Wednesday, December 24, 2008

Have An Ollie Jolly Christmas!


I wrote about legendary Disney animator Ollie Johnston back in April of this year at the time of his passing. Though Ollie lived to a ripe old age, as well as outliving all of his fellow members of "The Nine Old Men", it was still a very sad occasion for me. Even though I had only met with both Ollie Johnston and Frank Thomas on less than a dozen occasions, these two wonderful artists had kept in touch with me through the exchange of Christmas cards each year. I actually ended up on Ollie's list several years earlier than Frank's, so my cards from he and his wife Marie date back to the year 1985, just a year after I had started my own Disney career up here in the Canadian office before later relocating down to Florida's Walt Disney World.

These earlier ones in my collection are my favourites. (Click on them to see them MUCH bigger!) Ollie was in his 70's and there's still a real vitality in his drawings, similar to his rough animation in his years at Disney. There's also a running gag in these about poor Marie having to wear the mouse ears. I've only included some of the cards which feature Ollie's sketches by the way, as there are several later on where he instead printed humourous photos of he and Marie, where Marie still had to pose in the mouse ears! There are two (of three) cards here that show Ollie transforming into a deer while he and Frank were putting a great deal of labour into writing their book on "Bambi".

The 1993 card shows Ollie as he and Frank were working on their next book about "The Disney Villains", which is an overview of all of the villains that were developed for the films, not all of which Frank or Ollie had necessarily worked on so it's not as in-depth as their previous books. This also was their final publication, as they had now both hit 80 and were starting to feel their age. Ollie in particular was suffering from arthritic hands and therefore finding drawing a more painful task too, and you can see that his line is a little less sure than it had been, yet there still remains that vitality and feeling of inner life in these little sketches. 1995 marked the debut of Gypsy and Frisky, the two beloved dogs that Ollie and Marie had welcomed into their home. These two characters remained a fixture throughout most of Ollie's later Christmas cards.

The photo of Ollie at the top of this post is from his 2005 card - the year that he received the National Medal of Arts for his long artistic career, presented to him by President Bush at a ceremony at the White House in November. As you can imagine, this collection of Christmas cards from Ollie and Marie I cherish very much, especially now that this wonderful man has left us to be reunited with his beloved Marie. Ollie Johnston was one of my biggest artistic heroes and was extremely generous to me back when I was just a kid with a dream of working for Disney one day. I am grateful for the tremendous legacy he has left us, and my personal memories of having been fortunate enough to have known him as a friend.

Merry Christmas to you all, and thanks for continuing to drop by The Cave!

Sunday, December 21, 2008

"All the Noise, Noise, Noise, NOISE!!"



Yes, sad to say, but I tend to get a little Grinchy this time of year. Mostly it's due to the drudgery of Christmas shopping. It's not that I don't want to buy gifts for family and friends, mind you, it's just that I end up having a tough time trying to find stuff that I think they will like. In fact, it always seems that I see all sorts of books, CD's and DVD's that I'D like instead! So it does feel like I'm trekking through many a store over and over before I settle on the right gifts to buy for others.

But my main complaint about Christmas shopping is making my way through the overcrowded malls and having my ears assaulted by all of the crappy contemporary Christmas songs! I'm afraid that my tastes in music have always been a lot closer to my parents' generation than that of my own, and in fact as a teen I always preferred the records my Dad played around the house far more than what my peers were listening to at the time. As such, I never did develop a taste for the rock music of the day, although a lot of the pop/rock on the radio back then certainly was a lot more tuneful than what's on nowadays. Which brings me to my complaint.

Why do all of the untalented, similar sounding, young pop/rockers of today feel that they need to release their crap versions of Christmas songs? They all seem to sound the same, as their trilling crap voices meander around the notes without ever really hitting their target, adding in a lot of inane "Yeaaahhh"s to fill in any pauses between the lyrics. And then there are the mindless rappers who have cut melody out of the equation altogether, trying to force in ten times as many words (most of them unintelligible) than the original composers had written in the first place. And all of this tuneless, appalling crap is being blasted at high volume out of every clothing and electronics store that I am forced to pass by.

Now to be fair, there are a few stores and restaurants where I can hear old chestnuts from glorious Christmases past sung by the likes of Bing, Frank, Dino, Sammy, Ella, Peggy, and Nat, but even then there still seems to be a few contemporary crap songs thrown into the mix just to rankle my nerves. Incidentally, why is it only at Christmas that the great singers of the past are allowed to be heard in public at all before being placed in the box of mothballs again for another year? If one didn't know better, one might assume that Bing Crosby had recorded "White Christmas" and nothing else during his entire career!

So there you have it - the reasons for my annual Grinchy demeanor. Please let it be Sinatra singing as I sit down to a plate of roast beast...(sigh)

And speaking of Frank and Dino, here's some fun Christmas music by the all time kings of cool - a surefire remedy for curing Grinchiness:

Thursday, December 18, 2008

Happy Birthday Leonard!



Here's a salute to my favourite film reviewer and historian, Leonard Maltin. I was lucky enough to meet Leonard way back in 1982 when he was one of the attendees at The Ottawa International Animation Festival. He'd only recently started appearing on the newly created "Entertainment Tonight" (which was so much better in those days), so not many people were as familiar with him as they are today. However, I knew of Leonard Maltin primarily as a noted authority on animated films, through his two books, "The Disney Films" and "Of Mice and Magic". Anyway, I wasn't going to be shy about saying hi, so I went up and started chatting with him. He was such an affable fellow that, since he was going to be around the festival all week, I took the opportunity to do a caricature of him and presented it to him a few days later. He seemed quite genuinely delighted with it and was happy to sign my copies of his two books in return. He also extended an invitation to come visit him if I ever found myself in NYC, which I ended up taking him up on about a year later.

At that time, Leonard and his wife Alice were still living in Manhattan, even though Leonard was having to fly to LA for all of his Entertainment Tonight film reviews. Some time later they would relocate to LA in order to make that task more practical. When I saw him in New York he was in the middle of obtaining a second apartment in his building to set up as an office, as his film and cartoon collection had gotten too big for the one apartment they lived in. He and Alice were very gracious to me and Leonard took great delight in showing me his extensive collection of cartoon memorabilia. After an enjoyable visit, they strolled with me back to where I needed to catch a bus back to my hotel.

What I love best about Leonard is his obvious enthusiasm for movies and, even when he does offer up some criticism he is never mean spirited with it, always balancing out the bad with some good. Back when he wrote "The Disney Films" in 1973, it was long before it was fashionable to write about Disney and there were very few textbooks available on the subject. I think that the only two books on Disney I personally had at that time were his and "The Art of Walt Disney" by Christopher Finch. I found myself referring to his book often, as those were still the years of "The Wonderful World of Disney" on Sunday night TV, and I would read up on any of the live action Disney films that were about to show up on there for extra background on their production. What I didn't know at the time was that Leonard would have been only a young fellow of 23 when that incredible reference book was published!

In recent years, longtime Disney fans have Leonard Maltin to thank for his efforts in launching the "Walt Disney Treasures" series of boxed DVD sets devoted to vintage Disney animation, early television productions and Walt Disney, the man himself. Leonard also hosts these DVDs, providing a lot of historical background and supplemental interviews with legendary artists and performers. I have pretty much all of these sets, and find myself returning to them often to indulge in the warm nostalgia of that wonderful era of real entertainment.

Leonard currently has a website called "Leonard Maltin's Movie Crazy" as well as a quarterly publication that showcases vintage films of the early days of Hollywood, his real passion. And since Leonard has been such a loyal friend to animation and Disney over his many years as a film historian, I thought I'd give this new caricature of him an appropriate Disney cartoon-style, sunburst backdrop. By the way, I see from my list of celebrity birthdays that Leonard shares his birthday with Steven Spielberg, which I'm certain makes him happy. But he also shares his birthday with screen legend, Betty Grable, and I'll wager that makes him even happier! Happy Birthday Leonard!

Monday, December 15, 2008

"Walt's People" Volume 7

Here's a shameless plug for a book series I've been connected with since the beginning, having illustrated all of the covers with my Disney caricatures. Didier Ghez, who runs the very informative blog, Disney History, now has the latest volume of "Walt's People" available for purchase. With Christmas coming up fast, you folks may want to buy a whole bunch of these wonderful compilations of historical Disney interviews for the Disney enthusiast in your family. Head on over to Amazon to purchase as many as you can possibly afford!!

Below are the caricatures that adorn the cover of Walt's People Volume 7: Clarence "Ducky" Nash, the voice of Donald Duck; X. Atencio, the Imagineer; and Jim Macdonald, the head of the Sound Effects dept.

