realize that Sal Faillace was just a local boy with a local news story.

I’m sorry I didn’t really spend much time talking with him or asking him about his work at Gamma Productions in Mexico.

- Continuing with the follow-up to Hans Perk‘s generous posting of the draft to Sword In The Stone, we have Merlin’s song in the sequence wherein Merlin meets Wart, and we get to know them both.

The sequence continues, according to the drafts, but this is where my mosaic attempt and interest ends for now.

- I mentioned, several days ago, that Hans Perk is currently posting the drafts for Sword In The Stone on his blog, A Film LA. I also mentioned that I liked the opening sequence wherein Merlin and Wart meet. Without trying to do a mosaic for an entire film (as Mark Mayerson has done – I don’t have the fortitude), I have put together these frame grabs for that sequence and the song that follows. It gives me the opportunity and forces me to look at it a little closer.

I’ll continue with the song sequence (Higitus Figitus) tomorrow.

- It’s not always easy to kill a witch. This sequence from Snow White couldn’t be designed better. It’s short, it’s tense, it’s a tight sequence that handily does its job. The witch is killed in record time. Today, the sequence would be dragged out for half the length of the film.

Some of these drawings are great.

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(Click any image to enlarge.)

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- For some reason I have always loved the simple structure of a brick wall. I’ve often included them in the paintings I’ve done, and I’ve been fascinated by the many and varied differences you see in every structure made of brick. It was wonderful to hear Eyvind Earle discuss the architect’s tricks he used in Sleeping Beauty to detail all the brickwork in the castle backgrounds. Just another reason I enjoyed his artwork in that film.

Here are some bits I’d like to point out.

- The NYTimes has posted the most recent of Jeff Scher’s monthly videos for them. The piece, entitled You Won’t Remember This Either, is a followup to one he posted a year ago, You Won’t Remember This. The first film was a portrait of his son, Buster, from the first week of life to the time he was a couple of years old. The second film chronicles Oscar, his second son’s toddler life. Both present excellent capsules.

This idea (following the early years of an animator’s child) has been done a number of times – usually with excellent results. I think, immediately, of Al Jarnow ‘s study of the first year in his child’s life. That child, Jesse, is now grown up, is an artist in his own right, and has his own blog which features some of his dad’s films.

I also have to comment that the music for Jeff Scher’s films is by Shay Lynch, and it’s extraordinary. I think I listened to the new piece at least a dozen times for the music alone.

- In 2001, I did the film Mona Mon Amour with illustrator/designer Patti Stren. Now she has her own blog established with the help of designer Santiago Cohen. There you can see glimpses of many of the books she’s written and illustrated. You can also see the film Mona Mon Amour in its entirety.

While making this film I thought this was very funny material we were animating. I was surprised at the local screenings (of mostly animation-types) who didn’t laugh at all. I shrugged my shoulders and accepted that what I found funny didn’t work with others. Then, years later, it screened at MOMA as part of my retrospective. The audience – of mostly people I didn’t know – laughed loudly enough that it was hard to hear some of the jokes. You never can tell.

This same thing happened with Doctor Desoto. When I finished that film, I was sure it was a gem and people would laugh. A small screening I arranged didn’t bring a smile. I accepted the fact that I’d misgauged the humor. I put the film away from my view and sent it off to some festivals. The first time I saw it on a big screen was at the Toronto Animation Festival (the Ottawa Fest had briefly moved to Toronto). The audience laughed loud and long. The film won a lot of awards. You just can’t tell.

- A blog I happened to view, this week, was Lorelei Pepi‘s blog about the making of her film, Happy & Gay. There she offers some pencil test, some finished film and a lot of information about the making of. The bits I’ve seen make me interested in seeing the final. It seems to be a bit of The Whoopee Party, with a 2009 bent.

- A film maker whose work I’ve always loved is Karen Aqua. I am always reminded of this whenever I come across one of her films. The joy of the internet comes in tripping across a website like hers – one I happened to thanks to Lorelei’s blog. Karen’s an attractive site which really gives a good view of her film work. I have to say it was a real disappointment at the last couple of festivals I attended when I didn’t see her film. I’m sure she enters them into all of the fests, but there seems to be a limited perspective these days. Anyting that doesn’t wreak of bawdy, childish humor doesn’t make it. This is one of the positives of the ASIFA East festival. Many films you’d not see in other festivals get screened there. That’s the last time I’d seen one of Karen’s films projected, and we had the chance to talk at the after-party.

Speaking of the ASIFA-East festival, there was a time when their festival used to be held on the last Thursday of every January. Many times we had to trudge through snow to get to the screening/party. It was finally decided to move the date to May – usually Mother’s Day – to allow us to have better weather. Unfotunately, I miss that animation party in January. The holidays are over and we’re back to normalcy. For me, there’s a hole left in the end of January.

GOMotion Magazine is offering a free PDF download of the articles in their first issue.

This is a new animation magazine with lots of material to view and read. The focus is primarily cg animation, but if you’re a Kung Fu Panda fan, there’s lots to read.

