Heaven Just Got Funnier

With the passing of Dick Martin the other day and now Harvey Korman, I feel compelled to acknowledge these two great funny men.

"Rowan and Martin's Laugh-In" was a huge show back in my youth. I was probably too young at the time to get some of the wink,wink, nudge, nudge humour, but there was still plenty of things I enjoyed, including Arte Johnson's "Verry Interestink" nazi peeking out from behind the fern, the poems "By Henry Gibson", and of course, the introduction of soon-to-be-famous Goldie Hawn, go-go dancing with mod graffiti painted all over her bikini clad body. And then there were the hosts: straight man Dan Rowan with his ever present pipe, and the sly comic playboy, Dick Martin. The show was often topical, with Dan and Dick commenting satirically on recent news events in their monologue, but mostly there was a real scattergun, non sequitur approach to the comedy, with lots of verbal puns and crazy visuals. Definitely a product of the swinging sixties!

Harvey Korman was part of one of the funniest comedy ensembles on TV, as a cast member on "The Carol Burnett Show". I think many would agree that the show hit its stride when Tim Conway joined the cast several years later, acting as a great comic foil for the suave Korman. It was always great fun to see how the poker faced Conway would, through brilliant comic timing and physical comedy, cause Korman to have to stifle the urge to break out laughing. With Harvey Korman being so tall and sophisticated, next to short, dumpy little Tim Conway, the two comedians made for a great study in contrasts. This is something that I try to stress in my teaching of character design to the Sheridan animation students too, as physical contrast can immediately help to communicate personality types to your audience, as well as add visual variety. By the way, speaking of animation, Harvey Korman also had a second career as a cartoon voiceover actor, supplying many voices on such shows as "The Flintstones", including the little green alien with the big head, The Great Gazoo.

Anyway, rather than mourn their loss this week, I would like to celebrate the legacy they left us. Here's to two of TV's great funny men:

Remembering Frank

This Wednesday, May 14th 2008 will mark the 10th anniversary of the passing of Frank Sinatra. It's hard to believe that it's already been ten years, as I remember well the morning I heard it on the radio news. Though I knew it was coming due to Frank having been quite ill for some time, there was still a shock in hearing it and it filled me with great sadness to know that Frank was now gone.

Just a couple weeks prior, I'd gotten a call from a local showplace where I'd had tickets to see Steve Lawrence and Eydie Gorme in concert. I'd been looking forward to seeing them on their scheduled play date of May 15th, but now the theatre was calling to say that they'd had to cancel their appearance. Hearing the news of Frank's passing, I realized then why they'd cancelled - they knew it was coming and wanted to be close to Frank and his family for when the inevitable tragic day arrived. Sure enough, in the days that followed, there were Steve and Eydie seen arriving for the funeral. Having opened for Sinatra in concert for a few years and being close friends of his, I imagine they were devastated.

For all of my lifetime, there had always been Sinatra, and his music had appealed to me even as a young kid. To this day, I have a singular memory of being at the drive-in in the late 60's and hearing Frank Sinatra singing "That's Life" on the car speaker before the movie commenced. I was probably only about 7 or 8 at the time, yet his music was already an influence on me. By the time I was in my teens, I would look forward more to Frank singing "New York, New York" on the radio than anything my peers were into at the time. I reckon I was a strange kid, but I'd always enjoyed the music that my Dad played around the house more than what was popular with kids of the day. Dad was big fan of Bing, though, and never had any of Frank's records, so I guess I sought them out on my own.

In my mid-twenties I got into Sinatra's music big time, especially since I had started taking ballroom dancing lessons and found myself dancing the foxtrot to a lot of Frank's big hits. To this day I'm still an avid social ballroom dancer and there is nobody I like dancing to better than the swinging sounds of Sinatra. "Fly Me to the Moon" with its Quincy Jones arrangements and with Frank backed up by The Count Basie Orchestra, just can't be beat!

This month in honour of the 10th anniversary of Frank Sinatra's passing, Turner Classic Movies is running many of his films every Sunday and Wednesday nights, as well as several of his TV music specials from the 60's. I've got my DVD recorder working overtime to get as many of these films as I can, some of which I've never seen before. Of course I already have many of his films on DVD that have been available thus far, but it's great to see some titles that Turner is running are also going to start being released on DVD in the next little while. Just like Frank's music, I also tend to prefer his movies from the early 50's onward, especially as he was hitting his stride in both media during the late 50's/ 60's era. My favourite films are not necessarily all out musicals, but still those with a musical bent, like "Pal Joey", "The Joker is Wild", and a guilty pleasure, "Robin and the 7 Hoods", despite what the critics said about it!

Anyway, I hope some of you fellow Sinatra fans are also enjoying the films on TCM, as well as continuing to listen to the great legacy of popular music that he has left us. Yes, Frank Sinatra will be a subject often discussed in The Cartoon Cave...

Sheridan College Animation Industry Day.

Yesterday was the annual Industry Day at Sheridan College in which representatives from various national and international animation studios gather to watch a screening of our grad students' animated films. Mark Mayerson has just written up a great overview of the event itself and, though I left the following comment on his site, I'm going to reprint it here on my blog too:

I'd have to concur that this was a particularly strong year in both the 4th Year personal films and the 3rd Year group films. I may be a bit blunt in my assessment, but I feel that last year's crop of 4th Year films included far too many Flash produced efforts with little more than moving graphics. Many of them were very good in terms of storytelling and filmmaking skills, but were frankly disappointing in terms of character animation.

This year was a pleasant surprise for me, as I feel that the majority of 4th Year students really aspired to more personality based, full character animation. Though there were some very impressive CG films, I'll admit I'm still biased in favour of hand drawn animation and I found much to like this year. The highlights for me were Andrew Ferguson's "The Street Magician" and Matt Kalinauskas' "Two by Two", both of which showed great flair for cartoony design; Melissa Maduro's "A Romance in Graphite" and Marion Coffey's "The Little Colour Thief", both showing simple elegance and charm in their appealing, fluid character animation; and of course, Vlad Kooperman's very impressive "C Block", which I know received a very positive reaction from everyone in the theatre. And these are just a few of the better ones, as there were many other notable films I enjoyed very much.

All in all, a very impressive and entertaining screening yesterday at Sheridan, and I think the graduating students should be very proud of their achievements. I look forward to seeing great work from them onscreen in the years to come and I'll always have fond memories of working with them in my class back in their 2nd Year.

Ollie Johnston

I arrived home this evening to read the very sad news that legendary Disney animator, Ollie Johnston, has passed away at the age of 95. While it is always sad when such major figures from The Golden Age of Animation pass on, Ollie's death is particularly heartbreaking for me, as I had been lucky enough to have known him, as well as his longtime friend and colleague, Frank Thomas. Though both were wonderful fellows, Ollie always will occupy a special place in my heart for several reasons.

Back when I was 7 years old, Disney's "The Jungle Book" premiered in theatres. As I have written in a previous blog entry, it was this film that was the catalyst in starting me down the path to wanting to be a cartoonist and, hopefully, working for Disney someday. In particular, it was the character of Baloo the bear that I was so fond of, and the warmth and charm of the animation that so skillfully brought him to life. It wasn't until some years later when I started reading textbooks on Disney film history that I began to learn the names of the great animators who were responsible for these wonderful Disney characters. I learned that it was Frank Thomas and Ollie Johnston who shared credit for Baloo, with my favourite scenes being handled primarily by Ollie. I felt that Ollie was especially adept at giving a certain warm, cuddly feeling to all of the characters he worked with, including Baloo. There was something about the way the eyes of his characters seemed to sparkle with inner life.



In 1980, I was able to visit the Disney Studio for the first time, arranged through my friend Russell Schroeder, who was then a top character artist at Walt Disney World in Florida. Russell was kind enough to put in a good word for me with Disney archivist, Dave Smith, at the Burbank Studio, and Dave agreed to host my visit there. As soon as I cleared security and was directed through the main gate of the studio, the first person I saw crossing the lot in front of me was Frank Thomas. I wasn't shy about going up to say hi to him, and Frank generously invited me to drop by the office that he and Ollie were using to compile artwork that would be photographed for inclusion in their upcoming book, "Disney Animation: The Illusion of Life". Needless to say, after going off to meet with Dave Smith, I later took Frank up on his offer to visit with he and Ollie.

It was a memorable visit with Frank and Ollie, surrounded by lots of original Disney cels and backgrounds that they were considering for images in their book. They were so gracious towards me, answering all my many questions, (especially about "The Jungle Book") and happily providing info on the artwork they had all around them. The following year, they ended up traveling to my hometown of Ottawa for the Ottawa Animation Festival. They remembered me and it was nice to renew acquaintance. I also provided them each with caricatures I had painted up for them and they appreciated my efforts.

In 1983 I was again visiting the Disney Studio, and Dave Smith was nice enough to have contacted Frank and Ollie before I'd arrived to inquire whether they would be at the Studio that week. Though there were no plans to, Ollie said he'd be happy to come in and visit with me while I was in town. This was a wonderful surprise for me, and Dave left his office for Ollie and I to chat for awhile together. It was during this visit especially that I just was knocked out by Ollie's warmth and generosity in making a special trip to the Studio just to say hi to a young fan. In the years that followed, I corresponded with Ollie and got to see both he and Frank when they were on a book signing tour that brought them to Toronto about a year after I had started my own Disney career in 1984. They expressed their happiness for me in having finally gotten into Disney to fulfill my childhood dream.

In 1989, I had the offer to go down to work at Walt Disney World in Florida, provided that they could get me a work permit through U.S. Immigration. Tom Tripodi, who managed the art department, said it would really help their case if I could get several letters of recommendation from anybody notable within the Disney or related animation industry. I wrote to Ollie Johnston, asking if he would be able to put in a good word for me and, the next thing I knew, I received a copy from Ollie of the letter of reference he had provided to Tom. I remember being so overcome with joy and gratitude for Ollie's sweet generosity in his appraisal of my work. Ultimately, I got the job, and I really felt that it was Ollie's letter that had helped bring it about. I've posted that letter below, as well as a previous letter that shows how generous and inspiring Ollie was in his correspondence with me.

While working at Disney, I got to see Frank and Ollie on several occasions, the last time was about 1993, when they were visiting in Florida and Ollie phoned to see if I could meet he and Frank for dinner at Disney's Beach Resort. They mentioned how they both had hit 80 that year, yet they were still in very good health. Though I never did meet with them in person again after that, both Frank and Ollie had been keeping in touch with me for over 15 years through personally designed Christmas cards that we all were producing each year. I may scan in some of those in the days to come to share with you, as both of these wonderful gentlemen were still drawing delightful cartoon likenesses of themselves with their wives on most of their cards. Though a bit shakier with age, their drawings still sparkled with as much life as ever. These cards will continue to bring me great joy in the years to come as I think back fondly on my favourite two of Disney's "Nine Old Men".

Adieu dear Ollie...

"Two Hundred Dollars a Day, Plus Expenses..."

Today is the birthday of my favourite actor of all time, James Garner. So I thought I'd draw up a new caricature of him to mark the occasion. Fortunately, I have plenty of great video reference to work from, but I really felt compelled to depict him in his most famous role of Jim Rockford on "The Rockford Files". I'm so happy that the entire series has been coming out on DVD and I've been enjoying the five seasons released thus far. 

"The Rockford Files" was one of the shining examples of the type of cop shows that were quite prevalent back in the 70's. Shows like "Kojak", "Cannon", "Mannix", and many others were built around the charisma of their central stars rather than the nastiness of the crimes as in so many of today's series. "The Rockford Files" and Peter Falk's "Columbo" were my particular favourites of that popular 70's genre. James Garner had first found success on TV in the role of "Maverick" and, after then going on to prove himself as a leading man in the movies of the 60's, he was lured back to TV to create the role of Jim Rockford, who really was in many ways the continuation of the same lovable con man, Bret Maverick, only this time as a private detective. Not too long ago, I read where writer and series creator, Stephen J. Cannell, had also been inspired by the character of "Travis McGee" in the series of detective novels by John D. MacDonald. Since I'm a big fan of those stories, I guess that's why I also find Jim Rockford so appealing.

James Garner had created an onscreen persona of himself as the "reluctant hero" - the guy who would do his best to avoid trouble, but would ultimately come through when he found himself and others in the thick of it. He'd perfected the character in the wartime film, "The Americanization of Emily" opposite Julie Andrews, where in a very key scene in the film he makes no bones about being a coward rather than a hero, as he contends that cowards live longer while heroes get themselves killed in the folly of war. He went on to play the same type of character in another of my favourite films, "Support Your Local Sheriff", before continuing it as the private detective Jim Rockford, who didn't like to carry a gun unless absolutely necessary and didn't even have a permit to own one anyway.

Back in 1982 when I was just 22, I was in LA visiting my friend, director Bryan Stoller, who, before I'd flown out there, had told me he was going to try and get us both onto the set of "Bret Maverick", Garner's then current TV series, as he knew I was a big fan of Garner's. On the chance that Bryan would be successful, I drew up a caricature of Jim Garner in that role and painted up two originals - one to give him as a gift and the other for him to autograph for me. Sure enough, Bryan got us in there through his Warner Brothers connections and I was able to meet Jim Garner in person! I'm happy to report that Jim was as charming and amiable in real life as he'd appeared onscreen. He was tall and ruggedly handsome even in his mid-50's, and looked every bit like a larger-than-life movie star. The whole cast and crew were very nice to us, and even invited us back to watch the next day when they would be shooting the exterior scenes out on Warners' western street set. To the left is that artwork that he'd signed for me. Though James Garner is getting on and old stunt wounds have taken their toll on his knees, he will always remain my favourite leading actor. They just don't make them like that anymore. Happy Birthday Jimbo!

PS: Here's some happy nostalgia for my fellow boomers!...

Some Rough Stuff

Oftentimes I will sketch personalities from TV with the intention of refining and inking them up later, maybe even doing them in full colour. Here are a couple of recently rediscovered caricatures still in their embryonic rough pencil stage. I was combing through a file drawer full of rough sketches and came across these that I'd sketched a couple years ago, so I thought I'd post them up here just for the heck of it.

The one of Jon Stewart I believe I had sketched from when he hosted the Academy Awards the first time. I was planning to try drawing him again a couple times from "The Daily Show" before committing him to final inking, just to be sure I had the likeness to my satisfaction. That's actually something I often do, waiting for a few days at least before taking a look at a caricature anew with a fresh eye, just in case it then strikes me as falling short of being a good likeness. If I hurry to finish it up immediately after sketching it, I have sometimes been horrified to see that it just isn't the person I thought I had drawn when I look at it later!

In his book, "The World of Hirschfeld", legendary showbiz caricaturist Al Hirschfeld describes this very same dilemma back when he'd been commissioned  in 1967 to do a caricature of TV star Garry Moore for a network ad campaign. After tossing off a sketch of Garry Moore, one of Hirschfeld's neighbours, Mildred Jones, who was visiting with his wife Dolly passed his drawing table and exclaimed, "That's him all right - I'd know him anywhere. Buster Keaton!" Flabbergasted, Hirschfeld ran to his wife to ask her who it was. Without hesitation, she replied, "Buster Keaton". It took him many more furious attempts at sketching Garry Moore before Hirschfeld got a positive identification from wife Dolly, whom he claimed was his most honest critic.

This caricature of Uma Thurman has been languishing in my file drawer for two years as well, although I'm pretty sure it's her, as I had run it by several of my students at Sheridan that year when I was covering the art of caricature, and they all recognized it as lovely Uma. This is one that I really must finish up in colour someday.

"My Friend Rabbit"

I was checking out some of my bookmarked blogs that I hadn't been to in awhile and decided to take a look at Jason Groh's Blammo site. I was quite taken with the publicity image that greeted me in one of his most recent posts, pictured at left, from a new show called "My Friend Rabbit", airing on NBC and also Treehouse here in Canada. Jason, a first-rate cartoonist by the way, is apparently directing this show at Nelvana, so I thought that I should make a point to catch it and see how it looks. 

I caught it on Treehouse today at 1:00 and was quite delighted with it. To be honest, I'm not much of a fan of today's digitally animated TV shows, but this one manages to do the best job I've ever seen with the software it utilizes. (ToonBoom, from what I gather). Yes, there is still some of the computer cutout look that I don't care for, but there is also a lot of real drawing integrated into the animation as well. For instance, when characters walk, their legs and arms are fully animated in the classic style. When they speak, their head shapes may remain static but the mouths are fully articulating the dialogue in a very pleasing manner. There are many original poses created for each scene rather than an over-reliance on "symbols".  But the thing that strikes one initially are the very appealing character and background designs - all rounded, flowing shapes in the more classic studio cartoon approach.

I noticed in the credits that it said that the series was based on the books by Eric Rohmann, so I wanted to see what the original look was that they'd adapted. Interestingly, the animated series put me in mind of Disney's "Winnie-the-Pooh", and seeing the source material from which it is derived makes the comparison seem that much more apt, as the original book illustrations share some similarities to the E.H. Shepard drawings in the Pooh books. Both the Pooh and My Friend Rabbit book illustrations feature designs that are quite charming but perhaps a bit too simplistic to make the transition to animated characters which, in my opinion, need fleshing out in the design to allow for more personality and animated expression. As such, I think that the design team on "My Friend Rabbit" has done a marvelous job at embellishing the designs to make them more appealing and more conducive to the medium of animation.

Though I may not be in the target audience for this show, I know that I would have enjoyed it and been attracted to the design style back when I was of pre-school age. Congratulations to all who are involved in this show - I wish you much success with it! 

Mouse Doodles

Sometimes it seems I'm happiest when drawing "throwaway art" - that is, cartoons for non-commercial, usually trivial reasons. These sketches of a mouse were done on the spur of the moment as a way to brighten up and add a bit of humour to an otherwise rather dry looking assignment sheet for the Character Design class I teach at Sheridan. There was some spare room on the sheet and I decided to fill it creatively. My only regret is not filling the available area more ideally, having left a lot of open air space around each pose. Maybe I'll juggle the elements a bit for more visual appeal before assigning this one next year.

This particular assignment has to do with "Performance", and involves the students choosing any two of the characters they've designed for me previously this year and having them act out two little scenarios I provide in a total of six poses apiece. The three pose example of the mouse is my way of showing them what I expect of their efforts in regards to drawings that communicate a story visually, showing distinct expressions and body language to indicate what the character is thinking and feeling at each stage of the scenario. I know my students have been overwhelmed with the cumulative amount of work involved in the assignments from all of their various animation classes. Despite this daunting workload, my hope is always that they have some fun in my character assignments, as that sense of fun usually can be seen in the final work, resulting in real entertainment value for the viewer.

Solution: Elect a Bachelor Playboy!

This current controversy over New York Gov. Eliot Spitzer getting caught in a prostitution sting really makes me shake my head in wonder. To be honest, I'm not particularly troubled by Gov. Spitzer being caught in an extramarital tryst with a prostitute - that's a matter that should be solely between he and his wife, and I don't think it's fair for we the public to pass judgment. The only relevant aspect to this situation, as far as I'm concerned, is that Gov. Spitzer had set himself up as a crusader against corruption, which included trying to wipe out prostitution from the state of New York. But in a way, who can blame the guy for hypocritically creating this image of himself as a staunch defender of "Family Values" by fighting that which is perceived to threaten those values? I believe that the root of this problem really is the overriding conservative and puritanical mindset that still has a stronghold on the majority of Americans, and that they must shoulder some of the blame for this whole sad downfall of Eliot Spitzer.

You see, it occurs to me that Americans have always insisted that their elected officials at both the state and federal level must meet such silly conditions of electability as being both married and having children. This is especially true of the office of President of the United States. Perhaps there have been one or more single Presidents throughout history, but in my lifetime this pre-set condition of married men with families has been a rule without exception. It seems to me that you Americans would never allow a single man (or woman) to attain that office, though perhaps you should. Because, by insisting that Presidents and Governors always be good, loyal family men, you hold them to such high moral standards that you are often blind to the legitimate work they do in running their governments.

Which brings me to our much different situation here in Canada. Back in 1968 we elected Liberal leader, Pierre Trudeau as our Prime Minister. I think most Canadians, whether they loved him or hated him, would agree that he was our most famous and perhaps most notable Prime Minister. I can say from having lived through those years of "Trudeaumania", that it was indeed an exciting time to be a Canadian, as Trudeau, more than any other PM before or since, really put us on the world map. Pierre Trudeau was a unique man: He was a single and swinging bachelor when first elected, who would date the likes of Barbra Streisand in his first several years as PM. With his fashion sense, wearing mod ascots and with an often present rose in his suit lapel, he was a stylish and dashing fellow who also was very much his own man politically, never kowtowing to other political leaders. Nixon hated him apparently, and when Trudeau was informed that Nixon had referred to him as "That asshole", Trudeau merely shrugged and replied, "I've been called worse things by better people".

Though Trudeau did marry eventually, it was to Margaret Sinclair, a 22 year old "Flower child" who was thirty years younger than him. The marriage produced three sons, two of whom were born on successive Christmas Days no less. The marriage didn't last, however, and the two separated and divorced after Margaret went off to famously party with The Rolling Stones in New York! So we once again had a single Prime Minister, but I guess we liked the job he was doing for Canada because we kept him in office from 1968 to 1984, with just a brief retirement in 1979, having been voted out then re-elected after a disappointing Conservative Government under Joe Clark that lasted only nine months. In the years following his divorce, our Trudeau was seen on the town with the likes of classical guitarist Liona Boyd, Margot Kidder, and even a then twentysomething Kim Cattrall. So you see, we Canadians rather liked the rakish, swinging playboy we'd elected, and were not going to hold him to some impossibly high moral standard. As Trudeau himself famously said as Justice Minister before being elected PM, in regard to Canada's wise decision to decriminalize homosexuality in the mid-60's, "We take the position that there is no place for the state in the bedrooms of the nation."

And so it should be in America too. So long as you maintain that puritanical mindset and obsession with all your elected officials remaining icons of "Family Values", then you are going to continue to see these tragic downfalls of otherwise competent political leaders. As for Canadian politics, I'd gladly take another swinging single playboy Prime Minister like Trudeau anyday!

Oh Yes...The Oscars

The day after the night of the Academy Awards is often a bit of a blur to me. So many awards handed out over several hours with montages and performances wedged in between...Anyway, let's see what I can recall:

First off, I remember seeing the cute and adorable Anne Hathaway coming onstage to present an award for Best Animated Feature with some comic actor by her side. As I recall, the award went to some film about a cooking rat. That is, rather, a rat that cooks. Sorry, I didn't mean to traumatize anyone with that awkward description...


Soon thereafter, we were treated to the first of the Best Song nominees from Disney's "Enchanted", as performed by the star of that film, the cute and adorable Amy Adams, with her big blue eyes and red hair. I think Amy Adams has now supplanted my previous favourite cute and adorable actress, Meg Ryan. Hey, I was loyal to Meg for the last 20 years or so, since seeing her in "When Harry Met Sally". I think it's time to trade up. (Sorry Meg.) Actually, I think Amy Adams should have been nominated herself for her role of "Giselle", the cartoon fairy tale princess who ends up in live-action form in contemporary New York. She played the part to the hilt, giving a note perfect interpretation of what a Disney princess should be. Anyway, here's cute and adorable Amy singing "The Happy Working Song":



Sometime later, the second of the nominated songs from "Enchanted" was performed, this time by Broadway star, the cute and adorable Kristin Chenoweth. If anyone was going to sing "That's How You Know" instead of Amy Adams, I couldn't ask for a better substitute than Kristin, who, as you can tell, is just as cute and adorable as a southern baked cherry pie! I saw Kristen on Jimmy Kimmel's show not long ago. Not only is she cute and adorable, but she's TINY too. She looked like a little girl with her legs dangling over the seat without touching the floor. Anyway, here she is performing a real showstopper from last night's show:



Later on in the telecast, they handed out the award for Best Actress. In what proved to be a real surprise, the award went to French actress, the cute and adorable Marion Cotillard. The role she won for was that of legendary chanteuse, Edith Piaf, in the film, "La Vie en Rose". This was one of my favourite films last year and I was so happy for Marion, who seemed to be as shocked by her win as anyone when she delivered an emotional acceptance speech in her cute and adorable French accented, broken English. Prior to seeing her on the Academy Awards last night, I had not actually seen what Marion Cotillard really looked like, as she is practically unrecognizable as the poor wretched "Little Sparrow", Edith Piaf, who, despite her massive talent, was frankly not exactly that cute and adorable herself. (No wonder the film's makeup artist also won an Oscar last night.) Anyway, here is Marion Cotillard's acceptance speech. And yes, she's not merely cute and adorable - she's GORGEOUS!!



And that's all I seem to recall of last night's Academy Awards.....

Addendum: It appears that all three of those videos have now been pulled. I wonder if it was AMPAS or Disney's decision?