Saturday, November 29, 2008

Hitchcock's "Vertigo"



This month on the National Caricaturist Network forums, the subject for the drawing contest is "Hitchcock Films", as decided upon by last month's "B.B. King" contest winner, Vin Altamore. I was overjoyed at this choice of subject, as it gives a lot of scope as to whom we may draw based on whatever Hitchcock film we choose to portray. I really love the films of Alfred Hitchcock, and I had several favourites to choose between, including two starring Cary Grant: "North by Northwest" and "To Catch a Thief". However, my all time favourite is 1958's "Vertigo", starring Jimmy Stewart and Kim Novak and, believe it or not, I'd never really drawn a finished caricature of Jimmy Stewart before, though I recall having done some rough sketches of him many years ago. I had, however, drawn a caricature of the alluring Kim Novak from the other film in which they had co-starred together, "Bell, Book and Candle", which you may view here.

There were actually a lot of creative decisions that went into preparing this image, long before the drawing was finalized. In watching the film again, I wanted to pick out one scene that would seem iconic, and the pivotal scene at the old California mission was just perfect in summing up the movie for me, more so than anything in San Francisco itself, where the bulk of the movie takes place. As you can see by the rough thumbnail sketch pictured at left, I wanted to combine several shots from that scene into one single image that would tell more of what was going on, so in addition to the desperate embrace that Jimmy Stewart has on Kim Novak, I wanted her eyes to be focused on the top of the foreboding bell tower. So I included a forced, 3-point perspective shot (not entirely successful) of the mission to create the suspense, and took it further by using the spinning vortex from the Saul Bass title animation as the backdrop, with the bell itself focused in the centre. Lastly, I had struggled with getting Kim Novak's caricature in this 3/4 view, as I wanted to show her hair at the back in the "Carlotta" bun, indicative of the subplot of her believing she's possessed by the spirit of the mad Spanish woman, Carlotta.

Though I've certainly seen "Vertigo" a number of times, it's amazing how it can continue to engage me with repeated viewings. When you see the film for the first time, there is the shock of the mystery being revealed in the last act, which of course you can never relive a second time. However, even when you know what is going on, it's such a pleasure to watch the characters' faces, as you are aware of what they know and what they don't know at any given time. While Jimmy Stewart was wonderful in anything he did, this may be Kim Novak's finest hour, as she was not always given such great roles to work with in her somewhat spotty career. (I personally liked her a lot co-starring with Frank Sinatra in "Pal Joey", but the critics were not as impressed, I'm afraid.)

I'm including here the trailer for "Vertigo", which will hopefully give the uninitiated a compelling reason to seek this film out. Bernard Herrmann's memorable and haunting score, which plays over this trailer, is just one of many reasons to see it. Also, in the second YouTube clip, some very clever fan of the film has taken it upon himself to revisit all of the major locations in San Francisco where "Vertigo" was filmed, as well as faithfully recreating some atmospheric shots like the pan across the inside of the arched doorways of the old California mission. One interesting note of trivia is that the infamous bell tower had actually been created for "Vertigo" as a matte painting, as the mission's own bell tower had burned down many years prior. That's why you're not going to see any such bell tower in the scenes shot by this film fan. I really encourage all of my readers to watch "Vertigo" if they've never seen it before, as it really is one of Hitchcock's finest works.



Monday, November 24, 2008

Some Important Thoughts on the Economy

I read this article today in my morning Globe and Mail, and am posting it here because it makes a lot of sense. As everybody knows, we have headed into unsettling economic times. And while the prudent thing would seem to be to save one's money, when this trend runs rampant it collectively does a lot of harm to society as a whole. I've always felt that the economy is no different from the human body's own circulation system. Money is like the lifeblood of society: so long as it keeps circulating, everybody prospers. But when it stops circulating, the economy dies a gradual death, with one sector affecting other sectors with a ripple effect. If, on the other hand, everybody spends their money at a normal pace, the money you put into somebody else's pocket for his goods or services will find its way back to you in exchange for your own. That may be an overly simplistic analysis on my part as a layman and not an economist, but I honestly agree with the author of this article in that we must try not to panic, as keeping our money out of circulation will only hurt us all the more. I've put the compelling analogy that the author makes into bold type:



Deflation's big game
When the economy spirals downward, it feeds on itself. But if we set our sights on the right prize, we can work together to prevent things from getting even worse

THOMAS HOMER-DIXON
From Monday's Globe and Mail
November 24, 2008 at 3:16 AM EST
Deflation. It's the economists' dread word, and in the past week it has leapt from a dusty back corner of their lexicon to the front pages of our newspapers.

Deflation refers to a sustained drop in prices caused by falling economic demand - a situation where unemployment of both people and capital soars and where the standard monetary tools that policy-makers use in response, such as interest rate cuts, stop working.

