Saturday, January 30, 2010
Friday, January 29, 2010
Congratulations to Circus Sarasota's Chuck Sidlow and Karen Bell for making the cover of the latest issue of Sarasota Magazine.
Circus Sarasota's 2010 season begins February 12 in Sarasota, FL.
Merton is a keen student of comedy, particularly the early silent comedians and in 2006, BBC Four broadcast Paul Merton's Silent Clowns: a four-part documentary series on the silent comedy craft of Buster Keaton, Charlie Chaplin, Laurel and Hardy and Harold Lloyd. Merton examined their respective careers, interspersed with moments from a live show in which he presented clips of their work. Among the audience were many children, who were seeing the performers for the first time. Merton took a stage version of this show to the 2006 Edinburgh Fringe Festival and in late 2007 took the show on a UK tour. A tie-in book was written by Merton and published by RH Books in late 2007.
Thursday, January 28, 2010
Wednesday, January 27, 2010
The Bob Baker Marionette Theater, founded by Bob Baker and Alton Wood in 1963, is the oldest children's theater company in Los Angeles. In June 2009, the theater was designated as a Los Angeles Historic-Cultural Monument.
At age eight, Baker trained with several different Los Angeles-based companies before giving his first professional performance for director Mervyn Leroy. While attending Hollywood High School, he began manufacturing toy marionettes that sold both in Europe and the United States. After graduation he became an apprentice at the George Pal Animation Studios. A year later he was promoted to head animator of Puppetoons. After the second world war, Baker served as an animation advisor at many film studios, including Disney. His innovative puppetry was featured on TV in Bewitched, Star Trek and Land of the Giants; and on film in the 1944 cult classic Bluebeard with John Carradine, A Star is Born with Judy Garland, G.I. Blues with Elvis Presley, Disney's Bedknobs and Broomsticks and Close Encounters of the Third Kind. Baker was also instrumental in championing union membership for puppeteers. As a result, Screen Actors Guild and AFTRA now recognize puppeteers as actors with a special skill. He has also provided a place of learning for the next generation of puppeteers, including Scott Land and Michael Earl.
Baker and partner Alton Wood turned a run-down scenic shop near downtown Los Angeles. into a family entertainment institution, The Bob Baker Marionette Theater. The Bob Baker Marionettes have performed around the globe (even on Navy ships and submarines), with an inventory of some three thousand puppets. Like Bil Baird before him, Bob Baker is an American pioneer in the art of puppetry.
The theater was built in 1953. It is a one-story commercial building of modern Vernacular architecture. The theater is believed to have been built as a workshop for Academy Award-winning special effects artist M.B. Paul. In 1961, Baker and Alton Wood purchased the property for use as a live puppet theater and permanent showcase for hand-crafted marionettes.
The Bob Baker Marionette Theater is reportedly the longest-running puppet theater in the United States.
During the June 2009 Los Angeles City Council meeting at which the theater received its historic monument designation, Baker's marionettes made an appearance. The Los Angeles Times described the scene:
"A parade of puppets strung along Los Angeles City Council members today long enough to persuade them to designate a West 1st Street marionette theater a historic cultural landmark. The puppets danced and pranced around the City Council’s ornate horseshoe-shaped desk in the City Hall chambers before officials voted 14-0 to place the Bob Baker Marionette Theater on the city’s landmark list."
Tuesday, January 26, 2010
He grew up learning a lot about circus comedy and today is probably the best straight man that a clown could hope to work off of in any American circus.
Monday, January 25, 2010
Frederick Bean "Fred/Tex" Avery
(February 26, 1908 – August 26, 1980) was an American animator, cartoonist, voice actor and director, famous for producing animated cartoons during The Golden Age of Hollywood animation. He did his most significant work for the Warner Bros. and Metro-Goldwyn-Mayer studios, creating the characters of Daffy Duck, Bugs Bunny, Droopy, Screwy Squirrel, and developing Porky Pig and Chilly Willy (this last one for the Walter Lantz Studio) into regular cartoon characters. His influence was found in almost all of the animated cartoon series by various studios in the 1940s and 1950s.
