Wednesday, September 09, 2009

IN MEMORIAM: Art "Jolly" Petri




Art 'Jolly' Petri made sure laughter was best medicine


By Amy Rabideau Silvers of the Journal Sentinel
Posted: Aug. 28, 2009

Art Petri, a.k.a. Jolly the Clown, poses with Jodi Geboy (center), of West Allis, and her daughter, Sara, for pictures beside the circus train during a stop in Waukesha in 1998.



When people called Art Petri a clown, they meant it in the best possible way.

Petri's other public persona was "Jolly the Clown." He took the name in honor of his friend, relief pitcher Dave Jolly of the Milwaukee Braves, who died in 1963.

Long the clown coordinator for the Great Circus Parade, he was one of three clowns honored at the parade this year, said his son, John Petri. Art Petri was allowed to sit in the VIP stands. He came in costume.

He was involved in bringing the World Clown Association to Milwaukee for its 1989 convention. He taught hundreds the serious business of clowning around, also helping to found four clown "alleys," or clubs.

Arthur A. Petri died of natural causes Wednesday. He was 82.

His father, Arnold, who played Santa Claus for more than 60 years, apparently had no sense of humor about unions.

The younger Petri later worked at the same bank where his father had worked.

"The union started coming in in '37, and he wouldn't join," Art Petri told William Janz, Milwaukee Sentinel columnist. "Never joined a union in his life. Very staunch Republican.

"When he quit, he had no job. Very principled . . . practical, not so much."

After a layoff, Art Petri began in security at First Wisconsin, then worked for its credit card department. He also became president of the same union his father wouldn't join.

His path to clowning began in the mid-1950s - he fit the costume at his Moose lodge - but medical problems clinched the deal. He was depressed after losing most of the vision in his left eye and surgery to save his vision in the right eye. He struggled with a lung condition that required surgery. His doctor had advice.

"He encouraged me to stop feeling sorry for myself, to start doing things I enjoyed and stop doing things I didn't enjoy," Petri once said.

The doctor also encouraged Petri to blow up balloons for respiratory therapy.

Petri gave up on attempts to enter politics. Instead, a clown was born.

Petri became known for his balloon work, creating a repertoire of nearly 200 animals and shapes. He self-published a book, "Balloonology," for the course he taught at Cardinal Stritch University and the University of Wisconsin-Milwaukee.

Petri went semi-pro in 1963 with his Jolly the Clown Enterprises, later AA Entertainment. He played big venues - Summerfest and the Wisconsin State Fair - plus plenty of charity outings. He was the only American clown invited to perform at the 1967 World's Fair in Montreal.

Petri was a longtime volunteer and board member at the Badger Association of the Blind and Visually Impaired. Like his father, he loved playing Santa, including in the Milwaukee Holiday Parade. One memorable year, the Santa float was built too high for a downtown overpass.

"Duck, Santa! Duck, Santa!" the crowd hollered.

"He had to duck when it went under the overpass," his son said. "They built the float shorter the next year."

Petri was the first-ever Ronald McDonald in Milwaukee, his son said. Jolly the Clown worked his last event July 4 in Brookfield.

"He was hoping to be in the parade, but he just couldn't walk," John said. "So he was at the park there."

For Petri, clowning was about something more important than money.

"Not everyone is cut out to be a clown," he said. "You have to have the heart of a clown. You have to project good in the world - even when you're not feeling well, you can make someone else feel better."

Survivors include Patricia, his wife of 60 years; daughters Linn Petri and Debi Tritschler; another son, Thomas; sister Laural Gunderson; brother Richard; and grandchildren.

Visitation will be from noon Sunday until the funeral service at 3 p.m. Both will be held at Wisconsin Memorial Park's Chapel of the Flowers, 13225 W. Capitol Drive, Brookfield.


PAUL REUBENS: Pee Wee Herman







And from a recent Jimmy Kimmel Live appearance...



OFF-TOPIC: Robert Reich on the Public Option



In this 2-minute clip, political thinker Robert Reich explains (in clear terms) what the public option is and why it's central to healthcare reform.

