ASIFA-Hollywood: The International Animated Film Society
Wednesday, August 31, 2005
One of the joys of teaching is when something works out for one of your students. Jeff Price, from Brooks College, is my poster child for volunteerism. Way back on May 21st we called the Animation Rescue Team together to pull the Terry Thoren collection out of Klasky Csypo. Thoren Move
Jeff came out to help move boxes in 103 degree heat never thinking it would get him anything more than heatstroke.
Jeff is the guy in the back on the left with his arms crossed looking proud. And well he should because he had just scored an internship with Tom Sito and Gang of 7.
I think I have talked Jeff into writing about his internship with Tom and Tom and Dave and crew. With any luck his internship log will start showing up in these pages something next week. ¶ 5:22 AM
Tuesday, August 30, 2005
Keeping Up with the Brewers
A couple of days back Jerry Beck, over at Cartoon Brew, started talking about Comic Con 2006. He was marveling that he was booking a hotel room 11 months in advance.
I can do him one better. I booked my second speaker this week for the ASIFA-Hollywood slate of presentations for Comic Con 2006 (Thanks Paul). Comic Con planning is a year round activity folks.
Right now I`m looking for sketch artists to work at the ASIFA booth at Comic Con 2006. We plan on putting up a drawing table and having an animator on duty doing sketches all 4 days of the convention. Are you planning to go to Comic Con 2006? Know how to draw? We want you to draw attention to the ASIFA booth. ¶ 9:18 AM
A couple of days back Jerry Beck, over at Cartoon Brew, started talking about Comic Con 2006. He was marveling that he was booking a hotel room 11 months in advance.
I can do him one better. I booked my second speaker this week for the ASIFA-Hollywood slate of presentations for Comic Con 2006 (Thanks Paul). Comic Con planning is a year round activity folks.
Right now I`m looking for sketch artists to work at the ASIFA booth at Comic Con 2006. We plan on putting up a drawing table and having an animator on duty doing sketches all 4 days of the convention. Are you planning to go to Comic Con 2006? Know how to draw? We want you to draw attention to the ASIFA booth. ¶ 9:18 AM
Monday, August 29, 2005
Report from the Front Lines:
So here it is Monday morning. Another fun weekend of fighting viruses. I keep ripping out * $ @ % # Cool Web Search $ % # ! Trojans and they are back before I am done.
So here it is Monday morning. Another fun weekend of fighting viruses. I keep ripping out * $ @ % # Cool Web Search $ % # ! Trojans and they are back before I am done.
- The only thing that made the weekend livable was the AFI screening of Dream on Silly Dreamer and the news that it will be out on DVD in about 6 weeks. Stay tuned for more info. This is a DVD that every animation teacher needs and every animator should want.
The list of extras is impressive including footage from the Alex screening (which was more like a wrap party for Disney 2-D feature animation) and most of the footage from the interviews. There will be a list of the Film Festivals that turned down or cancelled Dreamer screenings and there is talk of DVD launch party.
- Keep watching the skies or at least this space. Word is that ASIFA has a screening of Corpse Bride scheduled.
- This Wednesday is the ASIFA volunteer`s meeting.
August 31st
7 PM
2114 W. Burbank Blvd
Burbank, CA
This is the meeting where ASIFA happens. Things to be covered include the Archives project, the Annies, upcoming screenings, and future projects under development. There will be pizza and networking and good times.
- Tonight is my second meeting with my Cal State Fullerton History of Animation class. Looks like a good group of students, mostly Animation and illustration students and one art history student. A talented group all. Tonight it is Bray and McCay and Starewicz. I`m looking forward to it.
Saturday, August 27, 2005
Brooks College Digital Arts Festival
Queen Mary
September 19
Featured Speaker Bruce Smith
Queen Mary
September 19
Featured Speaker Bruce Smith
(Bruce Smith: Proud Family Series, Proud Family the Movie, Home on the Range, The Emperor`s New Groove, The Indescribable Nth, Tarzan , Space Jam , C-Bear and Jamal, and A Goofy Movie)
Date: Monday September 19, 2005
Time: 6:00-10:00 p.m.
Location: Queen Mary - Sunset Lounge
Parking: Need validation
Cost: Free
You must register online to attend: Laugh is hope Comedy Club at the Queen Mary
AGENDA:
6:00 -7:00 p.m. Featured Speaker
8:00-8:30 p.m. Multimedia
8:30- 9:00 p.m. Animation
9:00-9:30 p.m. Comedy
9:30-10:00 p.m. Question & Answer Bruce Smith
Friday, August 26, 2005
Not Dumb Enough for my Own Good:
I have just decided that I am technically misplaced in time and it is my own not-dumb-enough fault. If I were like most of the people in my generation my son would have had to have learned more about computers out of self-defense. But no, I had to be leading edge. I had to do computer driven animatronics with synthetic speech and phoneme activated lip/muscle slave response way back in 1981.
Not only have I done damage to myself and distanced myself from my whole generation, I have done damage to my son who should by all rights be the computer guru in the house fighting this virus right now while I stand around asking stupid questions about RAM and ROM and saying things like maybe if we just reboot one more time?.
I know it is still there. It turned off my virus protection and firewall software on the way past my defenses and I am still getting a floppy disk(s) fail (40) message at bootup. The root virus protection was turned off in CMOS. It`s still in there. The little spyware infections I have stamped out are just smokescreen. I know it is still in there but I can`t find it.
I am sorry Tobias, my son; I have damaged your computer skills development by being too self-sufficient. Right now you don`t know how sorry I really am. ¶ 9:07 AM
I have just decided that I am technically misplaced in time and it is my own not-dumb-enough fault. If I were like most of the people in my generation my son would have had to have learned more about computers out of self-defense. But no, I had to be leading edge. I had to do computer driven animatronics with synthetic speech and phoneme activated lip/muscle slave response way back in 1981.
Not only have I done damage to myself and distanced myself from my whole generation, I have done damage to my son who should by all rights be the computer guru in the house fighting this virus right now while I stand around asking stupid questions about RAM and ROM and saying things like maybe if we just reboot one more time?.
I know it is still there. It turned off my virus protection and firewall software on the way past my defenses and I am still getting a floppy disk(s) fail (40) message at bootup. The root virus protection was turned off in CMOS. It`s still in there. The little spyware infections I have stamped out are just smokescreen. I know it is still in there but I can`t find it.
I am sorry Tobias, my son; I have damaged your computer skills development by being too self-sufficient. Right now you don`t know how sorry I really am. ¶ 9:07 AM
Tuesday, August 23, 2005
Remember to mark your calendar:
VALIANT
Thursday, August 25th, 7:30 pm
Alex Theatre
216 North Brand Boulevard
Glendale, CA
RSVP to: (818) 295-5213
Rated: G - Running Time: 76 minutes
DREAM ON, SILLY DREAMER
A documentary by Dan Lund & Tony West
Saturday August 27th - 3:00 PM
AMERICAN FILM INSTITUTE
Ted Ashley/ Warner Bros. Screening Room
2021 N. Western Ave.
Hollywood, CA
ASIFA-HOLLYWOOD MEMBERS FREE - GENERAL PUBLIC: $10 admission ¶ 7:57 AM
VALIANT
Thursday, August 25th, 7:30 pm
Alex Theatre
216 North Brand Boulevard
Glendale, CA
RSVP to: (818) 295-5213
Rated: G - Running Time: 76 minutes
DREAM ON, SILLY DREAMER
A documentary by Dan Lund & Tony West
Saturday August 27th - 3:00 PM
AMERICAN FILM INSTITUTE
Ted Ashley/ Warner Bros. Screening Room
2021 N. Western Ave.
Hollywood, CA
ASIFA-HOLLYWOOD MEMBERS FREE - GENERAL PUBLIC: $10 admission ¶ 7:57 AM
Here is a late update, I missed Friz`s birthday. That is another thing to damn the virus writers for. Friz was one of the Kansas City Boys. They put super animation secret formula in the water there. That is the only way to explain the talent that came out of this city in the 1920`s.