Avery's style of directing encouraged animators to stretch the boundaries of the medium to do things in a cartoon that could not be done in the world of live-action film. An often-quoted line about Avery's cartoons was, "In a cartoon you can do anything," and his cartoons often did just that. He also performed a great deal of voice work in his cartoons, usually throwaway bits (e.g. the Santa Claus seen briefly in Who Killed Who?), but Tex did fill in for Bill Thompson as Droopy, although the individual cartoons where Avery did this have never been specified.
Tex Avery was born to George Walton Avery (b. June 8, 1867 - d. January 14, 1935) and the former Mary Augusta "Jessie" Bean (1886 - 1931) in Taylor, Texas. His father was born in Alabama. His mother was born in Buena Vista, Chickasaw County, Mississippi. His paternal grandparents were Needham Avery (Civil War veteran) (October 8, 1838 - after 1892) and his wife Lucinda C. Baxly (May 11, 1844 - March 10, 1892). His maternal grandparents were Frederick Mumford Bean (1852 - October 23, 1886) and his wife Minnie Edgar (July 25, 1854 - May 7, 1940). Avery was said to be a descendant of Judge Roy Bean. However his maternal great-grandparents were actually Mumford Bean from Tennessee (August 22, 1805 - October 10, 1892) and his wife Lutica from Alabama. Mumford was son of William Bean and his wife Nancy Blevins from Virginia. Their relation to Roy is uncertain though his paternal grandparents were also from Virginia. Avery's family tradition also claimed descent from Daniel Boone.
Avery was raised in his native Taylor. He graduated in 1927 from North Dallas High School. A popular catchphrase at his school was "What's up, doc?", which he would later popularize with Bugs Bunny in the 1940s.
Avery first began his animation career at the Walter Lantz studio in the early 1930s, working on the majority of the Oswald the Lucky Rabbit cartoons from 1931-35. He is shown as 'animator' on the original title card credits on the Oswald cartoons. He later claimed to have directed two cartoons during this time. During some office horseplay, a paperclip flew into Avery's left eye and caused him to lose use of that eye. Some speculate it was his lack of depth perception that gave him his unique look at animation and bizarre directorial style.
Avery migrated to the Leon Schlesinger studio in late 1935 and convinced the fast-talking Schlesinger to let him head his own production unit of animators and create cartoons the way he wanted them to be made. Schlesinger responded by assigning the Avery unit, including animators Bob Clampett and Chuck Jones, to a five-room bungalow at the Warner Bros. Sunset Blvd. backlot. Schlesinger placed the Avery unit there so as not to tip off Avery's predecessor Tom Palmer that he was about to be fired. The Avery unit, assigned to work primarily on the black-and-white Looney Tunes instead of the Technicolor Merrie Melodies, soon dubbed their quarters "Termite Terrace", due to its significant termite population.
"Termite Terrace" later became the nickname for the entire Schlesinger/Warners studio, primarily because Avery and his unit were the ones who defined what became known as "the Warner Bros. cartoon". Their first short, Gold Diggers of '49, is recognized as the first cartoon to make Porky Pig a star, and Avery’s experimentation with the medium continued from there.
Creation of Looney Tunes stars
Avery, with the assistance of Clampett, Jones, and new associate director Frank Tashlin, laid the foundation for a style of animation that dethroned The Walt Disney Studio as the kings of animated short films, and created a legion of cartoon stars whose names still shine around the world today. Avery in particular was deeply involved; a perfectionist, Avery constantly crafted gags for the shorts, periodically provided voices for them (including his trademark belly laugh), and held such control over the timing of the shorts that he would splice frames out of the final negative if he felt a gag's timing was not quite right.
Porky's Duck Hunt introduced the character of Daffy Duck, who possessed a new form of "lunacy" and zaniness that had not been seen before in animated cartoons. Daffy was an almost completely out-of-control "darn fool duck" who frequently bounced around the film frame in double-speed, screaming "Hoo-hoo! hoo-hoo" in a high-pitched, sped-up voice provided by veteran Warners voice artist Mel Blanc.
