Download Animators of Film and Television: Nineteen Artists, Writers, by Noell K. Wolfgram Evans PDF

By Noell K. Wolfgram Evans

Within the phrases of Walt Disney, "Animation can clarify regardless of the brain of guy can conceive." half biography, half heritage, half inventive statement, this quantity seems to be at numerous significant figures within the box of animation and discusses how their contributions to the paintings of animation have affected the process the industry--and in lots of instances, had an immediate impact on pop culture as an entire. those proficient artists are divided into a number of classifications: Idealists (Art Babbitt, John Hubley); Mavericks (John Kricfalusi, Terry Gilliam); Technicians (the Fleischer Brothers); impacts (Frank Tashlin, Matt Groening, Ray Harryhausen, Ed Benedict); Trailblazers (Lotte Rieniger, Lillian Friedman); Teller of stories (Henry Selick); lecturers (George Newall, Tom Yohe, the FMPU); and Storytellers (Joe provide, invoice Scott, Michael Maltese). every one animator is represented by means of an inventory of his or her key motion pictures and awards.

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Extra resources for Animators of Film and Television: Nineteen Artists, Writers, Producers and Others

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TERRY GILLIAM: “Nope. That was another guy. ”17 Having never been a member of the animation community, Gilliam was really unaware of the “rules” he was supposed to play by and untouched by the pressure that is often felt by a member of a trade community. This “outsider” status allowed Gilliam to create in an unjaded and rather uninfluenced atmosphere. He never had to prove himself to animators that he met climbing the ladder; all he had to do was entertain. His unfiltered style allowed him to purely pour his past, experiences, humor, politics, personality and feelings into his work.

The intent of the college is twofold — to provide true artistic guidance and training and to allow Kricfalusi an opportunity to establish a network of freelance artists with whom he could work. The kind of cartoons I make require these skills, and I can’t afford to teach them during a production. Cartoon budgets go down every year and so I need people who already understand what I’m looking for and are functional. I always want to do layouts in my cartoons — it’s what separates my cartoons visually from so many others, but layout is mostly not done anywhere anymore.

If I have to pick just one film I think it would be UPA’s Rooty Toot Toot by John Hubley. Besides being smart, funny and inventive, that film made me aware of how close animation is to the dance. That animation is choreography and we don’t have to be limited by realistic actions. ”— Bob Kurtz, animator4 Advertising and art directors everywhere began consistently pushing their teams to copy the UPA style. Warner Brothers produced two films in 1954: Goo Goo Goliath and From A to Z-z-z-z-z. UPA’s greatest compliment may have come in 1953 when Disney released Toot-Whistle-Plunk-Boom.

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