Robert B. Reich is an American politician, academic, writer, and political commentator who has served in three national administrations, most recently as the 22nd Secretary of Labor. He also served on President-Elect Obama's transition advisory board. He has written twelve books and is co-founding editor of The American Prospect magazine. He is currently a professor of public policy at the Goldman School for Public Policy at the University of California - Berkeley.


Tuesday, September 08, 2009

SHANE: 1st Day of 1st Grade

Shane displaying his 1st Grade Bus Pass, without which he's been told
the bus driver is legally allowed to eat you in the state of New Jersey.



At the bus stop


A sense of ennui creeps in...


Spot the trouble maker in this picture.



He's a quiet, unassuming child who keeps to himself.
I really hope he comes out of his shell one day.


Sheriff Taylor's boy Opie on his way to the fishin' hole to skip stones with Pa.



"It's the most wonderful time of the year!"



A kiss for Mommy...



...and he's on his way to his first day in his new school. We still haven't
gotten word on whether or not they'll be hearing the President's speech today.




BUSTER KEATON: Can Can


Link courtesy of Jeff Gordon




FRANK FERRANTE: Groucho: A Life in Revue




FRANK FERRANTE: Teatro Zin Zanni



Monday, September 07, 2009

LABOR DAY PARADE: South Plainfield, NJ (September 7, 2009)

The congregation from Vince Pagliano's Funny Factory, which also included a gorilla car and marching band.


The Professor character continues to evolve. It's been a rough year for me personally
but I can point to the Professor as being a really big success for me professionally.


ED ALONZO: Late Late Show (2/05/09)



PLAYMOBIL CIRCUS: For Nintendo Wii




Combining two of my son's great passions, Playmobil and the Wii.

The circus part is just the icing on the cake.

Saturday, September 05, 2009

JIMMY JAMES
























I'm very sorry to hear of this.

When I was a child Clyde Beatty always played my home town. It was the first circus I ever saw, and Jimmy was the first clown I ever "met". He being quite kind to the child who followed him for an autograph.

He set an idea with me (later refined by many who I came to be lucky enough to see/meet over the years) of what circus clowning was. Something that fueled my imagination and helped foster a life long love of comedy of all types.

God bless him, may he rest in peace.
Rose Fox






JIMMY JAMES: Goodbye

Photo by Michael Rosman


As Jimmy would say, "It's the end of an era..."


Friday, September 04, 2009

IN MEMORIAM: Jimmy James Plott


Sad news comes from Michael Rosman... Jimmy James Plott, longtime Clyde Beatty-Cole Bros. Circus clown and ringmaster passed away today.

Jimmy was a wonderful person, an excellent clown (and mentor to younger clowns) and one of the best ringmasters that I've ever had the pleasure of working with.

He will be very sorely missed.

LIVINGSTON TAYLOR: Stage Performance



The single best book that I've ever found on stage performance technique, in any discipline, is Livingston Taylor's STAGE PERFORMANCE. The following videos will give you an idea of the type of valuable information, and the style in which it is presented, that you'll find if you take the time to track down and read (and re-read) a copy of this amazing book...







Tuesday, September 01, 2009

NBC Chicago : Early Morning Jerkass



What does the "N" in "N Files" stand for? "Not funny"?

I'm a little confused here because little mister Ryan Seacrest School of Cool here is such taking such pains to come off as "with it" and "hip" but The X Files was a show that ended its run on the Fox network seven long years ago. What were the other "capturing the zeitgeist" choices he came up with for naming this segment? "Everybody Loves Clips?" "Mad About Clips"? "CLiPS"? "The Donna Reed Show"?

Do you know what "terrifies" me and "robs me of my innocence"?

Overly smarmy metrosexuals who try too hard to pass themselves off as hipper-than-thou, post-ironic news commentators taking lame, cliched potshots at easy targets in the wee hours of the early morning before the real Today Show actually starts.

It's the early morning local news, monkey-boy! Learn to play the game and make with nothing more than the weather, traffic and "happy chat" and save up all that genre-defying, envelope-pushing, razor sharp snark for your audition reel for one of the 10,000 versions of The Soup currently flailing around on basic cable.

I watch Joel McHale. I enjoy Joel McHale. Joel McHale makes me laugh. You sir, are no Joel McHale.

If this clip is any indicator of your wit, it serves as a crystal clear explanation as to why you are on in Chicago at four in the morning. I would strongly suggest that you spend a little less money on wardrobe and getting your eyebrows waxed at the salon and open yourself a savings account. I am sure that you could use the free toaster oven and the money will come handy in a few short years when you are teaching improv comedy at Waukegan Community College.

ETUDE: A Very Interesting Word I've Just Discovered

Greg and Karen DeSanto "exploring new expressions of personal humor within an etude".


The Washer Woman, Boxing, Levitation, the Balloon Chase, Dead and Alive... they aren't "teaching gags" they are etudes.

MANOLIN & SHILINSKY: 12th Street Rag

Link courtesy of Marcelo Melison



Hello Pat,

Here is another comedy version of the 12th Street Rag, this one performed by the legendary Mexican team of musical comedians, Manolin & Shilinsky (Manuel Palacios, the comic and Estanislao Shilinsky, from Lithuania, the straight man). They were very popular in Mexico from the mid '40s to the mid '70s... Very funny, very talented.

Enjoy!
Peppo the Clown


Sunday, August 30, 2009

THE NITWITS: 12th Street Rag


Does anyone know the name of the film that this clip is from?
IMDB isn't any help.

Saturday, August 29, 2009

SHANE'S SUMMER READING LIST

This morning Shane will read his 100th book of the summer. He has plans to read 5 more each day until school starts next week...


Big Plans Bob Shea
Are You Ready to Play Outside? Mo Willems
Watch Me Throw the Ball! Mo Willems
Elephants Cannot Dance! Mo Willems
I Am Invited to a Party! Mo Willems
Today I Will Fly! Mo Willems
I Will Surprise My Friend! Mo Willems
My Friend is Sad Mo Willems
There is a Bird on Your Head! Mo Willems
I Love My New Toy! Mo Willems
It's Not Easy Being Big Stephanie St. Pierre
Six Sticks Molly Coxe
Arthur's Reading Race Marc Brown
It's Not Easy Being a Bunny Marilyn Sadler
In a People House Theo. LeSieg
The 1st of Octember Theo. LeSieg
Fox in Sox Dr. Seuss
Monster Munchies Laura Numeroff
Danny and the Dinosaur Syd Hoff
Oliver Syd Hoff
Don't Let the Pigeon Drive the Bus Mo Willems
Don't Let the Pigeon Stay Up Late Mo Willems
The Pigeon Finds a Hot Dog Mo Willems
The Pigeon Wants a Puppy Mo Willems
Go, Dog. Go! P.D. Eastman
Hand, Hand, Fingers, Thumb Al Perkins
Ten Apples Up On Top Theo. LeSieg
A Fish Out of Water Helen Palmer
Hop On Pop Dr. Seuss
Otto Has a Birthday Todd Parr
Mr. Brown Can Moo! Can You? Dr. Seuss
Sammy the Seal Syd Hoff
The Early Bird Richard Scarry
Put Me In the Zoo Robert Lopshire
The Gas We Pass Shinta Cho
Walt Disney's Pinocchio Campbell Grant
Walt Disney's Seven Dwarves Find a House Anne North Bedford
Sesame Street's Mother Goose Rhymes Constance Allen
Disneyland Parade Walt Disney Productions
Mickey Mouse's Picnic Jane Werner
Underwear Do's and Don’ts Todd Parr
From Trash to Treasure Lisa Alexander
Mr. Fancypants Geof Smith
I Want To Be a Police Officer Liza Alexander
I Want To Be a Doctor Liza Alexander
Say Boo Lynda Graham-Barber
Batman: From Alfred to Zowie Ruthanna Thomas
Bears on Wheels Stan and Jan Berenstain
The Diggingest Dog Al Perkins
The Berenstains' A Book Stan and Jan Berenstain
The Berenstains' B Book Stan and Jan Berenstain
Happy Birthday, Thomas Rev. W. Awdry
Everyone Poops Taro Gomi
If You Give a Moose a Muffin Laura Joffe Numeroff
The Cat in the Hat Dr. Seuss
Otto Has a Party Todd Parr
Sam and the Firefly P.D. Eastman
Are You My Mother? P.D. Eastman
One Fish, Two Fish; Red Fish, Blue Fish Dr. Seuss
Arthur Tricks the Tooth Fairy Marc Brown
The Tooth Book Theo. LeSieg
Amelia Bedelia Peggy Parish
Polly Hopper's Pouch Louise Bonnett-Rampersaud
Can You Tell Me How to Get to Sesame Street? Eleanor Hudson
Oh, the Thinks You Can Think Dr. Seuss
Glasses for D.W. Marc Brown
The Eye Book Dr. Seuss
The Old Man Who Loved Cheese Garrison Keillor
Ferdinand Munro Leaf
The Berenstain Bears and the Missing Dinosaur Bone Stan and Jan Berenstain
Green Eggs and Ham Dr. Seuss
The Foot Book Dr. Seuss
Up Lisa Marsoli
My Name is Dug Kiki Thorpe
Rolie Polie Olie William Joyce
A Day With Wilber Robinson William Joyce
Gerald McBoing Boing Dr. Seuss
Olivia Saves the Circus Ian Falconer
Olivia and the Missing Toy Ian Falconer
George Shrinks William Joyce
The Three Bears F. Rojankovsky
The Monster at the End of The Book Jon Stone
Gossie Olivier Dunrea
Cloudy With a Chance of Meatballs Judi Barrett
Curious George Margaret and H.A. Rey
Curious George Takes a Job Margaret and H.A. Rey
Curious George Rides a Bike Margaret and H.A. Rey
Curious George Gets a Medal Margaret and H.A. Rey
Curious George Flies a Kite Margaret and H.A. Rey
Knuffle Bunny Mo Willems
Knuffle Bunny Too Mo Willems
Llama Llama Red Pajama Anna Dewdney
Leonardo the Terrible Monster Mo Willems
Walter the Farting Dog William Kotzwinkle
Pickles to Pittsburgh Judi Barrett
Mr. Lunch Takes a Plane Ride J. Otto Seibold
Dinosaur Bob William Joyce
Where the Wild Things Are Maurice Sendak