¶ 7:45 AMLarry,
Sorry to hear about your virus problems. Here is the blog entry I sent for yesterday. Use it as you will. Friz Freleng's 100th B-Day!The great Looney Tunes Director Isadore "Friz" Freleng was born in Kansas City 100 years ago Aug 21st . Friz (not Fritz) was one of the earliest Disney animators, who came out to LA with Walt in 1923.
He left Disney in 1929 ("too much politics" he said)and helped start the Leon Schlesinger Studio that were going to make Looney Tunes and Merry Melodies for Warner Bros. Friz became one of the great Warner Bros directors. Back Alley Op-Roar, Buccaneer Bugs, Miss Glory, the 3D cartoon Lumberjack Rabbit, and many more. His at times bad temper and short stature were lampooned in the creation of the character Yosemite Sam. The foot stomping "ooooooohhhhh!!" was reportedly inspired from one of Friz's meltdowns. He not only could take a joke, he took the character and made it a standard in his repertoire.
By 1964 when it seemed Warners wanted out of the animation business Friz took the crew and formed DePatie-Freleng. There he created the Pink Panther character among many other shows. He died in 1995 at age 89. A skillful office diplomat and businessman, He once told me "Never tell people what you really think until you are 89 or a millionaire". He became both. Happy Birthday Friz!
Tom Sito
Monday, August 22, 2005
I am still alive but my computer was hit by a virus attack this weekend right in the middle of my return to my animation project. There is no where for the anger to go.
My time has been raped by some sick pig and my mind keeps saying, in crime writer fashion, follow the money. Who benifits from this. Who makes money off of computer viruses? Is it high tech blackmail? No it couldn`t be our paid anti-virus heroes? ¶ 9:06 AM
My time has been raped by some sick pig and my mind keeps saying, in crime writer fashion, follow the money. Who benifits from this. Who makes money off of computer viruses? Is it high tech blackmail? No it couldn`t be our paid anti-virus heroes? ¶ 9:06 AM
Friday, August 19, 2005
In an attempt to get away from the unbearable sadness caused by the untimely death of Joe Ranft that has permeated the animation community and the Internet animation sites (this one included) I went out looking for web sites that didn`t deal completely with animation.
Mark Evanier`s mePOV blog has a story on the new home of Mort Walker`s National Cartoon Museum. I well remember it in its Greenwich, Conn. incarnation. I still have a T-shirt that I bought at the time even if it will no longer fits me. Those things all seem to shrink for some reason.
I went there with a girl named Norma that my 8th grade art class buddy, Steve Rothman, set me up with. I was in the area to show my portfolio to the Joe Kubert school and the Cartoon Museum was the one place I really wanted to go.
Over the years I have followed their downward spiral with sadness. I am glad to hear that things are starting to look up for this important work.
Here is what the New York Times has to say about it Mort Museum ¶ 8:37 AM
Mark Evanier`s mePOV blog has a story on the new home of Mort Walker`s National Cartoon Museum. I well remember it in its Greenwich, Conn. incarnation. I still have a T-shirt that I bought at the time even if it will no longer fits me. Those things all seem to shrink for some reason.
I went there with a girl named Norma that my 8th grade art class buddy, Steve Rothman, set me up with. I was in the area to show my portfolio to the Joe Kubert school and the Cartoon Museum was the one place I really wanted to go.
Over the years I have followed their downward spiral with sadness. I am glad to hear that things are starting to look up for this important work.
Here is what the New York Times has to say about it Mort Museum ¶ 8:37 AM
Thursday, August 18, 2005
Joe Ranft Remembered:
We just heard about the death of Joe Ranft. Joe died much too young, age 45, in a car crash in Montecito. Joe was one of the finest story artists in animation. He was one of the most important contributors to the great PIXAR films, as well as Disney hits like the Lion King and Beauty and the Beast. Tutored by the past Disney storyboard greats like Vance Gerry and Bill Peet, Joe passed on his inspiration and experience to dozens of new artists. He literally wrote the manual on how to do storyboards for feature animation. Here is what Ronnie Del Carmen had to say about Joe in his blog:
I worked with Joe on a many a Disney story meeting like Roger Rabbitt and Lion King. He was one of the few people I knew who never had a bad word to say about anyone, and who no one could meet and not immediately like. What a terrible loss. I will miss him, the whole animation community will miss him.
-Tom Sito
Ronnie Del Carmen
Cartoon Brew
Hollywood Reporter
Animation Nation
Luxo ¶ 8:31 AM
We just heard about the death of Joe Ranft. Joe died much too young, age 45, in a car crash in Montecito. Joe was one of the finest story artists in animation. He was one of the most important contributors to the great PIXAR films, as well as Disney hits like the Lion King and Beauty and the Beast. Tutored by the past Disney storyboard greats like Vance Gerry and Bill Peet, Joe passed on his inspiration and experience to dozens of new artists. He literally wrote the manual on how to do storyboards for feature animation. Here is what Ronnie Del Carmen had to say about Joe in his blog:
He was the very first Head of Story in PIXAR feature animation and I've had many talks with him about how that came about--but the likely reason that this position continues to be necessary is because he defined the role from the very beginning and is still the very best example of how to do it. To the benefit of all subsequent feature endeavors he had been part of and all future HOS's that have had to do the job anywhere. Mighty big shoes.
When I entered the building I saw Mari, Bill and Gaylyn at the stairwell, all visibly dealing with heavy emotions. It was only when Kevin Reher walked me into my office and told me I figure why. I got the wind knocked out of me. It is a massive surge of disbelief, I cannot process it still. I searched out the story people I've served with, Jason Katz, Jim Capobianco, Matt Luhn...People cannot say much but just gave each other embraces to quell the sadness. Eventually we all met at the atrium. It is the saddest day at Pixar. The population at work had never been this silent except for the sound of grief. Ed Catmull, visibly shaken walked out to deliver the sad news. John Lasseter stood beside him but could not speak.
Joe is the very best story man ever and the best human being I've known in animation. He is mentor, friend and inspiration to all of us who do this job. The last meeting I had with Joe was a Story Lead meeting where we share the collective known knowlege of those of us who've done Head of story jobs. Great stories of how to and why. And we earmark things we want to improve. As always with Joe it was about accentuating the positive and finding what works with people. I will miss him.
Our heartfelt prayers to his family. RDC
I worked with Joe on a many a Disney story meeting like Roger Rabbitt and Lion King. He was one of the few people I knew who never had a bad word to say about anyone, and who no one could meet and not immediately like. What a terrible loss. I will miss him, the whole animation community will miss him.
-Tom Sito
Ronnie Del Carmen
Cartoon Brew
Hollywood Reporter
Animation Nation
Luxo ¶ 8:31 AM
Wednesday, August 17, 2005
I spent the last week getting ready for my upcoming Animation History class at Cal State Fullerton. I have picked a new textbook for the class because there is a new book available.
For the last couple of years I have had to use a book that had the sole advantage of being more current that other much better books. That was its only advantages. I would spend the first class telling students the pages that needed corrections; page 107 where it states that Snow White came out in 1939, wrong, first screening was December 21st 1937. And what they didn`t say about Emile Cohl, don`t get me started. Thank gods that is behind me.
It was with great joy that I was able to pick Animation Art: From Pencil to Pixel, the History of Cartoons, Anime, and CGI. And it is not just because Jerry Beck, Will Ryan, Tom Knott, Fred Patten and half of the other people working on this book are friends of mine.
No one book is going to cover the history of animation, it can`t be done. You need to read every book and talk to everyone you can find before you come close to getting any type of handle on this subject. But this book comes closer to a one source book than any I have seen so far.
This means that for the first time I can assign reading so that the student will get the base framework of the subject and spend my classtime showing rare animations that fit into that framework. I am looking forward to this class. ¶ 7:22 AM
Tuesday, August 16, 2005
Filmmakers Without Roots:
I do this class on preproduction were I show a whole lot of film and talk about camera angles and visual storytelling. I show lots of classic live action films to my students and try to get students to think like filmmakers.
Every semester the class has at least one film buff in the group that kind of saves the day and teaches the rest of the group on a peer to peer level with lots of after hours video watching. Every time but this semester, John Ford who? Hitchcock who? Akira Kurosawa does he do Anime? My gods, these guys are doomed.
It has got me to thinking, a Top 100 Live Action Films that all animation students should see. Who and what would be on it and why?
I am working on putting a list together. If you have any ideas what should be on it then give me an email (if not then I will have to do all my work myself). ¶ 8:37 AM
I do this class on preproduction were I show a whole lot of film and talk about camera angles and visual storytelling. I show lots of classic live action films to my students and try to get students to think like filmmakers.
Every semester the class has at least one film buff in the group that kind of saves the day and teaches the rest of the group on a peer to peer level with lots of after hours video watching. Every time but this semester, John Ford who? Hitchcock who? Akira Kurosawa does he do Anime? My gods, these guys are doomed.
It has got me to thinking, a Top 100 Live Action Films that all animation students should see. Who and what would be on it and why?
- Sam Peckinpah - The Wild Bunch?
- Vittorio De Sica - The Bicycle Thief
- D.W. Griffith - The Birth of a Nation
- Orson Welles - Touch of Evil
- Sergio Leone - The Good, the Bad, and the Ugly
I am working on putting a list together. If you have any ideas what should be on it then give me an email (if not then I will have to do all my work myself). ¶ 8:37 AM
Thursday August 25th - 7:30 pm
A Walt Disney Pictures` presentation
VALIANT
A Vanguard Animation Production
Directed by Gary Chapman
Asifa-Hollywood members and their families are cordially invited to a special screening of Valiant.
From the producer of Shrek and Shrek 2, comes this high-flying computer-animated comedy-adventure tale of a brave-but-undersized pigeon named Valiant (voiced by Ewan McGregor), who dreams of joining the elite Royal Homing Pigeon Service (RHPS), and serving crown and country during World War II. John Cleese, Tim Curry, Jim Broadbent, and an all-star vocal cast of British favorites also add to the fun and excitement of this imaginative feature.
Story by: George Webster. Screenplay: Jordan Katz, George Webster, George Melrod. Music by: George Fenton. Producer: John H. Williams. A Walt Disney Pictures release.
Thursday, August 25th, 7:30 pm
Alex Theatre
216 North Brand Boulevard
Glendale, CA
RSVP to: (818) 295-5213
Rated: G - Running Time: 76 minutes ¶ 4:59 AM
Sunday, August 14, 2005
Pitching 3-D:
I am not that knowledgeable about the Visual Effects Society. I have heard about them but never attended one of their evens. Shame on me. Sadly, I had to check the email address to find out what VES stood for; I had never seen it abbreviated.
But I do know Pam Thompson and she is good people and I know what she stands for. This should be a good event. Looks like a great lineup of industry heavyweights. Thanks for including ASIFA Pam. Anything dealing with the pitch process is an important event for professional development.
I am not that knowledgeable about the Visual Effects Society. I have heard about them but never attended one of their evens. Shame on me. Sadly, I had to check the email address to find out what VES stood for; I had never seen it abbreviated.
But I do know Pam Thompson and she is good people and I know what she stands for. This should be a good event. Looks like a great lineup of industry heavyweights. Thanks for including ASIFA Pam. Anything dealing with the pitch process is an important event for professional development.
Could you help get the word out about this to the ASIFA membership? Thanks so much! Hope you are having a cool summer!¶ 9:12 AM
Pamela Thompson
Recruiter/Career Coach
Ideas to Go
This event is also open to members of ASIFA.
Dear VES Members,
Wondering what`s the next event? Well wonder no more. The Education Committee has developed an exciting two-part event on Animation. Coordinated by Janet Muswell and Susan Zwerman, Here are the details.
PART 1
ARTISTIC PITCHING FOR ANIMATION
This seminar is geared towards everyone out there that has a great idea. If you think you have the makings of the next great 3D animation blockbuster, our panelists will give you an in depth insight on how to present and pitch your project to a studio, what works for 3D and why, what makes a successful studio pitch and what materials are needed - from concept to finish product.
Our amazing panel comprises of :
- Francis Glebas - Moderator - Animation Director - Disney
- Frank Gladstone -VP of Artistic Development - IDT Entertainment, Feature Animation
- Karen Foster - Creative Executive - DreamWorks Animation
- Mark Andrews - Director - Pixar
- Roland Poindexter - SR VP of WBA (Warner Bros. Animation) Development
- Heather Kenyon - Senior Director - Cartoon Network
- Peter Gal - Director, Development - Nickelodeon
Date: SATURDAY - SEPT 10, 2005
Time: 10:30AM - 1:30PM
Location: SONY THEATER
9050 W. Washington Blvd.
Culver City, 90232
Tickets: $15.00 VES Members and ASIFA members
$20.00 General Public and at door
Please call the VES office 310/822-9181 or email the Visual Effects Society to order your tickets today. Hurry, seating is limited and you do NOT want to miss this once in a lifetime opportunity. See you there!
Saturday, August 13, 2005
When You Wish Upon a Dream:
The good times come and go in animation as in any field. Animation highpoints are looked back on through a rose colored haze of awe. Dan Lund has put a real face on history. Every animation student should be required by law to see this documentary so that later they can`t say that no one warned them. I only hope that Dan and Tony make it available to educators.
This is not as much of a bitchfest of pointing fingers and blaming Disney management as you would think. Sure there are some pissed off people but this is an even handed look at what happened with a look at all sides of the question included the short lived animation rock star syndrome.
The word I got is that the filmmakers should be in attendance. Jerry Beck`s AFI screenings are a lot more intimate setting than the Alex. If you haven`t seen this film you have to!
ASIFA-Hollywood presents
DREAM ON, SILLY DREAMER
A documentary by Dan Lund & Tony West
Nearly two years in the making, DREAM ON SILLY DREAMER marks the sad, final chapter of the now extinct hand-drawn art form that was the cornerstone of Walt Disney Feature Animation. Building on the rich seventy seven year history of an American icon and paying homage to the Disney classics, director Dan Lund and producer Tony West tell the revealing tale of how that storied icon came to a crashing, albeit untimely, end.
This new animated documentary features interviews recorded only seconds after the now infamous "Town Meeting". You will hear what was said, the reasons offered by the company and feel the emotional responses from those being affected at that moment in time. In this documentary, you will meet a handful of these artists, hear their side of the story and share in their recollections of "the good old days".
Don't miss this rare screening and special in-person guests. More details to be announced soon. Visit the Dream On website for more details about this remarkable project.
Saturday August 27th - 3:00 PM
AMERICAN FILM INSTITUTE
Ted Ashley/ Warner Bros. Screening Room
2021 N. Western Ave.
Hollywood, CA
ASIFA-HOLLYWOOD MEMBERS FREE - GENERAL PUBLIC: $10 admission
¶ 9:38 AM
Friday, August 12, 2005
Why Eric Goldberg is a Bloody Genius:
Way back in 1996 when ASIFA-Hollywood was still putting on Anifest (I miss them) Eric Goldberg and a number of other animators did some art that was printed up and sold to raise money for ASIFA.
We had some of the leftovers for sale at Comic Con this year. From the first second I saw Eric`s drawings I wanted to take and complete the animation of his extremes. It is all there. These 3 drawings are an animation all on their own without any need for inbetweens.
All I have done here is line them up put a little timing to Eric`s drawings. Now that is animation. That is beautiful. The true touch of a master animator. (Don`t blush Eric, you know it is true)
We still have some of these Anifest prints if anybody wants to buy them. We were selling them for $5 each at Comic Con and I guess we would need a dollar for shipping and handling. Give me an email if you are interested. ¶ 9:31 PM
Way back in 1996 when ASIFA-Hollywood was still putting on Anifest (I miss them) Eric Goldberg and a number of other animators did some art that was printed up and sold to raise money for ASIFA.
We had some of the leftovers for sale at Comic Con this year. From the first second I saw Eric`s drawings I wanted to take and complete the animation of his extremes. It is all there. These 3 drawings are an animation all on their own without any need for inbetweens.
All I have done here is line them up put a little timing to Eric`s drawings. Now that is animation. That is beautiful. The true touch of a master animator. (Don`t blush Eric, you know it is true)
We still have some of these Anifest prints if anybody wants to buy them. We were selling them for $5 each at Comic Con and I guess we would need a dollar for shipping and handling. Give me an email if you are interested. ¶ 9:31 PM
Voice Over Resource Guide:
I have been hanging with voice people of late. Don`t know just why. Things like that happen. Last year I was hanging out with people claiming to be ex-KGB agents. Life is always fun but I think I like the current trend a little better.
ASIFA`s beloved Tinker Bell, Margaret Kerry, has been doing a Voice Acting Tryout seminar for me at Comic Con for the last 3 years. Fun event, but that is not what I am here to talk about.
Somebody gave her a box full of the Voice Over Resource Guide to hand out at said seminar. The leftovers of which I have inherited (the box of books, not the seminar). Not being a true voice person myself (I do my own voices when I can`t find someone good) I have never seen this book before but I am impressed.
The goal of this book is to help Voice Over people learn their craft and find work. It lists voice agents, Recording studios, casting services, union phone numbers, VO training, demo producers, talent agencies, and duplication.
In short, everything a voice person wants to jumpstart their career. As an animator who might just want to find voice talent some day this book is also a gold mine. I`ve got what is left of the box of Voice Over Resource Guide which I am going to be giving out to the different schools I work for. You folks might want to click on over and see about getting your own copy at the Voice Over Resource Guide Web Site. ¶ 9:17 AM
Wednesday, August 10, 2005
Bob Bergen Speaks: Part 1 & Part 2
The following is part 1 of an e-mail interview with legendary animation voice and voice over teacher Bob Bergen. Bob did half the the interview and emiled it to me before he ran off to a convention in Orlando. Now that he is back he has finished answering my questions. I have reprinted part 1 here and added part 2 at the end.
If you have already read part 1 (shown below in blue) you can skip down the page to part 2.
Not only is Bob the official voice of Porky Pig, he has voiced Luke Skywalker for a number of Star Wars animations, done the voices of Marvin the Martian, Tweety Bird, voiced No-Face and the Frog in Miyazaki`s Spirited Away (along with a number of other Anime redubs) done Additional Voices in just about everything and has been teaching Voice Over seminars for over 18 years.
LL: Bob, first off, thank you for doing this interview and thank you for running in and doing the last half of the ASIFA State of the Animation Industry panel at Comic Con. You saved our butt on that one.
BB: You`re welcome!! I had a blast at Comic-con!! And I enjoy panel hopping. It allows me to keep my pigish figure!
LL: Let`s start with your background, how did you get into this crazy business and when did you know that this is what you want to do?
BB: I was 5 when I told my folks I wanted to be Porky Pig when I grew up. Not the kinda thing a Jewish mother wants to hear. My Dad moved the family to LA when I was 14, and I went through the Yellow Pages looking up anything and everything that said "cartoon" or "animation". I found Hanna Barbara`s number and talked to Ginny McSwain, who referred me to Daws Butler. I studied with Daws for years, along with anyone else who taught a voice-over class in LA. A week after high school I got my first agent, Don Pitts. That same week I booked my first cartoon, Spiderman and his Amazing Friends. I worked as a tour guide at Universal for about 5 years before I was able to make it fulltime as an actor.
LL: You have been teaching your Voice Over seminars for 18 years. That means, first off, that you like teaching. Secondly, it means that you have mentored a lot of people.
How did you get into teaching?
BB: I was doing a play in 1987. My bio in the program mentioned my voice-over background. A gentleman came up to me after one of the performances and told me he was opening an acting school, and wondered if I was interested in teaching an animation voice-over class. I told him no, but thanks for asking. A few weeks later I was contacted by SAG asking if I would teach a seminar for members. They paid nothing, so I decided to do it. I figured if I sucked I wouldn`t feel guilty about getting paid. I found I not only enjoyed it, I was good at it! So I taught for free at SAG Conservatory for about a year. I then contacted the guy from the acting school and offered my services as their animation VO instructor. I taught there for about a year before opening my private animation voice-over workshop. Not only do I teach here in LA, but I also travel the country teaching weekend animation voice-over seminars.
LL: What do you get out of teaching other people to be your competition?
BB: I never think of it that way. My philosophy is if you are right for the job you`re going to get it, no matter who the competition is. This business is always looking for new talent. I take it as a compliment, and quite honestly get a thrill out of seeing a former student make it in the business.
LL: Who are your successful former students?
BB: OY, it`s 3:30 am, and I`m about to leave for a fan convention. My mind isn`t working on full caffein capacity yet, but here`s a short list off the top of my sleepy head:
Quinton Flynn, who does lots of cartoons including Johnny Quest,
His brother Bart [Flynn] who does the promos for Jeopardy! (good talent genes in the Flynn family)
Michael Reisz.
I know there are oodles more but just can`t think right now. I`ll get back to you when I get back on this one.
LL: Who were your mentors in the business?
BB: Mel Blanc, Daws Butler, June Foray, Frank Welker, Dom Messick, Paul Winchell, etc.
LL: One of the things that stayed with me from your appearance on the ASIFA panel at Comic Con is a statement you made about animation voice acting not just being funny voices, it was finding the character and acting in that funny voice. I knew I butchered the paraphrase so why don`t you restate and then explain/expand this idea a little more?
BB: It`s not about how many voices you can do, but rather how good an actor you are with the voices you have. In this business they are looking for actors first and funny voice people second. This means if you do 5000 voices but can`t act the odds are against you. But if you are a solidly trained actor, you stand a better chance of making it.
LL: I have been out to your web-site as of late. I noticed that you talk or write about your 3-step process for creating and sustaining a voice characterization. If it would not give away the secrets of your seminars could you talk a little about that process and where you came up with it?
BB: I came up with this from experience. It`s a combination of the classes and workshops I took, various directors I`ve worked with, and my own take on creating characters. The 3 things that make up a good character are:
1) The Voice
2) Your acting
3) A signature, which is that lil something "extra" that you the actor bring to the character that makes it memorable and gives it the essennce of it`s personality. It can be a catch phrase, an accent or dialect, phrasing or a specific speech pattern, impressions, etc. It`s Porky`s stutter, Homer Simpson`s "D`oh!!", Snagglepuss` "Exit, stage left!!", etc. It`s the "it" factor when it comes to cartoons and auditioning for cartoons. It`s why one actor gets the job over the other 500 who didn`t. It`s taking risks, not being safe. And it`s often hard to define.
LL: As a fellow teacher I know the secret that all teachers know and no one else will ever believe, mainly, that the teacher gets more out of the lesson than the student does. I think that is mainly because we don`t really know what we know until we organize it so that we can teach it to someone else.
Do you find any truth to this statement or am I just full of it?
If there is any truth to this statement, do you have any examples of this from your 18 years as a teacher?
BB: Absolutely!!! I learn from my students all the time. When I`m auditioning or working I`m too busy in my own process to be able to self direct the way I can with my students. I`ll often times give a student direction or an idea to play with, then write it down for my own future auditions. I also encourage all students to pay attention to their fellow classmates while they are at the mic. Don`t lose out on an opportunity to take the ideas they are throwing out in the booth, or the direction they are being given by the teacher!
LL: The question that everybody outside the business always want to know, how to you break in? How much does networking have to do with it? What are the best places to network? And how should you act in the presence of professionals and heroes?
BB: It`s all about who you know. But you`d better be ready for the opportunity when you`re asked to show your wares. This means don`t pursue til you are ready! In voice-over you get one shot per listener. Make it count!!!! And keep in mind that your "heros" are just regular folks who are fortunate and talented enough to be able to make a living at what they do. I don`t know of any VO actor who doesn`t love to take the time to talk to fans. They paid for our houses!!! Just be courteous, and don`t ask them to do funny voices in the men`s/ladie`s room !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! As for networking, classes, cons, etc. I also have a monthly happy hour I put together for anyone in or interested in the world of voice-over. I call it VOX on the Rocks. The info is on my website. If you live in LA come join the fun!! We get everyone from actors, to students, casting directors, agents, studio engineers, etc. It`s more of a social thing than a blatant networking thing. But it`s a great way to meet really cool people within the business.
OK-that`s all for now. More to come!!
;-),
BB
END PART ONE:
Part 2:
LL: You have a very exciting event coming up this February. You are taking your voice acting seminar to the high seas in the form of a cruise and seminar to Ensenada. I know that you picked up a lot of bookings at Comic
Con.
Do you still have some cabins available?
What is the cost?
What in the agenda?
Here is your chance to go completely commercial and tell everybody about this event.
BB: Thanks for the opportunity to talk about this. The cruise is an idea I've had for quite some time. It's a 3 day cruise to Ensenada, Mexico. While at sea I'll be teaching my animation voice-over seminar.
This is the same weekend seminar I teach around the country, only this one has a 24 hour buffett! ;-) Everyone will work on mic with real animation audition copy. They'll also leave with information on agents, casting directors, demo producers, etc., from all over the country.
Included in the weekend will be a 2 hour Business of the Business seminar.Q&A. My goal is that everyone leaves this excursion knowing all they need to know about the world of voice-over, though the on mic work will be exclusively animation and character.
The first night on board we will have a meet and greet cocktail party. Sort of like VOX on the Rocks (see above).
The next day we port in Mexico.
That night I'll be performing my one man show "Bob Bergen: Not Just Another Pretty Voice" which ran for 3 months here in LA, and was also adapted as an opening act for Kenny Rogers' concert tour.
So you can see this will be a very full weekend.
As for the costs, people should refer to my website bobbergen.com as the costs vary depending on cabin size. However, I do know that cabins are cheaper if you share a room!! There is an additional cost of $200.00 per person to participate in my workshops and VO related activities.
This is at a discounted price from my regular weekend seminars, which run about $400.00 per person. FYI-my goal is to do a longer, more exotic cruise in the future. Included in that cruise would be voice-over seminars and workshops taught by a variety of voice-over professionals, including agents from all over the country, casting directors, demo producers, commercial voice-over instructors, anime, ADR, etc. This, again, is my goal. If my animation cruise in February is a hit, I'll then start putting together the BIG voice-over cruise.
Cabins are still available for the February cruise, but the cruise line has a cuttoff date. I don't know what that date is as of right now. You can get info about the cruise on my website or call Georege Aballi at Connection to Cruise at (888) 798-9133.
LL: What is in the future for Bob Bergen? What projects (that you can talk about) are you working on now?
How about public appearances? Anything coming up there? And personal projects, are you working on something of your own? Do you want to directed?
BB: I'm working on 2 series right now, Curious George and The Emperor's New School. I have lots of commercials on the air, and several CD Roms including voicing Luke Skywalker in LucasArts latest Star Wars games.
I have a book I'm in the process of researching, as well as original projects I'm hoping to develop both animated and non animated. As for directing, I'm dying to voice direct!!!!!! I've been teaching for 18 years and voice directing would be a great next level to my career.
LL: What about all the stars getting voice parts? What are your thoughts on this trend?
BB: This is not a new phenominon. Disney has used celebs to voice their cartoons forever. In the early films many of the celebs were from radio. The reason it feels like this is a new trend is because there is much more animated product out there today then there use to be. What with animated features, straight to video, Cartoon Network, etc., there's never been more animation products available to consumers. That said, I think that at times a "personality" adds to the character. But I don't think that "celebrity" brings in box office. Toy Story is a perfect example of celebrities whose personalities brought the characters to life, and gave the animators so much to work with.
Then there's a film like Sinbad, where no matter what kind of a star he is Brad Pitt's celebrity wasn't enough. There are many brilliantly trained animation actors who only get a chance to play supporting characters or record temp tracks because studios want names to voice the leads. The bottom line is, it's always about script, story, and character. There isn't a Julia Roberts or Tom Crusie in Hollywood who can use their celebrity to make a bad animated script/story good.
LL: A lot of Voice Over people also act or do stand up. Is that something you do or would want to do?
BB: I host. I love hosting. I hosted a kid's version of Jeopardy! a few years back called Jep! for Gameshow Network. Back in the 80s I did a lot of sitcoms and soap work. Then my VO career took off. I`d love to do more theatrical work.
LL: Anything you want to say to the ASIFA-Hollywood audience while we have them here?
BB: Follow your dream and enjoy the journey!!! Because the journey never ends!!!!!!!!!!!!!!! Have fun!!!!!!!!!
LL: Thank you so much for being part of this interview and good luck with you Voice Cruise.
BB: Thanks!! Come take the cruise, folks!! I promise a good ol time!! Eh-thuh-the-eh-thuh-the-eh-thuh-that's all folks!! bobbergen.com
¶ 5:12 AM
The following is part 1 of an e-mail interview with legendary animation voice and voice over teacher Bob Bergen. Bob did half the the interview and emiled it to me before he ran off to a convention in Orlando. Now that he is back he has finished answering my questions. I have reprinted part 1 here and added part 2 at the end.
If you have already read part 1 (shown below in blue) you can skip down the page to part 2.
Not only is Bob the official voice of Porky Pig, he has voiced Luke Skywalker for a number of Star Wars animations, done the voices of Marvin the Martian, Tweety Bird, voiced No-Face and the Frog in Miyazaki`s Spirited Away (along with a number of other Anime redubs) done Additional Voices in just about everything and has been teaching Voice Over seminars for over 18 years.
LL: Bob, first off, thank you for doing this interview and thank you for running in and doing the last half of the ASIFA State of the Animation Industry panel at Comic Con. You saved our butt on that one.
BB: You`re welcome!! I had a blast at Comic-con!! And I enjoy panel hopping. It allows me to keep my pigish figure!
LL: Let`s start with your background, how did you get into this crazy business and when did you know that this is what you want to do?
BB: I was 5 when I told my folks I wanted to be Porky Pig when I grew up. Not the kinda thing a Jewish mother wants to hear. My Dad moved the family to LA when I was 14, and I went through the Yellow Pages looking up anything and everything that said "cartoon" or "animation". I found Hanna Barbara`s number and talked to Ginny McSwain, who referred me to Daws Butler. I studied with Daws for years, along with anyone else who taught a voice-over class in LA. A week after high school I got my first agent, Don Pitts. That same week I booked my first cartoon, Spiderman and his Amazing Friends. I worked as a tour guide at Universal for about 5 years before I was able to make it fulltime as an actor.
LL: You have been teaching your Voice Over seminars for 18 years. That means, first off, that you like teaching. Secondly, it means that you have mentored a lot of people.
How did you get into teaching?
BB: I was doing a play in 1987. My bio in the program mentioned my voice-over background. A gentleman came up to me after one of the performances and told me he was opening an acting school, and wondered if I was interested in teaching an animation voice-over class. I told him no, but thanks for asking. A few weeks later I was contacted by SAG asking if I would teach a seminar for members. They paid nothing, so I decided to do it. I figured if I sucked I wouldn`t feel guilty about getting paid. I found I not only enjoyed it, I was good at it! So I taught for free at SAG Conservatory for about a year. I then contacted the guy from the acting school and offered my services as their animation VO instructor. I taught there for about a year before opening my private animation voice-over workshop. Not only do I teach here in LA, but I also travel the country teaching weekend animation voice-over seminars.
LL: What do you get out of teaching other people to be your competition?
BB: I never think of it that way. My philosophy is if you are right for the job you`re going to get it, no matter who the competition is. This business is always looking for new talent. I take it as a compliment, and quite honestly get a thrill out of seeing a former student make it in the business.
LL: Who are your successful former students?
BB: OY, it`s 3:30 am, and I`m about to leave for a fan convention. My mind isn`t working on full caffein capacity yet, but here`s a short list off the top of my sleepy head:
Quinton Flynn, who does lots of cartoons including Johnny Quest,
His brother Bart [Flynn] who does the promos for Jeopardy! (good talent genes in the Flynn family)
Michael Reisz.
I know there are oodles more but just can`t think right now. I`ll get back to you when I get back on this one.
LL: Who were your mentors in the business?
BB: Mel Blanc, Daws Butler, June Foray, Frank Welker, Dom Messick, Paul Winchell, etc.
LL: One of the things that stayed with me from your appearance on the ASIFA panel at Comic Con is a statement you made about animation voice acting not just being funny voices, it was finding the character and acting in that funny voice. I knew I butchered the paraphrase so why don`t you restate and then explain/expand this idea a little more?
BB: It`s not about how many voices you can do, but rather how good an actor you are with the voices you have. In this business they are looking for actors first and funny voice people second. This means if you do 5000 voices but can`t act the odds are against you. But if you are a solidly trained actor, you stand a better chance of making it.
LL: I have been out to your web-site as of late. I noticed that you talk or write about your 3-step process for creating and sustaining a voice characterization. If it would not give away the secrets of your seminars could you talk a little about that process and where you came up with it?
BB: I came up with this from experience. It`s a combination of the classes and workshops I took, various directors I`ve worked with, and my own take on creating characters. The 3 things that make up a good character are:
1) The Voice
2) Your acting
3) A signature, which is that lil something "extra" that you the actor bring to the character that makes it memorable and gives it the essennce of it`s personality. It can be a catch phrase, an accent or dialect, phrasing or a specific speech pattern, impressions, etc. It`s Porky`s stutter, Homer Simpson`s "D`oh!!", Snagglepuss` "Exit, stage left!!", etc. It`s the "it" factor when it comes to cartoons and auditioning for cartoons. It`s why one actor gets the job over the other 500 who didn`t. It`s taking risks, not being safe. And it`s often hard to define.
LL: As a fellow teacher I know the secret that all teachers know and no one else will ever believe, mainly, that the teacher gets more out of the lesson than the student does. I think that is mainly because we don`t really know what we know until we organize it so that we can teach it to someone else.
Do you find any truth to this statement or am I just full of it?
If there is any truth to this statement, do you have any examples of this from your 18 years as a teacher?
BB: Absolutely!!! I learn from my students all the time. When I`m auditioning or working I`m too busy in my own process to be able to self direct the way I can with my students. I`ll often times give a student direction or an idea to play with, then write it down for my own future auditions. I also encourage all students to pay attention to their fellow classmates while they are at the mic. Don`t lose out on an opportunity to take the ideas they are throwing out in the booth, or the direction they are being given by the teacher!
LL: The question that everybody outside the business always want to know, how to you break in? How much does networking have to do with it? What are the best places to network? And how should you act in the presence of professionals and heroes?
BB: It`s all about who you know. But you`d better be ready for the opportunity when you`re asked to show your wares. This means don`t pursue til you are ready! In voice-over you get one shot per listener. Make it count!!!! And keep in mind that your "heros" are just regular folks who are fortunate and talented enough to be able to make a living at what they do. I don`t know of any VO actor who doesn`t love to take the time to talk to fans. They paid for our houses!!! Just be courteous, and don`t ask them to do funny voices in the men`s/ladie`s room !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! As for networking, classes, cons, etc. I also have a monthly happy hour I put together for anyone in or interested in the world of voice-over. I call it VOX on the Rocks. The info is on my website. If you live in LA come join the fun!! We get everyone from actors, to students, casting directors, agents, studio engineers, etc. It`s more of a social thing than a blatant networking thing. But it`s a great way to meet really cool people within the business.
OK-that`s all for now. More to come!!
;-),
BB
END PART ONE:
Part 2:
LL: You have a very exciting event coming up this February. You are taking your voice acting seminar to the high seas in the form of a cruise and seminar to Ensenada. I know that you picked up a lot of bookings at Comic
Con.
Do you still have some cabins available?
What is the cost?
What in the agenda?
Here is your chance to go completely commercial and tell everybody about this event.
BB: Thanks for the opportunity to talk about this. The cruise is an idea I've had for quite some time. It's a 3 day cruise to Ensenada, Mexico. While at sea I'll be teaching my animation voice-over seminar.
This is the same weekend seminar I teach around the country, only this one has a 24 hour buffett! ;-) Everyone will work on mic with real animation audition copy. They'll also leave with information on agents, casting directors, demo producers, etc., from all over the country.
Included in the weekend will be a 2 hour Business of the Business seminar.Q&A. My goal is that everyone leaves this excursion knowing all they need to know about the world of voice-over, though the on mic work will be exclusively animation and character.
The first night on board we will have a meet and greet cocktail party. Sort of like VOX on the Rocks (see above).
The next day we port in Mexico.
That night I'll be performing my one man show "Bob Bergen: Not Just Another Pretty Voice" which ran for 3 months here in LA, and was also adapted as an opening act for Kenny Rogers' concert tour.
So you can see this will be a very full weekend.
As for the costs, people should refer to my website bobbergen.com as the costs vary depending on cabin size. However, I do know that cabins are cheaper if you share a room!! There is an additional cost of $200.00 per person to participate in my workshops and VO related activities.
This is at a discounted price from my regular weekend seminars, which run about $400.00 per person. FYI-my goal is to do a longer, more exotic cruise in the future. Included in that cruise would be voice-over seminars and workshops taught by a variety of voice-over professionals, including agents from all over the country, casting directors, demo producers, commercial voice-over instructors, anime, ADR, etc. This, again, is my goal. If my animation cruise in February is a hit, I'll then start putting together the BIG voice-over cruise.
Cabins are still available for the February cruise, but the cruise line has a cuttoff date. I don't know what that date is as of right now. You can get info about the cruise on my website or call Georege Aballi at Connection to Cruise at (888) 798-9133.
LL: What is in the future for Bob Bergen? What projects (that you can talk about) are you working on now?