There’s also other material to explore on their site. One assumes as they produce more issues the site, alone, will grow. Worth checking out.

Hopefully, they’ll also put a little focus on some Independent animators.

- Finally, let me direct you to Hans Perk‘s site A Film LA, in case you’ve grown out of the habit of checking it out. Having posted many drafts and documents for us already, Hans is now posting the draft to The Sword In The Stone.

This, to me, is one of the under rated features done in the late-Disney period. There’s a liveliness, an energy racing through the film that is just exciting. Most animation geeks point to the Wizard’s Duel as the highlight, but the opening sequence in which Wart meets Merlin is magical to me, and the squirrel sequence is so wholly original and beautifully animated that it should be on everyone’s study list. The film offers a lot.

Now with the drafts, the study becomes easy. Thanks, Hans.

- Paul Glabicki is an artist who started out as an animator and has moved away from the moving picture to the framed image. He’s written to me about an upcoming art show opening in Chelsea this coming weekend.

From the gallery’s publicity release:Paul Glabicki transcribes each page of a 1930s Japanese accounting ledger as a foundation and underlying structure to create new images. Layered over each transcribed page are maps, calendars, counting systems, etc. – bits of incoming daily information.

Paul’s letter to me tells about his transition from animation to the gallery world:

A break from animation a few years ago evolved into several drawing projects. The new work doesn’t move, but has clearly evolved from all that has come before. The ACCOUNTING FOR series is an ongoing transcription of a 1930s Japanese accounting ledger, layered (or continued) with new entries/information of my own (I should have
30 works in the solo show, with 3 ledger pieces in the January-Feb group exhibit). Things may be set in motion again at some future point, but for now, I’m enjoying hand and pencil/pen on paper.

The show will open Saturday at the KIM FOSTER GALLERY
(529 West 2Oth Street / New York, NY 1OO11 / tel/fax 212.229.OO44)

Hours: Tuesday thru Saturday, 11am — 6pm

I’ve long been a fan of Paul’s films, so I’m excited about viewing his artwork, and I’d encourage you to take a look as well.

Here are two more of the drawings on exhibit:

Accounting #4 | Accounting #18

Christmas officially passed last Tuesday, Jan. 6th – sometimes called “Little Christmas”, the feast of the Epiphany and the 12th day of Christmas. I took down the decorations in the studio today and as with past years spent a bit of time treviewing the many cards that were sent to me. (Unfortunately, I wasn’t able to get out a card this year. There were pressured deadlines at work, and a health crisis for my mother at home. My time was so limited, Christmas became an after thought.)

However, I received so many beautiful and original cards that it’s probably imprudent for me to select any for display. Just the same, I would like to point out a couple of them.

I’d received a card from a good friend which was printed by the Metropolitan Museum of Art. It’s an Eyvind Earle painting of Santa in Central Park. It’s a gem, as might be expected.

Dick and Harriet Rauh have sent their annual linoleum block print of floral patterns.
It’s always a treat to get their card.

Patrick McDonnell sent a card that was virtually green. Seeds were implanted in the paper, and I’ve already planted the card in soil for the Spring blossoms.

Finally, John Canemaker & Joe Kennedy sent us an original painting of the ocean,
bubbling and forcing its way toward us.

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.- Here’s the conclusion to the storyboard by Bill Peet that I began yesterday. It’s the Tar Baby sequence from Song of the South.

I first posted this in October 2007, but I hadn’t broken up the board so that it could be enlarged enough. I’ve done that.

Many thanks go to John Canemaker for initially lending this material for me to post.

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This picture comes from the Bill Peet website, worth a visit.

Here are the two remaining original boards:

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And here are the same two boards broken down by rows:

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- Back in Oct 2007, I posted Bill Peet‘s excellent storyboard for the Tar Baby sequence from Song of the South.

Given yesterday’s post of color sketches and storyboard drawings from this film, and given that the original posting of these boards was done relatively small, I thought it time to put them up again, but I’ve taken the time to break them down and post them in a slightly larger form, making them a bit more legible.

As with other recent boards loaned me by John Canemaker, I first display them in the original size of the stats as they came to me.

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(Click to enlarge images so you can read them.)

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Here is my breakdown of the boards:

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I just love the drawings from this section.

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There are another two pages of the storyboard
which I’ll break down and post tomorrow.

John Canemaker‘s beautiful book, Treasures of Disney Animation Art, is chock-a-block full of stunning artwork and examples of preproduction work for the Disney features. Every one of them worth studying.

Song of the South is represented by a large selection of art direction sketches and storyboard artwork. All of it beautiful. I’m lifiting these images to showcase some of the great work for this feature. It deserves more attention from the Disney archives, but since they just about disown the film, I’m thankful for these images selected by John.

(Click any image to enlarge.)

John leaves the artwork as uncredited but they remind me of Art Riley or
Al Dempster‘s style. They could be images from a Little Golden Book, and
Dempster & Bill Justice did books associated with that film.

I suppose they’re actually the work of a number of different people.

And here’s the board segment: