#UArts
Film/Video '14. Digital Restoration Artist, Professional Video Editor, Animation Historian/Researcher. Other interests: comics, food & retro video games.
Back when they made this, they used to say, they don't make them like they used to, but sometimes they did make them liked they used to, and sometimes, they still do. 🐰🎪
(📽️ Roller Coaster Rabbit, 1990)
Just received word that Bob Givens, one of the last remaining animators from the Golden Age, passed away at the age of 99.
One of Givens' most notable marks was the design of the first Bugs Bunny seen in A WILD HARE.
But wait! Dante Barbetta, who started his career at Famous Studios in 1953, is *still* actively animating at nearly 90 years old...for fun! This was one of several shots he cooked up for a Popeye-Bluto fight sequence.
80 years ago, Chuck Jones' landmark cartoon THE DOVER BOYS was released to theaters. Forget the usual Dan Backslide memes, *this* is my favorite scene in the whole picture.
Ken Harris animated this great performance of Mama Bear, using footage of Mike Maltese (Chuck Jones' main writer) doing these same steps in the studio parking lot as reference. Could you imagine if someone unearthed THAT piece of film?
modern indie animation is too refined. more of them should look like those early seasons of beavis and butthead where the backgrounds are color penciled
So, all of the classic WB cartoons released from 1951 to 2004 are no longer on
@hbomax
. This includes many restored cartoons unavailable on home video in that form, as of now. Fuck, fuck, fuck you Zaslav.
From SENOR DROOPY ('49); animation by Bobe Cannon. Wonderful use of dry brush by the ink-and-paint department. Not sure who animates the last shot of Droopy being treated like a wind-up toy.
From a 1948 issue of animation union newsletter TOP CEL. At that time, Walt Disney, Fred Quimby and Eddie Selzer reaped in the success of their short cartoons with the Academy Awards. Not sure who drew this, but it *definitely* had to be addressed in some fashion...
Here’s a clip from I-SKI, LOVE-SKI, YOU-SKI (’36), with a great use of the Fleischer studio’s stereoptical process—miniature sets mounted on a turntable with cels of the characters placed in front— in the first shot of the cartoon.
A 45-second montage of all twenty-eight of Bob McKimson's WB cartoons released in the 1940s - with all the brutal McKimson/Warren Foster violence we all like.
@vmheckman
@Toonforbrains
I'd like to imagine Roxanne's father is a strong supporter of LGBTIQ+ and fights to protect the youth, stomping on all the haters.
@PCaldora
They planned to make at least twelve more, and Spielberg insisted that the plots *always* revolved around Baby Herman in peril and Roger getting the brunt of the abuse.
The new restorations of several classic WB cartoons on
#HBOMax
have been released today! Now we get to see iconic moments like these in HD, as we've all wished...
Here's something for you fans of Bill Littlejohn's animation during this quarantine - here's a commercial he did promoting Friskies Cubes dog food for Playhouse Pictures in the 1950s.
Happy birthday to Bugs Bunny! Here's an excerpt from one of my absolute favorites, THE UNRULY HARE ('45), one of two Bugs cartoons directed by Frank Tashlin. As mentioned before, he really nailed that character on his first try.
Sixty years ago, in 1962, UPA’s second feature GAY PURR-EE, directed by Abe Levitow and written by notable animator Chuck Jones with his wife Dorothy, was released to theaters. Thinking of dedicating a thread to the movie and analyzing its production.
In honor of
#BlackHistoryMonth
, I would like to dedicate a small thread to Frank Braxton, the first black artist to be hired in the animation department at Warner Bros. - the first in Hollywood. From 1954 to 1956, he was an assistant to animator Ben Washam in Chuck Jones' unit.
Just heard that Brenda Banks passed away - she was one of the first female black animators in the business. She worked for Ralph Bakshi, Warner Bros., Hanna-Barbera and even on THE SIMPSONS. This is a scene she did in DAFFY DUCK'S QUACKBUSTERS...
One thing to keep in mind: this era of Popeye was *not* using storyboards. Probably little thumbnail sketches by the head animator to keep the scenes flowing, but no boards were used at this time.
It's the echo effect that makes it work. WB's animation dept. didn't have proper recording facilities during the 1940s (esp. Leon Schlesinger). Mel and the other V/As would record over a boom mic while a big WB feature was in between takes, or a part of their set was unoccupied.
Thanks so much for the feedback for the extensive Tex Avery thread, people! How's about I share another Kool Aid spot? Trust me, you'll love this one - it's animated by Rod Scribner.
Whether he’s the crazy, darn-fool duck or the greedy little miser, Daffy Duck’s still a beloved character. To honor the little black duck’s birthday, here’s one of his finest moments from Freleng’s inventive YOU OUGHTA BE IN PICTURES (’40); animation by Dick Bickenbach.
Max Fleischer and classic animation fans: click the link below and you'll find scans of *every* surviving issues of Fleischer Studio's in-house newsletter that ran from Dec. 1934 to Apr. 1937 - a real treasure trove! (2 issues are currently at large...)
Here's the first appearance of what became Mickey's theme song during the early 1930s, from MICKEY'S FOLLIES ('29).
Mickey's performance, with the most thorough lip-sync possible during the early sound era, is animated by Ben Sharpsteen—a relatively new hire at the time.
Phil Monroe is more associated with Warner Bros. than Hanna-Barbera, but believe it or not, he freelanced on some of the Huck bumpers and bridging material for H-B. (He also took on some freelance for Jay Ward on the original intro for ROCKY AND HIS FRIENDS.)
Okay,
@bobjinx
, you asked and now I'll show you what I mean. The left is from the Mickey Mouse in B&W "Disney Treasures" set (2002) and on the right is from the current HD "remaster". (Never mind the rounded-corner framing on the left.)