Avery's 1940 film A Wild Hare is seen as the first cartoon to feature Bugs Bunny, after a series of shorts featuring a Daffy Duck-like rabbit directed by Ben Hardaway, Cal Dalton and Chuck Jones. Avery's rabbit was a super-cool rabbit who was always in control of the situation and who ran rings around his opponents. A Wild Hare also marks the first pairing of him and bald, meek Elmer Fudd, a revamp of Avery's Egghead, a big nosed little fellow who, in turn, was modeled after radio comedian Joe Penner. It is in A Wild Hare that Bugs casually walks up to Elmer, who is out "hunting wabbits", and asks him calmly, "What's up, doc?" Audiences reacted positively to the juxtaposition of Bugs' nonchalance and the potentially dangerous situation, and Avery made "What's up, doc?" the rabbit's catch phrase. Later Warner's named Avery's Rabbit Bugs Bunny after Ben "Bugs" Hardaway who created an earlier rabbit.
Avery ended up directing only four Bugs Bunny cartoons: A Wild Hare, Tortoise Beats Hare, All This and Rabbit Stew, and The Heckling Hare. During this period, he also directed a number of one-shot shorts, including travelogue parodies (The Isle of Pingo Pongo), fractured fairy-tales (The Bear's Tale), Hollywood caricature films (Hollywood Steps Out), and cartoons featuring Bugs Bunny clones (The Crack-Pot Quail).
Avery's tenure at the Schlesinger studio ended in late 1941, when he and the producer quarreled over the ending to The Heckling Hare. In Avery's original version, Bugs and hunting dog were to fall off of a cliff three times, milking the gag to its comic extreme. According to a DVD commentary for the cartoon, historian and animator Greg Ford explained that the problem Schlesinger had with the ending was that, just prior to falling off the third time, Bugs and the dog were to turn to the screen, with Bugs saying "Hold on to your hats, folks, here we go again!" Schlesinger intervened (supposedly on orders from Jack Warner himself), and edited the film so that the characters only fall off the cliff twice (the edited cartoon ends abruptly, after Bugs and the Dog fall through a hole in a cliff and immediately stop short of the ground, saying to the audience, "Heh, fooled you, didn't we?"). An enraged Avery promptly quit the studio, leaving three cartoons he started on but did not complete. They were Crazy Cruise, The Cagey Canary and Aloha Hooey. Bob Clampett picked up where Avery left off and completed the three cartoons.
Speaking of Animals
While at Schlesinger, Avery created a concept of animating lip movement to live action footage of animals. Schlesinger was not interested in Avery's idea, so Avery approached Jerry Fairbanks, a friend of his who produced the Unusual Occupations series of short subjects for Paramount Pictures. Fairbanks liked the idea and the Speaking of Animals series of shorts was launched. When Avery left Warner, he went straight to Paramount to work on the first three shorts in the series before joining MGM.
Avery at MGM
By 1942, Avery was in the employ of Metro-Goldwyn-Mayer, working in their cartoon division under the supervision of Fred Quimby. Avery felt that Schlesinger had stifled him. At MGM, Avery's creativity reached its peak. His cartoons became known for their sheer lunacy, breakneck pace, and a penchant for playing with the medium of animation and film in general that few other directors dared to approach. MGM also offered him larger budgets and a higher quality production level than the Warners studio. Plus, his unit was filled with ex-Disney artists such as Preston Blair and Ed Love. These changes were evident in Avery's first short released by MGM, The Blitz Wolf, an Adolf Hitler parody which was nominated for the Academy Award for Best Short Subject (Cartoons) in 1942.
Avery's most famous MGM character debuted in 1943's Dumb-Hounded. Droopy (originally "Happy Hound") was a calm, little, slow-moving and slow-talking dog who still won out in the end. He also created a series of racy and risqué cartoons, beginning with 1943's Red Hot Riding Hood, featuring a sexy female star who never had a set name and whose visual design and voice varied somewhat between shorts, but who influenced the minds of young boys — and future animators — worldwide. Other Avery characters at MGM included Screwy Squirrel and the Of Mice and Men-inspired duo of George and Junior.
Other notable MGM cartoons directed by Avery include Bad Luck Blackie, Magical Maestro, Lucky Ducky, and King-Size Canary. Avery began his stint at MGM working with lush colors and realistic backgrounds, but he slowly abandoned this style for a more frenetic, less realistic approach. The newer, more stylized look reflected the influence of the up-and-coming UPA studio, the need to cut costs as budgets grew higher, and Avery's own desire to leave reality behind and make cartoons that were not tied to the real world of live action. During this period, he made a notable series of films which explored the technology of the future: The House of Tomorrow, The Car of Tomorrow, The Farm of Tomorrow and TV of Tomorrow (spoofing common live-action promotional shorts of the time). He also introduced a slow-talking wolf character, who was the prototype for MGM associates Hanna-Barbera's Huckleberry Hound character, right down to the voice by Daws Butler.