How about public appearances? Anything coming up there? And personal projects, are you working on something of your own? Do you want to directed?
BB: I'm working on 2 series right now, Curious George and The Emperor's New School. I have lots of commercials on the air, and several CD Roms including voicing Luke Skywalker in LucasArts latest Star Wars games.
I have a book I'm in the process of researching, as well as original projects I'm hoping to develop both animated and non animated. As for directing, I'm dying to voice direct!!!!!! I've been teaching for 18 years and voice directing would be a great next level to my career.
LL: What about all the stars getting voice parts? What are your thoughts on this trend?
BB: This is not a new phenominon. Disney has used celebs to voice their cartoons forever. In the early films many of the celebs were from radio. The reason it feels like this is a new trend is because there is much more animated product out there today then there use to be. What with animated features, straight to video, Cartoon Network, etc., there's never been more animation products available to consumers. That said, I think that at times a "personality" adds to the character. But I don't think that "celebrity" brings in box office. Toy Story is a perfect example of celebrities whose personalities brought the characters to life, and gave the animators so much to work with.
Then there's a film like Sinbad, where no matter what kind of a star he is Brad Pitt's celebrity wasn't enough. There are many brilliantly trained animation actors who only get a chance to play supporting characters or record temp tracks because studios want names to voice the leads. The bottom line is, it's always about script, story, and character. There isn't a Julia Roberts or Tom Crusie in Hollywood who can use their celebrity to make a bad animated script/story good.
LL: A lot of Voice Over people also act or do stand up. Is that something you do or would want to do?
BB: I host. I love hosting. I hosted a kid's version of Jeopardy! a few years back called Jep! for Gameshow Network. Back in the 80s I did a lot of sitcoms and soap work. Then my VO career took off. I`d love to do more theatrical work.
LL: Anything you want to say to the ASIFA-Hollywood audience while we have them here?
BB: Follow your dream and enjoy the journey!!! Because the journey never ends!!!!!!!!!!!!!!! Have fun!!!!!!!!!
LL: Thank you so much for being part of this interview and good luck with you Voice Cruise.
BB: Thanks!! Come take the cruise, folks!! I promise a good ol time!! Eh-thuh-the-eh-thuh-the-eh-thuh-that's all folks!! bobbergen.com
¶ 5:12 AM
Tuesday, August 09, 2005
The New Project From Lili Chen and Eddie Mort:
Over at FWAK Blog Eddie & Lili have a cool set of development sketches on their new project. ¶ 8:05 AM
Over at FWAK Blog Eddie & Lili have a cool set of development sketches on their new project. ¶ 8:05 AM
If you are going to be in the Long Beach area on Wednesday you might want to check this out?
When: Wednesday, August 10th 2005 4pm to 7pm
Where: Brooks College Campus - Parking Lot
For one evening, Brooks College will be magically transformed into a Festival of Art, Laughter, Food and Celebration as we invite the greater community in to see the wonderful upgrades to our campus as well as celebrating the talent of our students, faculty and alumni!
Booths will consist of: student, alumni and instructor art work for sale, departmental booths that provide info on services, clubs on campus, employers from community and industry, and tasty food!!
4825 E. Pacific Coast Hwy
Long Beach,
CA
For Info 800-228-7023
¶ 5:31 AM
Brooks College Celebration of the Arts
When: Wednesday, August 10th 2005 4pm to 7pm
Where: Brooks College Campus - Parking Lot
For one evening, Brooks College will be magically transformed into a Festival of Art, Laughter, Food and Celebration as we invite the greater community in to see the wonderful upgrades to our campus as well as celebrating the talent of our students, faculty and alumni!
Booths will consist of: student, alumni and instructor art work for sale, departmental booths that provide info on services, clubs on campus, employers from community and industry, and tasty food!!
4825 E. Pacific Coast Hwy
Long Beach,
CA
For Info 800-228-7023
¶ 5:31 AM
Monday, August 08, 2005
Video Hunt Report:
I was out going though the video rack at the Salvation Army yesterday. The kids are all grown up now and we don`t need those old animations anymore And I found a few beat up tapes with the animation gem or two.
Hollywood Steps Out Tex Avery 1941 a celebrity caricature does not hold up because most of the celebrities have not held up that well.
Tom Palmer`s 1936 A Waif`s Welcome was of interest mainly because Mr. Palmer had just been pushed out the door at Schlesingers and replaced by Tex Avery and the boys of Termite Terrace. Tom found a berth at Van Beuren.
The find of the day was Hiroaki Yoshida`s 1987 Twilight of the Cockroaches. What a strange film, Franz Kafka meets Roger Rabbit. A slob bachelor lives in peace with his hand drawn roaches until a neatnick girl moves in. Live action and traditional animated roaches with human heads. ¶ 10:08 AM
Saturday, August 06, 2005
Self-Serving Promotion:
I talk about a lot of animation related produces in these pages. I think it is about time for me to plug my own product.
The 4th edition of my ebook, Animation on a $hoe$tring (tm): Building a Low Cost Animation Studio with your Home Computer is finished and available from my web site agni-animation.com/shoestring.html.
This is a book of strategies, produce research and reviews, product links, low cost work-a-rounds and gorilla animated filmmaking tricks modeled after the 1920 Edwin G. Lutz book Animated Cartoons: How They Are Made, Their Origin and Development.
When I set up my State Funded Animation program in Orange, California back in 1995 I had to fight for the budget for every single animation tool I brought into the classroom. I soon found that it was easier if I picked my fights and go after only the big items that I could not cobble together on my own.
Having a background in gorilla filmmaking from my special effects days and having grown up with tools in my father`s garage I found it was easy to go back to the low-tech tricks of yesteryears and adapt them to a new age.
Through the years the number one question that students ask me is how do I set up my own studio?.
This ebook can show you how to put together a traditional 2-D animation studio for around $300 to $400, input, manipulation, and output to DVD. There is an expanded section on Stop Motion (my first love) hundreds of links to products and video examples.
So there is my self-serving promotion. The book is aimed at the student and beginner but also has stuff for the professional. All the links were updated just before Comic Con. Thank you for listening. P.S. There is a free demo of the book on my site. ¶ 1:57 PM
I talk about a lot of animation related produces in these pages. I think it is about time for me to plug my own product.
The 4th edition of my ebook, Animation on a $hoe$tring (tm): Building a Low Cost Animation Studio with your Home Computer is finished and available from my web site agni-animation.com/shoestring.html.
This is a book of strategies, produce research and reviews, product links, low cost work-a-rounds and gorilla animated filmmaking tricks modeled after the 1920 Edwin G. Lutz book Animated Cartoons: How They Are Made, Their Origin and Development.
When I set up my State Funded Animation program in Orange, California back in 1995 I had to fight for the budget for every single animation tool I brought into the classroom. I soon found that it was easier if I picked my fights and go after only the big items that I could not cobble together on my own.
Having a background in gorilla filmmaking from my special effects days and having grown up with tools in my father`s garage I found it was easy to go back to the low-tech tricks of yesteryears and adapt them to a new age.
Through the years the number one question that students ask me is how do I set up my own studio?.
This ebook can show you how to put together a traditional 2-D animation studio for around $300 to $400, input, manipulation, and output to DVD. There is an expanded section on Stop Motion (my first love) hundreds of links to products and video examples.
So there is my self-serving promotion. The book is aimed at the student and beginner but also has stuff for the professional. All the links were updated just before Comic Con. Thank you for listening. P.S. There is a free demo of the book on my site. ¶ 1:57 PM
Friday, August 05, 2005
Bob Bergen Speaks: Part 1
The following is part 1 of an e-mail interview with legendary animation voice and voice over teacher Bob Bergen.
