Posts Tagged ‘animation’
November 4, 2014 | by Dan Piepenbring
A century ago, well before Jurassic Park or The Land Before Time or even plain old moribund Godzilla, cinema’s preeminent dinosaur was Gertie, a colorless, potentially narcoleptic herbivore, species indeterminate, fond of dancing and casting elephants into the sea. Gertie the Dinosaur (1914) was one of the first animated films; it pioneered key-frame animation, a technique in which a story’s major positions were drawn first and the intervening frames were filled in afterward. Gertie’s creator, the cartoonist Winsor McCay, made more than ten thousand drawings of her, and these, as you can see above, yielded fewer than seven minutes of animated footage. (If you want to skip straight to the Gertie goods, head to the seven-minute mark, but beware—you’ll miss some riveting live-action scenes featuring well-dressed gentlemen shaking hands, well-dressed gentlemen gathering at a dinner party, and well-dressed gentlemen smoking.)
This Friday, as part of the MoMA International Festival of Film Preservation, the animation historian John Canemaker hosts a screening of Gertie and three of McCay’s other early animations, “as well as a re-creation—with audience participation—of the legendary routine that introduced Gertie in McCay’s vaudeville act.” No elephants will be harmed.
August 27, 2014 | by Sadie Stein
Disney’s Snow White is an animation classic, and a beautiful one. But if you’re looking for something altogether weirder (albeit shorter) go back four years, and check out the Fleischer Studios’s 1933 Snow White. Technically, this is a Betty Boop short, and it’s true that the iconic flapper does indeed play “the fairest in the land.” But the cartoon is really a showcase for all kinds of wholly unrelated tricks.
Although it’s technically a “Fleischer Brothers” production, in fact Max and Dave Fleischer didn’t have much to do with Snow White, which is considered the masterpiece of animator Roland Crandall. Apparently Crandall was given free rein on this short as a reward for all his work for the studio, and took full advantage. It’s incredibly innovative, and seriously trippy. This isn’t the only Fleischer Brothers cartoon to employ the voice talents of bandleader Cab Calloway, or even his rotoscoped moves (he also cameoed as the Old Man of the Mountain), but it’s the best: as Koko the Clown, and then a ghost, Calloway does a haunting rendition of the “St. James Infirmary Blues,” and then what might be the first recorded instance of the moonwalk. What does any of this have to do with the story of Snow White? Not all that much. But that’s what Disney was for.
(To see the full seven-minute version, click here.)
December 19, 2012 | by Sadie Stein
A Christmas Carol was published by Chapman & Hall on December 19, 1843. So here is a version acted out by LEGOs.
December 11, 2012 | by Sadie Stein
The pioneering Russian animator Fyodor Khitruk has died at age ninety-five. Perhaps best known for his adaptations of A. A. Milne’s Winnie the Pooh stories, Khitru’s work was often political and avant-garde. 1973’s Island, below, won the Palme d’Or for best short.
May 15, 2012 | by Sadie Stein
Here in New York, it’s dreary and gray. What better weather to enjoy a little Poe? No, not John Cusack. We were thinking more of this terrific 1954 animated version of “The Tell-Tale Heart,” narrated by the incomparable James Mason.(Thanks, Page-Turner!)
June 27, 2011 | by Joshua Jelly-Schapiro
Few contemporary cineastes have enjoyed so estimably varied a career as Fernando Trueba. A onetime book editor whose film oeuvre has garnered no fewer than twenty-eight Goyas, he won an Oscar for Belle Epoque (1993), his sexy tale of a young deserter from Spain’s Civil War landing up at the farm of an aging artist whose comely daughters—one craven, one queer, one a young Penélope Cruz—impart a barnful of lessons about women and love. Since the 2000 release of Calle 54, his warm, exacting documentary on Latin jazz, Trueba has also devoted much energy to the music he loves. His work as a music producer has perhaps been highlighted by his association with Bebo Valdés, the supreme Cuban pianist whose sound was key to the evolution of both Cuban dance music and American jazz a half-century ago and who has spent his ninth decade making impeccable records with his Spanish friend. Trueba’s latest project, a gorgeous animated feature built from Valdés’s music and moments, marks a culmination of his work not only with the ninety-two-year-old pianist but with another long-term collaborator, the celebrated Spanish designer and artist Javier Mariscal. I caught up with Trueba a few days after Chico and Rita opened the Miami International Film Festival to a rousing ovation.
Where did you get the idea to do an animated film about Cuban music in the forties and fifties?
One day I was in Mariscal’s studio in Barcelona, and I saw some drawings he’d done of Habana Vieja. That’s when the lightbulb came on: we should make a movie in these streets, in a Havana created by Mariscal. We agreed that it should be a story about musicians. And then I suggested that if we have a story of a pianist, we could have Bebo play. And I thought, well, what Bebo represents is the style of the forties and fifties, so let’s do a story set in that period. How beautiful—the Havana nightlife of that time, which I knew only from books, or the stories of friends like [Guillermo] Cabrera Infante, the great Cuban writer of Tres Triste Tigres. And it also seemed like a time that was great visually, for Mariscal this era was when modern design started. We started developing the idea, and Mariscal said he felt the work should be very dramatic, like a bolero. And so we had that reference for the story—not a cinematographic reference, or a literary reference, but a song reference. Not a song-style reference, but a song itself. We wanted to build the story like a song, like a bolero.
The tone of a bolero is melodrama, and a lot of those elements are in the story: lost love, longing, nostalgia for that breezy room over the Malecon where Chico and Rita first make love. But how did the music come into it as you were actually writing the script?
When I was writing, I was trying to imagine how Mariscal’s drawings would move, and I had Bebo’s music in mind all the time. We used music to tell the story, to build the characters, the tension. When I work on live-action films, I leave a lot of room for last-minute decisions. Not in terms of the screenplay—I like to have the best possible screenplay in hand—but in terms of directing. I don’t like to work with a close storyboard, like Hitchcock. I’ve done a lot of comedy, a lot of work with actors, and I often like to find the shot on the set, to improvise the line. But with animation, you have to think of every single shot. Absolutely everything is storyboard, and that’s a big difference. To have to imagine one hundred percent of the movie, before it’s actually done—it’s a really strange mental exercise. But it’s great, I love it.