THE KONYOTS: Cirque Medrano (2009)







Friday, August 28, 2009

Thursday, August 27, 2009

ALEXEI SAYLE

















Alexei Sayle

From Wikipedia...

Alexei David Sayle (born 7 August 1952) is an English stand-up comedian, actor and author. In a poll for Channel 4, Sayle, a central part of the alternative comedy circuit in the early 1980s, was voted 18th on a list of the 100 Greatest Stand Ups.

Much of Sayle's humour is in the tradition of Spike Milligan and Monty Python, with riffs based on an absurd and surreal premise. His act is notable for cynicism, intelligence and political awareness, as well as physical comedy. Sayle's trademark appearance is a shaved head, five o'clock shadow, and a suit that is a size or two too small.

Personal life

Sayle was born and raised in Anfield, Liverpool, the son of an English railway worker and a Lithuanian pools clerk, both of whom were members of the Communist Party of Great Britain.

In his stand-up comedy work, Sayle describes himself as being of Lithuanian Jewish extraction. In the aftermath of the May 1968 French uprising, he joined the Communist Party of Britain (Marxist-Leninist). He went to The Alsop High School in Walton. After leaving school, Sayle took a foundation course in art at Southport, before attending Chelsea College of Art and Design in London. He has been married to Linda Rawsthorn since 1974.

On 3 January 2009, Sayle took part in a protest in London along with thousands of others in opposition to Israel's ground attack on Gaza.

Career

When the Comedy Store opened in London in 1979, Sayle responded to an advert for "would-be comedians" and became its first master of ceremonies. In 1980, he was seen performing at the Edinburgh Festival by comedy producer Martin Lewis (producer of The Secret Policeman's Balls), who became his manager. Sayle became the leading performer at the new club The Comic Strip. He also secured a radio series for London's Capital Radio, Alexei Sayle And The Fish People (1981), for which he won a Sony Radio Award. Sayle later released an album based on the show - The Fish People Tapes. He appeared on The Comic Strip Album (1981) and recorded Cak! (1982). He also appeared in the stage show, film and comedy album of The Secret Policeman's Other Ball (1981-82). In 1982, Sayle joined Central Television's late-night alternative cabaret show O.T.T. He left nine weeks into the show's run, in order to tour Australia with The Comic Strip. He was replaced by Bernard Manning.