In the worst case, deflation becomes its own cause. People become afraid their incomes might fall in the future. Or they see their savings being ravaged by the stock market collapse. So they stop spending and instead hoard their money. As demand for goods and services drops, companies' profits plummet, leading to layoffs, reduced working hours, and yet more declines in stock prices. The fear of lost income becomes a self-fulfilling prophecy, and people cut their spending further. Once the downward spiral starts, it's maddeningly hard to stop. People expect prices will keep falling, so they decide to put off their spending, because they think things will be cheaper in the future.

The world economy appears to be on the cusp of this kind of vicious cycle. It has entered a synchronized downturn, with economic demand falling fast in every region. Most policy-makers and commentators understand that deflationary cycles are self-reinforcing. But few grasp another key characteristic: Deflationary cycles are, at their core, what social scientists call a collective action problem. And this characteristic has important implications for how we should respond.

The logic of this particular collective action problem plays itself out in our everyday lives. Recently my wife, Sarah, and I were at our kitchen table discussing whether we should renovate our family room this coming spring. Perhaps we should hold off until the economic storm clouds clear, we thought. But then we talked about how such decisions to be prudent, when added up across millions of households and companies, are the main reason why the economic crisis is getting worse so quickly. Yet we also recognized that our family - by itself - can't rescue the economy.

Our conversation cut to the core of the paradox. When everyone else is pulling back, individual families and companies must protect their own interests too. But in this economic crisis, behaviour that's rational for a single family or company is, when everyone behaves the same way, collectively irrational.

Collective action problems come in many forms, and social scientists have developed a whole subfield of research - "game theory" - to try to understand them better. The particular collective action problem we face right now is called a "stag hunt," after a dilemma described by the 18th-century Swiss philosopher Jean-Jacques Rousseau.

Rousseau wrote about a hypothetical situation in which two hunters must co-operate to kill a deer. If a rabbit hops by one of the hunters, he would probably pursue the rabbit "without scruple," said Rousseau. Although the rabbit makes a less satisfying meal, at least it's a guaranteed meal. On the other hand, the deer isn't a guaranteed meal, because neither hunter can be absolutely sure that he can trust the other to help kill it. In the end, though, when one hunter chases a rabbit, collectively both hunters are worse off: While one gets the rabbit, both lose any prospect of getting a deer.

For families and companies in this economic crisis, the choice isn't between a deer and a rabbit, of course, but between spending and saving.

Because we can't trust other people to spend, we do the economic version of chasing the rabbit - we keep our money in our pockets. But this individually cautious behaviour worsens the collective economic crisis, and as the crisis gets worse, we're even more afraid and even less willing to trust others to spend. The main reason deflationary cycles are so diabolically hard for policy-makers to stop is that governments can't force people to trust each other. Instead, all they can do is inject spending directly into the economy, through increased unemployment benefits (because the jobless spend almost all the money they get) and infrastructure investment, and hope that by putting a floor under economic demand, people and companies will eventually become less fearful and start to spend again.


Governments need to move fast, because this crisis, which has taken several forms already, is about to change form again. In the past few months, we've moved from a seizing up of credit markets to the collapse of economic demand in the mainstream economy. Soon we could see a string of sovereign defaults of poor and emerging economies that can't meet their debt obligations.

Even worse, hundreds of millions of previously poor people from Hungary and Turkey to India and China - recent arrivals in the global middle class who've benefited from an economic boom fuelled by endless quantities of cheap credit - are about to see their standard of living fall of a cliff. Around the world, Western-style capitalism will be discredited, as it's perceived to have wiped out people's jobs and life savings.

Our global financial crisis could then morph into a global political crisis, as extremists of all stripes - neo-Nazis in Eastern Europe, hyper-nationalists in China, and Hindu fundamentalists in India - accumulate popular support and power.

Thomas Homer-Dixon holds the CIGI Chair of Global Systems at the Balsillie School of International Affairs in Waterloo.

Saturday, November 22, 2008

The Hills Are Alive With The Sound of Janna!



Back in July I had posted about the outcome of "How Do You Solve a Problem Like Maria?", the CBC TV talent search to cast the role of Maria in the new Andrew Lloyd Webber/David Mirvish production of "The Sound of Music" which has just recently debuted on the Toronto stage. Though the role was officially won by Elicia MacKenzie, the judges were also so impressed with first runner up, Janna Polzin, that a couple weeks later they asked her to be both Elicia's understudy as well as perform as the alternate Maria for the Saturday matinee and Wednesday evening shows. The show opened in October and has met with wide acclaim both from the theatre critics and audiences.

