Monday Movie

This is a repost from a few years back.

A nice little movie for a Monday morning. It's my favorite piece to have been created by one of my students even post graduation.



"A Circus Story" was made by Yong Choe and Julia Vallera as their thesis project a few years back. It was made during the term after they took my two semester Production class.

As you can see, I really hammered in the Hubley and they "got" it. Sure, there are the superficial similarities to Windy Day or Cockaboody -the flat layering of translucencies, the real audio, the camera work, even the design style.

Beyond these external similarities is an altogether different vitality. It's the same thing that places Hubley's films beyond the work of all the rest. It's soul. It's the mixture of joy and melancholy. It's the description of the human experience as the cumulation of love, longing and experience.

Chicken Loses

1991 doesn't seem that long ago, it's the year I came to college in New York.

Manhattan still had "bad neighborhoods" -a walk down Avenue B was a stroll through an illegal pharmaceutical superstore and there were small scale riots downtown when Dinkins cleared Tompkins Park of squatters -but, on the whole the town probably resembled what the city was to become more than what it had been.

There were still vestiges of absurdity -oddity outposts that represented why we come to big city. 

The seen-it-all cabbie from the movies who bellows "Only in New Yawk!" when, say a schnauzer stiff him with some milk bones for a tip -he's left with less and less to gripe about.

Twenty years ago, a college kid looking for an afternoon's entertainment might have wound up at Chinatown Fair after scouring record bins and before grabbing an ice cream cone.  Before getting to the Dig Dug or Ms. Pacman he would have been greeted by the Tic Tac Toe Chicken.

It was a horrible game.  You dropped in a quarter and played tic tac toe against the bird.  A tie was considered a victory for the hen prompting a carnival game voice to exclaim "Chicken Wins!  Chicken Wins!" while the bird did a little dance.

The bird danced because it stood on a meshed wire floor and little charges of electricity would surge through at the finale.  So the chicken never really won.

One day I stumbled in -probably around 1996, 97.  There was handwritten sign tacked up.  "Game out of order.  Chicken dead."

It was replaced with one of those plastic egg dropping chickens which eventually gave way to one of those claw games or something.

Now the arcade has apparently shuddered for good- possibly to convert into an American Apparel or a Duane Reade or a bank.

New York is no place for weirdos or strategic foul.  It's now a mecca of shoe shopping and inelegant bankers who trample on peculiarities that once fostered genius.

Children of the Hydra's Teeth - Part Twelve

While Jason melees with his own skeletons, we cut to action elsewhere.

We don't get too many true "fight" sequences in films these days. That wouldn't be such a bad thing, if the fight sequence hadn't been replaced with the indecipherable scrum and jump cut chase.

A fight from the olden days of Hollywood would involve a lot of choreography -like tossing a skeleton over your back.

In the previous, the Argonaut is starting to stand up.  We cut to him low in the frame and rising.

Good cut.  Energetic.

And the skeleton attacks.

Cut in.  Nice cut to approximately match the final position of the wide.

And the action spin us around.

In animation, the simplest way to determine a new scene is if the background changes -and determining what constitutes a scene is of prime importance to managing production.

When you look at stills like these, shot by shot, you can see that.  It also helps to visualize the sequence backwards into storyboard.

Things You See

Last night I went to Hine Mizushima's opening at Gallery Hanahou in the Cable Building. It's actually a group show, four craftsy felt artists.

Hine did an updated version of "Why Does The Sun Shine?" for They Might Be Giants Here Comes Science DVD.




We did a version for Ka-Blam! a million years ago.

What I didn't know going in is that the gallery is affiliated with CWC-International, the terrific artist agency.  It's been a long time since I've seen Koko, the director (or whatever her title is) -since we did the Parco/Blythe project for Japan, probably -so it was great to make the reconnection.

Another Failed Experiment

We're doing the signal film for this year's Ottawa International Animation Festival.

Have a basic idea figured out and have started on some technique experiments -it's going to be a mixed media thing and evolved through several passages.

This isn't exposed or framed or really animated in anyway.





Trying to find bubbly, watery textures. Towards the end of the clip it starts to get somewhere.

Everything is digital these days -with the exception of stalwart holdouts like Don Herzfeldt. To us, there's great value in creating elements of the picture with tactile materials. A computer is a calculator, an accountant. It works towards uniformity. If the starting point is far, far from perfect the design and the animation have the chance to retain some of that chaos in the final piece.

Mr. Sorry

Yesterday I learned of the passing of my favorite college teacher, Jean Le Courbeiller.  He was, ostensibly, a science and mathematics teacher at a college which didn't even have a science section in the library (one could concentrate in "Mind, Nature and Values" if they wanted to try bucking the system).

I still recount his story of growing up on Isle de la Cite in the middle of the Seine.

One day, when he 8 or 9, he bicycled in the rain to his girlfriend's apartment.  There was often a man standing in lobby and today the man asked him about the rain. "It's raining, yes."  "Oh yes, it's raining."  "It's raining hard, isn't it?"  "Very."   The conversation was interrupted by the girl's mother who came yelling at him for coming out in such foul weather.

The man was asking about the rain because he was blind.  A few years later young Jean learned that the man was not just blind, but his young sweetheart's neighbor was James Joyce.

You can master language, and still lose something we all take for granted.

In one of his classes he remarked that Isaac Newton was the last man on earth who could possibly know all there was to know.  Newton, being the smartest man of his age, might well have known all the science and math and history and literature that [Western] Civilization contained at that moment.

Even in a field as limited as animation, I'm learning new things all the time.  Things other people already know.

I didn't know, for instance, that the Korean Academy of Film Arts produced a feature length collaborative project as a senior thesis.  Actually, I may have heard that and forgot -which goes to another point from Jean: learning is re-learning.

It's questionable to put students to work on such an endeavor.  The school is there to further the progress of the students, not the other way around.   There are benefits to the students, sure, but that doesn't ameliorate the lapse of ethics on the part of the school.

The Korean Cultural Society presented a screening of The Story of Mr. Sorry last night at the Tribeca Film Center.  This collaborative graduation effort kicks off a series of four free screenings of animated Korean features.

The film itself is interesting and hangs together very well for a work with five credited directors.  We're not privy to the actual hierarchy of artists, so I suspect there was one lead voice with vocal contributions from the others.



Watch The Story of Mr. Sorry Korean Movie Trailer in Entertainment  |  View More Free Videos Online at Veoh.com

The animation isn't particularly special. It's primarily the sophisticated cutouts we've become accustomed to seeing.

The design is sometimes nice.

The narrative, based on novel, is just slightly off in that Korean Cinema way to keep it from being completely fulfilling. It's as though they've digested American film, try to recreate it, but come up with something strangely similar but vastly different.

In his course "Four Ways of Doing Astronomy", I learned from Jean le Corbeiller that the Sumerians looked to the horizon for their astronomy. All their science, all their mathematics -like the 360 degrees in a circle -derived from calculating the relationship of the stars to the visible edge of the earth.

These days our astronomy is almost completely mathematical. There's little observation with the human eye. Data is collected through non-ocular telescopes, decoded and translated into information we can understand.

Neither method is better than the other.  They just respond to the differing needs of the cultures that support them. 

Top Cel Vol 2, #02 -Oscar Selections

    

GENERAL MEMBERSHIP MEETING

TUESDAY, February 13th at 7:30 sharp

Walnut Room, Capitol Hotel

8th and 51st Street

on the agenda: recommendation from the Executive Board to establish time and one half rates for all freelance work.  Establishment of Local as clearance house for all freelance work.  Recommendation of Executive Board for establishing welfare fund.  Initiations of new members.  Election of committee to prepare new Famous proposed contract.

OUR UNION

The National Labor Board approved in part our agreement with Fletcher Smith Studios, making some changes in our Sick Leave, Vacation and Severance Clauses.

The proposed minimum were approved as submitted in spite of the fact that in some classifications they were above the Famous-Terry contracts.

Sick leave shall not be available to any employee with less than 3 months service.

The vacation and severance plans were approved, provided, however that no employee shall be covered by these plans until he shall have been working for six months or more.

Payment or additional vacation shall not be allowed for unused sick leave.

The Executive Board has worked out the following rates as a minimum for any freelance work by artists working 40 hours.  This proposal will be presented to the General Membership next Tuesday.

Animation.........$7.50 per foot (20 feet per week = $100.00)
Assisting...........$4.13 per foot (20 feet per week = $55.00)
Inbetweening....$0.42 per drawing (125 Drw. no ext[remes] @ $35.00)
Story, Story Sketch
and Layouts......$2.00 per foot (1 Man 300 ft. 4 wks. $100.00)
Inking...............$0.24 per cel (200 cels per week @ $32.50)
Opaquing..........$0.45 per cel (100 cels per week @ $30.00)
Checking, Ink...$0.02 per cel
Chcking, Opq...$0.02 per cel

Before the recommendation of the Board goes to the membership, the Board wishes to stress the importance of the motion.  If it is passed, no union member could accept any work for less than these rates.  Whether the work is handled by an outside agent, an established studio or whether the work is framed out or taken home for practice, an employed member would be subject to charges against him by the union if accepted below these figures.

The reasons for this are firstly, that everyone may know what the prices are and it would thus end underbidding among the members.  It would also bring the work to the established channels, stopping for good the small promoters who have been living off the work of our members.

The next move would be that before accepting any work on an OK would have to be secured from the Guild.  Actors in Hollywood or New York can not appear in public for charity or otherwise without the union's approval.   It protects the actor and the union.  It may not be the answer to all our problems, but it certainly goes far in remedying many of them.

In order to avoid misunderstandings we are giving notice to the following members who our records show have not attended the Dec. and Jan. meetings.  these members are liable to a fine if they do not attend the February meeting:

B. Bernstein, J. Bisset, J. Carreon, M. Cole, R. Connavale, E. Dayton, L. Donahue, L. Epstein, K. Feriola, W. Gelman, I. Golden, J. Goteri, I. Gottfurcht, J. Greb, L. Grossman, W. Heins, L. Howson, W. Hudson, N. Irwin, B. Kirschner,

M. Kubel, E. Levitan, T. Lippman, R. Little, A. Loeb, L. McComick, E. Melamed, O. Messmer, C. Meyer, J. Oriolo, G. Place, M. Prendergost, A. Pross, C. Quirk, C. Renza, L. Riley, H. Robins, C. Rosenthal, H. Ryterband, N. Sanborn, M. Schetter, R. Schoenberg, P. Shagrin, R. Socolov, G. Sogivka, B. Solomon, E. Steinway, J. Stultz, H. Sevens, V. Szigeti, J. Tanaka, S. Tsurnoka, N. Turner, W. Turner, J. Tyer, D. Ungar, J. Walworth, J. Willis.

Work Permit Holders who must appear to take the oath and become full members.  From this meeting on they are subject to the absentee fine.

Abe Blashko, Oscar Buchheister, Pete Caldera, Philip de Paola, V. Feurman, Paul A. Halliday, Shirley Harris, Frank B. Kelling, Hazel Heit, Samuel Kai, Evelyn Klein, Harry Kuwahara, Louise La Fleur, Ruth J. Lynch, John J. McCabe, Frank J. Murch, Sam B. Novo, Doris Ortelli, Alfred S. Piane, Harold L. Price, Harold Robbins, Seymour Schechter, Patricia Simpson, Helen Spitelnick, Robert M. Stuart, Marjorie-Ann Tobin

NEXT FRIDAY, Feb. 16th Famous will check all membership cards to see that every worker is in good standing.  New members must pay their regular part of their initiation fee before paying the dues.

The War Labor Board approved our appeal granting raises to five animators, one inbetweener and one background artist at Famous.


RED CROSS DRIVE

Tom Morrison has been appointed chairman of the 1945 Red Cross War Fund Drive for Larchmont Manor.  He is in bad need of some posters for the campaign.  Any one wishing to donate their services to this worthy cause, please contact him (Larchmont 2-1679R) any evening.


SERVICE MEN'S NEWS

The Internal Revenue Bureau ruled that money from books, tuition and subsistence aid by the Government to veterans who have returned to school is exempt from Federal Income Tax.

Veterans who apply for telephones, either business or private, are given first priority by the phone company over civilians.

The W. M. O. regulations pertaining to work in essential and critical war activities do not apply to veterans.

All men and women who have served at least 90 consecutive days in the US armed forces on or after Dec. 7 1941, may qualify for unemployment insurance benefits if they are unable to obtain employment.  The veteran must have resided in New York State for at least 90 days immediately prior to induction, must be living and looking for work in the state and must not be entitle to a Federal total disability allowance or unemployment benefits from another state.  Maximum benefit of 20 payments of $18 each will be made regardless of earning before entering the service.  Mustering-out pay up to $300 does not affect the unemployment benefits.

Note for Infantrymen: A chemical company is marketing a featherweight material which will make possible blankets and sleeping bags weighing only a few ounces.

Dope on Income Tax:

As a general rule, military personnel whose service pay was less than $2,000 during 1944 will not be required to file a return.  That includes, roughly, enlisted personnel and officers up to and including the grade of first lieutenant.

However, military personnel who had income from civilian sources may have to file a return.

First lieutenants who are receiving longevity or other added pay over and above their base pay and non-coms in the higher grades who are receiving longevity and other additional pay over the $2,000 limit, also will have to file a return.

For the purpose of computing the amount of tax owed, the first $1500 of military pay is exempt.  Also exempt are contributions by the Government to family allowances and money received for subsistence and quarters.  However, any refund of taxes owed on the 1943 declaration should not be deducted from the 1944 tax liability.