The height of his early fame was with the single 'Ullo John! Gotta New Motor?, produced by Clive Langer and Alan Winstanley (who also produced for Madness and Elvis Costello). The 12-inch version of the single achieved notoriety due to its extensive use of profanity. The record's success changed Sayle's comedy career from cult status into the mainstream. He went on to star in many television series and films and also became one of the UK's highest paid voice-over talents. He released two more singles: Didn't You Kill My Brother?, which was accompanied by a popular music video, and Meanwhile, both from the album Panic, the cover of which parodies the cover of the Michael Jackson album Off The Wall.

Sayle was a cast member of the situation comedy The Young Ones, in which he was credited with providing "additional material". He often portrayed the students' landlord Mr. Balowski, but also played the roles of other Balowski family members. In the episode titled Oil, he sings and performs a song called Doctor Martens Boots. In 1985, he appeared in the Doctor Who serial Revelation of the Daleks. In a column for a British tabloid newspaper around the same time, he indicated that he wanted to become the "first Socialist Doctor." In 1988, Sayle played the role of Trinculo in Shakespeare's The Tempest, directed by Jonathan Miller at The Old Vic theatre in London.

Sayle has co-written many programmes, including one episode of The Comic Strip Presents..., also entitled Didn't You Kill My Brother?, (which also starred Beryl Reid), three series of Alexei Sayle's Stuff (1988-91), two series of The All New Alexei Sayle Show (1994-95) and one series of Alexei Sayle's Merry-Go-Round (1998). In 1989, Sayle was awarded an International Emmy for Stuff. In conversation with Mark Thomas on BBC Radio 4's informal chat-show Chain Reaction, Sayle revealed that the first he knew of the award was when he watched Channel 4 News and saw, to his amazement, Benny Hill collecting the award on his behalf. [5] Sayle alternates his comedic work with performances as a character actor ranging from serious (Gorky Park) to humorous (Indiana Jones and the Last Crusade). He has also provided the voice-over for animations including the character Rubbish the Cat in the children's TV series Rubbish, King of the Jumble.

In 1994 he presented the miniseries Drive, which gave advice for safe driving through Alexei's signature form of humour interspersed with some serious pieces. Examples include ending a piece on the likelihood of certain behaviour causing fatal accidents with "...but it's not gonna be me, so it must be one of you", and on the subject of alertness; "You not only have to expect the unexpected, you also have to expect the utterly impossible", followed by jumping into a car with two lobsters. In 1995, he was awarded an honorary professorship at Thames Valley University.

Sayle has written two short story collections and five novels, including a graphic novel, as well as columns for various publications. His book Great Bus Journeys Of The World, co-written with David Stafford, is mostly a collection of his columns for Time Out and the Sunday Mirror. In 2004, Sayle was one of eight contributory authors to the BBC Three competition End Of Story, in which members of the public completed the second half of stories written by established authors. The winning entry to Sayle's story, Imitating Katherine Walker, was written by freelance writer Arthur Allan.

On 3 November 2006 he presented Chopwell Soviet, a 30-minute programme on BBC Radio 4 that reviewed the Chopwell miners 80 years after the village of Chopwell became known as Little Moscow.

In 2008, Sayle wrote and presented Alexei Sayle's Liverpool, a three-part television series in which he reconnected with his hometown. He stated in the programmes that on first hearing that Liverpool was to be awarded the European Capital of Culture, he received much criticism for describing the city as 'philistine'. He now feels that he doesn't know whether or not his original statement was true, but as a result of making the series he does now consider Liverpool to be his home, and he has vowed to go back there more often in the future.






PIXAR'S JOHN LASSETER: From Variety

From Variety...

Lasseter builds empire out of past failures

Using Pixar spirit, Disney creative chief succeeds

The key to John Lasseter's success? Failure.

You wouldn't know it by looking at Pixar's track record. Since "Toy Story's" debut as the first computer-animated feature in 1995, the Emeryville, Calif.-based studio has racked up four animated feature Oscars, multiple other prizes (including a Golden Lion at this year's Venice Film Fest for Lasseter and four of his directors for lifetime achievement) and more than $5 billion in worldwide box office. With this summer's "Up," Pixar achieves a perfect 10-for-10 winning streak -- a feat unheard of in Hollywood, where a 1-in-10 hit ratio keeps most companies in business.