I went to see today's matinee performance starring Janna, and was able to meet with her for a few minutes after the show to present her with this framed print of the caricature I had illustrated of her at the conclusion of the TV series. I'm happy to report that Woodstock Ontario's Janna Polzin is a lovely and gracious young lady in addition to being a phenomenal singer and actress. Janna is a recent graduate of the Musical Theatre program at Sheridan College, where I currently teach in the Animation program. I had actually seen her in Sheridan's production of "The Music Man" three years ago, though her role was only a non-singing bit part that I admittedly cannot recall. I suspect that we also likely passed each other many times in the hallways of Sheridan without my knowing it! Anyway, I certainly know Janna now, and I predict that her success in "The Sound of Music" is going to lead to many more roles in a long and happy career.

By the way, the show itself really is magnificent, with strong performances from all of the leads and a bunch of cute kids as the von Trapp children. The sets are quite inventive, especially the opening number where Maria is first seen lying down in her hilltop alpine meadow gazing up into the sky, where we in the audience see her as if from a bird's eye view above. Then the hilltop slowly angles back into a flat plane, allowing our Maria to stand up and do her famous Julie Andrews twirl as she sings the title song. Janna's voice is clear and pure, with a sweet soprano able to hit all of those high notes perfectly. Broadway's Burke Moses plays Captain von Trapp with a strong voice, and I must say he reminded me a lot of the young Orson Welles, both in vocal quality and appearance! Stratford veteran, Keith Dinicol provides some excellent comic relief as Music impresario, Max Detweiler.

As the production has recently been given an extension through March, I'm very tempted to try and catch another performance to see Elica MacKenzie as Maria. She was also so outstanding during the TV competition and richly deserved winning the role. I suspect she brings her own distinct qualities to Maria, with her bubbly and excitable personality. Incidentally, I'm happy to report that, in sharing the role, these two young ladies (elegantly pictured together here in their evening gowns!) have become very close friends and are very supportive of each other. They're both just so thrilled to have this great opportunity to show Toronto audiences their immense talents and I believe theatre goers will enjoy them both very much in the many months to come. Here's where to go if you're interested in getting tickets to this fine production.

And now, for your added enjoyment, here's one of Janna's performances from "How Do You Solve a Problem Like Maria?", where she sings Andrew Lloyd Webber's hit song from "Evita":

Wednesday, November 19, 2008

Happy Birthday Meg!



Yes, today is Meg Ryan's birthday. I've been a big fan of cute little Meg ever since seeing her in "When Harry Met Sally" way back in 1989. That's still my favourite of her films, though I also liked her in "Sleepless in Seattle" and "French Kiss". Lately, Meg has certainly been trying to take on some different types of roles, but I must admit that I prefer her in the light romantic comedies that she's best known for. (Except for "I.Q.", which was a bit of a clunker!)

Anyway, I thought I should celebrate Meg Ryan today by also posting a couple caricatures I've done over the years, including the one below that was featured on my Christmas card way back in 1999. Alas, the Christmas stockings remained unfilled...(sigh)

Sunday, November 16, 2008

Bits and Pieces...




These are just a couple of recent pics I sketched in pencil, then scanned and coloured up in Photoshop. Both of these young ladies are subjects to be drawn on the National Caricaturist Network forums. I'm not much of a digital painter, I'm afraid, but I do like to add some quick colour to my drawings with the Photoshop program. I was also trying out one of the texture brushes on the backgrounds of these two caricatures. As I am also currently teaching about diversity in face and body design for animated characters, I offer up these sketches as two examples of attractive young women with extremely different features. There is such a wealth of variety to be found when you study what real people actually look like, so there is really no excuse for sticking to the same time-worn template whenever you are trying to come up with a new character design. By taking an honest look at people, you may then observe and analyze the differences in head/face shapes, as well as the relative placement, size and shape of all the individual features.

Something else I wanted to make note of at this time is something that John Kricfalusi had posted recently on his blog, "All Kinds of Stuff". He has written about the cartooning tips in the Famous Artists Cartoon Course which, though it dates back to the 50s, is still as relevant today insofar as showing practical drawing principles. I would particularly like to direct my Sheridan Animation students to these notes, as some of them relate very closely to many of the things I have been specifically talking about in my Character Design course in recent weeks. Here is the direct link to the original source of these pages.

Tuesday, November 4, 2008

President Barack Obama



...And the dawn of a brand new day in America.

I know that all of my fellow Canadians who have supported Obama (and we are legion!) will now join me in wishing the American people well and expressing our immense gratitude to all of you who have shown the courage and good judgment in electing this man as the next President of the United States of America. Bravo!