Avery took a year's sabbatical from MGM beginning in 1950 (to recover from overwork), during which time Dick Lundy, recently arrived from the Walter Lantz studio, took over his unit and made one Droopy cartoon, as well as a string of shorts with an old character, Barney Bear. Avery returned to MGM in October 1951 and began working again. Avery's last two original cartoons for MGM were Deputy Droopy and Cellbound, completed in 1953 and released in 1955. They were co-directed by Avery unit animator Michael Lah. Lah began directing a handful of CinemaScope Droopy shorts on his own. A burnt-out Avery left MGM in 1953 to return to the Walter Lantz studio.
Avery's return to the Lantz studio did not last long. He directed four cartoons in 1954-1955: the one-shots Crazy Mixed-Up Pup and Shh-h-h-h-h, and I'm Cold and The Legend of Rockabye Point, in which he defined the character of Chilly Willy the penguin. Although The Legend of Rockabye Point and Crazy Mixed-Up Pup were nominated for Academy Awards, Avery left Lantz over a salary dispute, effectively ending his career in theatrical animation.
He turned to animated television commercials, most notably the Raid commercials of the 1960s (in which cartoon insects, confronted by the bug killer, screamed "RAID!" and died flamboyantly) and Frito-Lay's controversial mascot, the Frito Bandito. Avery also produced ads for Kool-Aid fruit drinks starring the Warner Bros. characters he had once helped create during his Termite Terrace days.
During the 1960s and 1970s, Avery became increasingly reserved and depressed, although he continued to draw respect from his peers. His final employer was Hanna-Barbera Productions, where he wrote gags for Saturday morning cartoons such as the Droopy-esque Kwicky Koala.
On Tuesday, August 26, 1980, Avery died at St. Joseph's Hospital in Burbank, California at age 72. He had been suffering from lung cancer for a year. He is buried in Forest Lawn - Hollywood Hills Cemetery.
All of his MGM shorts were released uncensored in a North American MGM/UA laserdisc set, called The Compleat Tex Avery, including the "politically incorrect" Uncle Tom's Cabana and Half-Pint Pygmy (although these were removed from the Region 2 DVD release, now out of print). Several of them were released on VHS, in four volumes of Tex Avery's Screwball Classics, and two Droopy collections, with many gags edited out for television showings left in. Screwball Squirrel, King-Size Canary and Little Rural Riding Hood were included on MGM/UA's first non-Tom and Jerry tape of vintage animated shorts, MGM Cartoon Magic. Two other cartoons by Avery appeared on Christmas compilations. The Peachy Cobbler was part of MGM Cartoon Christmas, and One Ham's Family was part of Tom and Jerry's Night Before Christmas. Avery's Droopy cartoons are available on the DVD set Tex Avery's Droopy: The Complete Theatrical Collection. The seven Droopy cartoons produced in CinemaScope were included here in their original widescreen versions, instead of the pan and scan versions regularly broadcast on television.
Also, some of his works could be found on tapes of Warner Bros.' Merrie Melodies and Looney Tunes shorts, and the same is true of his few Lantz Studio cartoons.
His influence is strongly reflected in modern cartoons such as "Roger Rabbit", Ren and Stimpy, Tiny Toon Adventures, Animaniacs, Freakazoid, Tom and Jerry Kids Show, Spongebob Squarepants, and the Genie character in Disney's Aladdin.
In fact, an Averyesque cowboy character bore his name in the otherwise unrelated series The Wacky World of Tex Avery. His work has been honored on shows such as The Tex Avery Show and Cartoon Alley. His characters (particularly Bugs Bunny and the risqué antics of Red Hot Riding Hood) were referenced in the Jim Carrey film The Mask. In the mid 1990s, Dark Horse Comics released a trio of three-issue miniseries that were openly labelled tributes to Avery's MGM cartoons, Wolf & Red, Droopy, and Screwy Squirrel.