Talk to Lasseter and his team, and you'll get the usual platitudes about how Pixar is a filmmaker-led studio where story comes first -- principles the "Toy Story" director has carried over to Walt Disney Animation, where he has served as chief creative officer since the Mouse House bought its CG-savvy partner for $7.4 billion from Steve Jobs in 2006. But press a little harder, and Lasseter admits the mantra that sets the studio apart: "It's safe to fail."

The trick is to make those mistakes as quickly as possible and move on, a philosophy Lasseter picked up from colleague and computer science pioneer Ed Catmull (the man who lured him to Lucasfilm Computer Graphics Group after Lasseter lost his job at Disney in 1983 -- the setback that has paid off best in Lasseter's career).

"When you think about science, it's about experimentation, and 99% of the experiments fail, but you learn from the failures and you move on," Lasseter says. "That's the great thing about Ed. He's always wanting people to keep pushing, keep experimenting, keep trying, and we always learn and keep moving forward."

For all the technical advances that have impressed audiences about Pixar, Lasseter's greatest innovation has been to extend a principle of positive risk-taking to the creative process. Lasseter's approach applies at both studios, where he has introduced virtual safety nets to protect small failures from compromising an entire project.

He is adamant that teams not be allowed to sequester themselves or work too long without sharing their progress with others. No matter what state a project is in, every three months, directors are required to put their film up on reels and test how it screens. That way, Lasseter and his fellow leaders can identify problems early.

Lasseter doesn't believe in mandatory notes, introducing instead what he calls the "creative brain trust" at Pixar, a peer-support strategy in which all the directors and key story people from around the company get together and selflessly help on one another's films. "It doesn't matter whose idea it is, the best idea gets used," he explains.

"Animation is the most collaborative art form there is in the whole world," continues Lasseter, who says his goal at both Pixar and Disney Animation has been "to build a studio where everyone's working for the same thing, to make the best movie you can, and then to be open enough to let people put their two cents into it. The next thing you know, you're seeing stuff you would never have thought of yourself."

No shortage of bad ideas emerge, of course, but the environment is designed to be supportive enough that people feel encouraged to speak up and take creative chances.

"We fail a lot," admits "Toy Story 3" director Lee Unkrich. "We just don't fail by the time the movie comes out. John would be the first to tell you that every movie we've made has been at one point the biggest piece of garbage we've ever worked on."

Unkrich got his first co-helming credit (which at Pixar is like playing Robin to the lead director's Batman) supporting Lasseter on "Toy Story 2."

The project "wasn't working at all," he says, until Lasseter stepped in at the 11th hour, tore up what was there and rebuilt the story to resonate with audiences, pulling off what many at the studio consider Pixar's best film. (And that was hardly an isolated case. "Ratatouille" was repaired much the same way, with "Incredibles" director Brad Bird overhauling the project late in the game. Lasseter even allowed director Andrew Stanton to "reshoot" a couple scenes on "Wall-E" -- a costly fix rare in animation.)

"Back when we were first taking over 'Toy Story 2' and trying to fix it, I had a conversation with Steve Jobs expressing our concerns," Unkrich says. "He reassured me by telling me that when he looked back on his career, all the work he was most proud of was done under circumstances just like that, where it seemed impossible, where there wasn't enough time, there wasn't enough money, and everyone had set the bar really high for themselves."

Lasseter also looks to Jobs for advice, remembering an early meeting in which he went in to pitch his idea for the short film "Tin Toy." "He turned to me, and the only thing he said was, 'John, make it great.' And that's the mantra I've been living with ever since, just do everything we can to make it great," says Lasseter, who found confidence in Jobs' relatively hands-off approach to Pixar over the years, trusting the creative talent to steer the studio in the right direction.

After being named chief creative officer of Disney Animation, one of the first changes Lasseter put into effect was dismissing the suits and shifting the focus from an executive-led operation back to an artist-driven enterprise, where the ideas for feature films "come from the heart" of individual filmmakers.