Service personnel should use Treasury Department Form 1040 in filing their return for 1944.  the full amount of the tax due for the year must be paid at the time of filing this return, except that those unable to meet their tax payment may request deferment by submitting a letter to the Collector of Internal Revenue with their return.

Those who expect to have taxable income in 1945 should file a Declaration of Estimated Income Tax (Form 1040-ES) or that year on or before March 15, 1945.

FLIPPINGS

MR. & MRS. JOHN C. WALWORTH, Jr.  announce with great pleasure on behalf of their daughter, Joan

Mildred, the appearance of her first tooth, (right central incisor) on Sunday, February 4, 1945.

JUDY WEINER again promoted -this time to Cutting Room.

CAPT. ROD JOHNSON, Chief of the Signal Corp Animation Unit at the Hospital for regular check-up.

EDDY REHBERG making definite progress, says: "Am doing more and more drawing as I get stronger, am planning on doing some comic book work if I can make the contacts..." How about writing him?

VIOLET SZIGETI inbetweening.

MAX FLEISCHER'S son Dick, directing actuals at coast.

STAN GREEN now a Top Sergeant writes us from a fox-hole on the Western Front.

BUDDY WESTMAN left Famous.

LT. GEORGE GIROUX spent a few hours in New York on his way overseas.

LT. PAUL FANNING became the Father of a baby girl a week after he left for overseas.

SAMMY FINBERG left for Director's job in Hollywood.

the ADRIAN twins and their younger sister working at Terry.

VIP PARTCH with the army at Camp Roberts, CA.

SAM COBEAN on furlough.

After three weeks in Washington ART BABBITT has gone to the Pacific Coast.

Shower given for EVELYN IRELAND and HELEN BROMBACK at CECILE NIEWENHOUS.


CARTOON NEWS

Judge Magazine looking for color covers - $75.  Saturday Eve Post raised its base pay for cartoons from $35 to $50.  Regular contributors get a higher price.


INDUSTRY SAID TO BE ESSENTIAL BUT NOT CRITICAL

Production of motion pictures retains its position on the essential list of War Manpower classification of activities, but is slated to lose men in "relatively unimportant" jobs under the directive issued by James F. Byrnes.  Pictures and Radio can expect a smaller number of 2-A deferments for personnel than heretofore under the Byrne directive.

New listing was made public as a guide to Selective Service boards in the induction of men between 26 and 30.  Among the communication services rated essential but not critical are: "Production of motion pictures (including technical and vocational training films for the Army, Navy and war production industries); newsreels, motion picture film processing, development of sensitized film, radio broadcasting and television, newspaper and news syndicates, and magazines with general circulation which are devoted primarily to dissemination of public information." List leaves radio and pictures where they were on earliest lists.  Under Byrnes' directive, men in "relatively unimportant" jobs in these activities are to be drafted second, after men not in essential activities.  Men holding "relatively more important" jobs in essential activities would be fourth in line to be drafted.


TRADE NEWS

Finally the WLB in San Francisco handed down a decision in the dispute case between the Local in Hollywood and Disney.  Unfortunately the results were not very encouraging.

The Union request to include the Directors in the contract was denied, as was requested for increased sick leave and severance pay.  (Their contract call now for 5 days sick leave for male and 10 for female, and has no severance clause.)  Denied Guild's request for 20% of box office from reissues and television; denied request to eliminate Producers Rights clause from the contract; denied request for dinner money; denied request for six week's pay for workers entering military service. Disney was instructed to establish a one-year time limit for Animator Class II, with the right to request extension in special cases.  They won fight to have assessments added to the check-off system for collection of dues, but denied to include fines and penalties.  They also won fight to get a week's vacation after six months and two after a year.  (Present Disney contract call for one week after one year, the others have two.)

Action on wage increases was deferred "pending the establishment of wage brackets for this industry" (Following the present Board policy, the Union and the studios are trying to establish the wage brackets, like we would like to do here).  It is believed the Union would ask for reconsideration of many provisions because of the favorable recommendations it received from the WLB panel here, but which were denied in the Board's decision.

The Guild has decided not to appeal the decision.

Seventeen pictures have been entered by seven companies to compete for honors in the 3 Short Subjects classifications in the 17th Annual Academy Awards.  Final judging of nominated films will take place Feb. 6.  Cartoons selected:

"And to think I saw it on Mulberry Street", Pal-Paramount
"My boy Johnny", Terry-20th Century Fox
"Mouse Trouble", Quimby-Metro
"Swooner Crooner", Warners
"The Dog, Cat & Canary", Screen Gems -Columbia
"Fish Fry", Lantz -Universal
"How to play Football", Disney