It should also be noted that Tex Avery, unlike most Warner Brothers directors, kept many original title frames of his cartoons, several otherwise lost due to Blue Ribbon Reissues, and were recently sold on eBay. In 2008 France issued three stamps honoring Tex Avery for his 100th birthday, depicting Droopy, the girl and the wolf.
Today, the copyrights to all classic color cartoons directed by Avery at Warners and MGM are owned by Turner Entertainment, with Warner Bros. handling distribution. (WB owns the black-and-white cartoons directly.) Turner and WB are both units of Time Warner. The cartoons he directed at the Lantz studio are owned by their original distributors, Universal Studios. A few of Avery's WB shorts are in the public domain, but WB and Turner hold the original film elements.
Sunday, January 24, 2010
Courtesy of Boing Boing contributor Stephen Worth, the Director of the ASIFA-Hollywood Animation Archive, a museum, library and digital archive devoted to the use of professional artists and students....
"I mentioned before how upset I was to find out that "The Jimmy Dean Show" DVDs were out of print. It was a really important show- the first country-western music show in prime time. But it was also the first nationwide TV series to feature Jim Henson's Muppets.
This clip is brilliant. Henson is a drop-dead genius. Since he passed away, the spark of life and vivid spontaneity of the Muppets' performances have faded away with him. The characters all seem to be reading lines off of scripts now, but look at the brilliant feeling of ad-lib and give and take between Rowlf and Jimmy Dean in this clip. Also, keep in mind that the puppet is operated by two people- Henson operates the mouth and one hand and his wife operates the other hand. The complexity of co-ordinating that sort of co-operative performance is totally erased by the vivid performance. Animators can learn a lot from puppeteers when it comes to creating a living, breathing character."
I would add that clowns could learn a lot from puppeteers and animators when it comes to creating living breathing characters.
The Tom and Jerry Cartoon Kit is a Tom and Jerry cartoon produced and released in 1962. It was directed by Gene Deitch and produced by William L. Snyder. Despite mixed reception, it is mainly known as the most critically acclaimed of the Gene Deitch Tom and Jerry shorts among members of the Tom and Jerry fanbase.
The cartoon is a seven-minute "commercial" for the Tom and Jerry Cartoon Kit, with which "anyone can now enter the lucrative field of animated cartoons." The items in the kit include the following:
- Tom (described as "one mean, stupid cat")
- Jerry ("one sweet, lovable mouse")
- a hammer, knife, and stick of dynamite (collectively referred to as "assorted deadly weapons")
- coffee and cigarettes (removed from kit and described as being "for the cartoonists")
- a slice of watermelon
The narrator points out, "The result may not make sense, but it will last long enough for you to be comfortably seated before the feature begins." This statement refers to the original theatrical exhibition of the cartoon, in which it ran ahead of a feature film.
At first, the kit is set up by having Jerry eat the watermelon. He spits the seeds out, hitting (and thus waking) Tom. From this point the two torment each other in typical Tom and Jerry fashion by using the remaining items in the kit (not counting the coffee and cigarettes, or the dynamite stick which gets broken in half).
During the course of the cartoon, some other items appear, such as a book entitled Judo for Mice (from which Jerry learns to fight and, thus, overpower Tom), a gym with boxing equipment (where Tom gets training after being defeated by Jerry), a judo school (in which Tom enrolls - and subsequently graduates - after fighting and losing to Jerry again), assorted bricks, a plank of wood, a cement block, and a large block of marble (which Tom and Jerry use to prove their strength to each other by breaking them with bare hands). However, the block of marble falls through the floor due to its weight, putting Tom out of commission in the process. Aside from these items, the entire cartoon takes place over an almost non-existent background of plain color washes.
The cartoon ends with the box battered and empty except for the unconscious Tom. Jerry places the lid back on the box as the narrator explains, "Our next film will be for the kiddies, and will demonstrate a new poison gas. Thank you and good night." The music winds to a stop as if it were being played on a slowing phonograph record, then Jerry bows to the audience in stereotypical Japanese fashion.
Some syndicated stations aired a version of this episode without the narration. The reasons for this cut are not known; quite possibly, those prints were used for dubbing the narration into languages other than English. In additon, some TV reruns cut the "coffee and cigarettes" references.