"The one aspect of Pixar that we imported is our simple philosophy that a studio is not the building, a studio is its people, so each studio is going to have a different culture," he says.

At Burbank-based Walt Disney Animation, where Lasseter spends two to three days each week, the heritage of classic stories and hand-drawn animation runs deep, which is one reason Lasseter was so excited to bring back the 2-D tradition for December's "The Princess and the Frog" (directed by "The Little Mermaid" duo Ron Clements and John Musker, the latter being a classmate from his days at CalArts, where Lasseter also studied alongside Tim Burton and Brad Bird).

"I've always felt that the studio that should still be doing hand-drawn animation is the studio that started it all," says Lasseter, who until now has been guiding projects that were already in development through the Disney Animation pipeline (he tweaked "Meet the Robinsons" and restarted "Bolt," but "Princess" is the first one he built from the ground up).

"We couldn't be more proud of 'The Princess and the Frog' and the way it's coming together," says Walt Disney Studios chairman Dick Cook. Rather than simply replicating the Pixar model at Disney, "John and Ed Catmull are creating their own culture here, and they're allowing that culture to be developed by the artists at Disney."

Looking forward, Lasseter's Disney slate includes a mix of hand-drawn and computer-animated projects, and though both he and Cook are hopeful "Princess" will give them license to make more 2-D pics, they insist the fate of the format doesn't rely on the success or failure of that one film.

Lasseter is already planning other hand-drawn projects at Disney Animation. "Rapunzel," due out in 2010, will be CG, but the 2011 take on "Winnie the Pooh" could go either way.

"The thing I've prided myself in all the years of working at Pixar is picking the subject matters that really lend themselves to computer animation," says Lasseter, who directed toons about toys, bugs and cars himself. "Now, going to Disney, I get to think about what great subject matter lends itself to hand-drawn animation."

His new responsibilities leave Lasseter too busy to direct (one reason he tapped Unkrich to helm "Toy Story 3," a project rescued from a possible straight-to-DVD fate).

In his exec role, Lasseter can hardly ignore the business side, but creative concerns still take precedence -- and Cook has his back, stressing that the studio is once again making animation for the ages, not just opening weekend. Should "Princess" prove a frog at the box office, "Nothing's going to happen," Cook promises. "We will continue to look at all forms of animation, whether it be hand-drawn, computer or stop-motion."

Even if Pixar's incredible streak were to hit a speed bump down the road, the Disney honcho says he feels confident Lasseter's dedication to quality would carry them forward.

"I think every film is a giant risk," Cook continues. "Just take a look at the last few movies that have been giant successes for Pixar, from 'Ratatouille' to 'Wall-E' to 'Up' this year. Based on their face value, you would say those are going to be difficult sells, and yet all three of those have become huge worldwide events and successes. It comes back again to the quality of the movies. The movies prevail because the movies are great."

Wednesday, August 26, 2009

THE GOODIES








THE GOODIES
From Wikipedia...

The Goodies are a trio of British comedians (Tim Brooke-Taylor, Graeme Garden and Bill Oddie), who created, wrote, and starred in a surreal British television comedy series called The Goodies during the 1970s and early 1980s combining sketches and situation comedy.

The three actors in The Goodies met as students at the University of Cambridge, where Brooke-Taylor was studying law, Garden was studying medicine, and Oddie was studying English. It was as undergraduate students at the University that Brooke-Taylor, Garden and Oddie met John Cleese, Graham Chapman and Eric Idle, who would later become founding members of Monty Python. This group of students became close friends and Brooke-Taylor and Cleese, who were both law students, but at different colleges within the university studied together, swapping lecture notes.They all became members of the Cambridge University Footlights Club, with Brooke-Taylor becoming president in 1963, and Garden succeeding him as president in 1964.

Garden was himself succeeded as the Footlights Club president in 1965 by Idle, who had initially become aware of the Footlights Club when he auditioned for a Pembroke College "smoker" for Brooke-Taylor and Oddie.

Career before The Goodies

Brooke-Taylor, Garden and Oddie were cast members of the highly successful 1960s BBC radio comedy show I'm Sorry, I'll Read That Again, which also featured Cleese, David Hatch and Jo Kendall, and lasted until 1973. I'm Sorry, I'll Read That Again resulted from the successful 1963 Cambridge University Footlights Club revue A Clump of Plinths. After having its title changed to Cambridge Circus, the revue went on to play at West End in London, England, followed by a tour of New Zealand and Broadway in New York, United States of America (including an appearance on the top rated Ed Sullivan Show).

They also took part in various TV shows with other people, including Brooke-Taylor in At Last the 1948 Show (with Cleese, Chapman and Marty Feldman), and Brooke-Taylor taking part in Marty (with Marty Feldman, John Junkin and Roland MacLeod). Garden and Oddie took part in Twice a Fortnight (with Michael Palin, Terry Jones and Jonathan Lynn), before Brooke-Taylor, Oddie and Garden worked on the late 1960s TV show Broaden Your Mind (of which only about ten minutes survives).

The Goodies television series

The Goodies was created by Tim Brooke-Taylor, Graeme Garden and Bill Oddie. The episodes for the series were originally co-written by all three Goodies (Tim, Graeme and Bill). Later, the episodes were co-written by Graeme Garden and Bill Oddie. The music for the show was written by Bill Oddie, and The Goodies' theme music was co-written by Bill Oddie and Michael Gibbs. The show also benefited greatly from the input of director Bob Spiers.

The television series ran from November 1970 to February 1982 on BBC 2, with 70 episodes, mostly thirty minutes in length except for two forty-five minute Christmas specials (The Goodies and the Beanstalk and The Goodies Rule – O.K.?). The costume designer for this episode was BBC costume designer Dee Robson.

It was one of the first shows in the UK to use chroma key and one of the first to use stop-motion techniques in a live action format. Other effects include hand editing for repeated movement, mainly used to make animals "talk" or "sing", and play speed effects as used in the episode "Kitten Kong".

The threesome travelled around on, and frequently fell off, a three-seater bicycle called the trandem. One of these trandems was later cycled across Africa, a trip immortalised in the resultant book Three Men on a Bike.

Although The Goodies are well known for performing spectacular but comedic stunts, it was Tim Brooke-Taylor who performed most of them.

The Goodies never had a formal contract with the BBC, and when the BBC Light Entertainment budget for 1980 was exhausted by the production of The Hitchhiker's Guide to the Galaxy TV series, they signed a contract with London Weekend Television for ITV. However, after one half-hour Christmas special ("Snow White 2") in 1981, and a six-part series in early 1982, the series was cancelled. In recent interviews the cast suggest the reasons were mainly economic — a typical Goodies sketch was more expensive than it appeared.







It may be argued that The Goodies' antics brought the surrealist adventure traditions of The Goon Show to the television screen without diverting into areas of coarseness or topical satire to the same extent as other British television series like Till Death Us Do Part, Monty Python's Flying Circus, Not Only But Also, Not the Nine O'Clock News or, much later, The Young Ones. There were satirical episodes of The Goodies including: "South Africa" (apartheid) — "Punky Business" (punk) — and "Gender Education" (satirising Mary Whitehouse's influence on television).

The Goodies appealed to adults on an intellectual level, and also had a level of appeal to children as a consequence of its visual humour and slapstick. Although there are similarities to the television series The Monkees, with the group members employing music, slapstick comedy, bad puns and camera tricks; and all living in the same house together and working together — a tradition also borne out of the films of The Beatles — The Goodies owes nothing to either. Instead, the comedy of The Goodies originated with the Cambridge University Footlights Club's revues.


Fatal effect

On 24 March 1975 Alex Mitchell, a 50-year-old bricklayer from King's Lynn literally died laughing while watching an episode of The Goodies. According to his wife, who was a witness, Mitchell was unable to stop laughing whilst watching a sketch in the episode "Kung Fu Kapers" in which Tim Brooke-Taylor, dressed as a kilted Scotsman, used a set of bagpipes to defend himself from a black pudding-wielding Bill Oddie (master of the ancient Lancastrian martial art "Ecky-Thump") in a demonstration of the Scottish martial art of "Hoots-Toot-ochaye." After twenty-five minutes of continuous laughter Mitchell finally slumped on the settee and died from heart failure. His widow later sent the Goodies a letter thanking them for making Mitchell's final moments so pleasant.