BB:
Hey bud!!
I`m off to a fan convention in Orlando. But let me at least start answering your questions. Thanks again for the cruise PR!! (for more info on Bob`s Voice Acting Cruise go to: bobbergen.com)
Not only is Bob the official voice of Porky Pig, he has voiced Luke Skywalker for a number of Star Wars animations, done the voices of Marvin the Martian, Tweety Bird, voiced No-Face and the Frog in Miyazaki`s Spirited Away (along with a number of other Anime redubs) done Additional Voices in just about everything and has been teaching Voice Over seminars for over 18 years.
LL: Bob, first off, thank you for doing this interview and thank you for running in and doing the last half of the ASIFA State of the Animation Industry panel at Comic Con. You saved our butt on that one.
BB: You`re welcome!! I had a blast at Comic-con!! And I enjoy panel hopping. It allows me to keep my pigish figure!
LL: Let`s start with your background, how did you get into this crazy business and when did you know that this is what you want to do?
BB: I was 5 when I told my folks I wanted to be Porky Pig when I grew up. Not the kinda thing a Jewish mother wants to hear. My Dad moved the family to LA when I was 14, and I went through the Yellow Pages looking up anything and everything that said "cartoon" or "animation". I found Hanna Barbara`s number and talked to Ginny McSwain, who referred me to Daws Butler. I studied with Daws for years, along with anyone else who taught a voice-over class in LA. A week after high school I got my first agent, Don Pitts. That same week I booked my first cartoon, Spiderman and his Amazing Friends. I worked as a tour guide at Universal for about 5 years before I was able to make it fulltime as an actor.
LL: You have been teaching your Voice Over seminars for 18 years. That means, first off, that you like teaching. Secondly, it means that you have mentored a lot of people.
How did you get into teaching?
BB: I was doing a play in 1987. My bio in the program mentioned my voice-over background. A gentleman came up to me after one of the performances and told me he was opening an acting school, and wondered if I was interested in teaching an animation voice-over class. I told him no, but thanks for asking. A few weeks later I was contacted by SAG asking if I would teach a seminar for members. They paid nothing, so I decided to do it. I figured if I sucked I wouldn`t feel guilty about getting paid. I found I not only enjoyed it, I was good at it! So I taught for free at SAG Conservatory for about a year. I then contacted the guy from the acting school and offered my services as their animation VO instructor. I taught there for about a year before opening my private animation voice-over workshop. Not only do I teach here in LA, but I also travel the country teaching weekend animation voice-over seminars.
LL: What do you get out of teaching other people to be your competition?
BB: I never think of it that way. My philosophy is if you are right for the job you`re going to get it, no matter who the competition is. This business is always looking for new talent. I take it as a compliment, and quite honestly get a thrill out of seeing a former student make it in the business.
LL: Who are your successful former students?
BB: OY, it`s 3:30 am, and I`m about to leave for a fan convention. My mind isn`t working on full caffein capacity yet, but here`s a short list off the top of my sleepy head:
Quinton Flynn, who does lots of cartoons including Johnny Quest,
His brother Bart [Flynn] who does the promos for Jeopardy! (good talent genes in the Flynn family)
Michael Reisz.
I know there are oodles more but just can`t think right now. I`ll get back to you when I get back on this one.
LL: Who were your mentors in the business?
BB: Mel Blanc, Daws Butler, June Foray, Frank Welker, Dom Messick, Paul Winchell, etc.
LL: One of the things that stayed with me from your appearance on the ASIFA panel at Comic Con is a statement you made about animation voice acting not just being funny voices, it was finding the character and acting in that funny voice. I knew I butchered the paraphrase so why don`t you restate and then explain/expand this idea a little more?
BB: It`s not about how many voices you can do, but rather how good an actor you are with the voices you have. In this business they are looking for actors first and funny voice people second. This means if you do 5000 voices but can`t act the odds are against you. But if you are a solidly trained actor, you stand a better chance of making it.
LL: I have been out to your web-site as of late. I noticed that you talk or write about your 3-step process for creating and sustaining a voice characterization. If it would not give away the secrets of your seminars could you talk a little about that process and where you came up with it?
BB: I came up with this from experience. It`s a combination of the classes and workshops I took, various directors I`ve worked with, and my own take on creating characters. The 3 things that make up a good character are:
1) The Voice
2) Your acting
3) A signature, which is that lil something "extra" that you the actor bring to the character that makes it memorable and gives it the essennce of it`s personality. It can be a catch phrase, an accent or dialect, phrasing or a specific speech pattern, impressions, etc. It`s Porky`s stutter, Homer Simpson`s "D`oh!!", Snagglepuss` "Exit, stage left!!", etc. It`s the "it" factor when it comes to cartoons and auditioning for cartoons. It`s why one actor gets the job over the other 500 who didn`t. It`s taking risks, not being safe. And it`s often hard to define.
LL: As a fellow teacher I know the secret that all teachers know and no one else well ever believe, mainly, that the teacher gets more out of the lesson than the student does. I think that is mainly because we don`t really know what we know until we organize it so that we can teach it to someone else.
Do you find any truth to this statement or am I just full of it?
If there is any truth to this statement, do you have any examples of this from your 18 years as a teacher?
BB: Absolutely!!! I learn from my students all the time. When I`m auditioning or working I`m too busy in my own process to be able to self direct the way I can with my students. I`ll often times give a student direction or an idea to play with, then write it down for my own future auditions. I also encourage all students to pay attention to their fellow classmates while they are at the mic. Don`t lose out on an opportunity to take the ideas they are throwing out in the booth, or the direction they are being given by the teacher!
LL: The question that everybody outside the business always want to know, how to you break in? How much does networking have to do with it? What are the best places to network? And how should you act in the presence of professionals and heroes?
BB: It`s all about who you know. But you`d better be ready for the opportunity when you`re asked to show your wares. This means don`t pursue til you are ready! In voice-over you get one shot per listener. Make it count!!!! And keep in mind that your "heros" are just regular folks who are fortunate and talented enough to be able to make a living at what they do. I don`t know of any VO actor who doesn`t love to take the time to talk to fans. They paid for our houses!!! Just be courteous, and don`t ask them to do funny voices in the men`s/ladie`s room !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! As for networking, classes, cons, etc. I also have a monthly happy hour I put together for anyone in or interested in the world of voice-over. I call it VOX on the Rocks. The info is on my website. If you live in LA come join the fun!! We get everyone from actors, to students, casting directors, agents, studio engineers, etc. It`s more of a social thing than a blatant networking thing. But it`s a great way to meet really cool people within the business.
OK-that`s all for now. More to come!!
;-),
BB ¶ 10:28 AM
The following is part 1 of an e-mail interview with legendary animation voice and voice over teacher Bob Bergen.
BB:
Hey bud!!
I`m off to a fan convention in Orlando. But let me at least start answering your questions. Thanks again for the cruise PR!! (for more info on Bob`s Voice Acting Cruise go to: bobbergen.com)
Not only is Bob the official voice of Porky Pig, he has voiced Luke Skywalker for a number of Star Wars animations, done the voices of Marvin the Martian, Tweety Bird, voiced No-Face and the Frog in Miyazaki`s Spirited Away (along with a number of other Anime redubs) done Additional Voices in just about everything and has been teaching Voice Over seminars for over 18 years.
LL: Bob, first off, thank you for doing this interview and thank you for running in and doing the last half of the ASIFA State of the Animation Industry panel at Comic Con. You saved our butt on that one.
BB: You`re welcome!! I had a blast at Comic-con!! And I enjoy panel hopping. It allows me to keep my pigish figure!
LL: Let`s start with your background, how did you get into this crazy business and when did you know that this is what you want to do?
BB: I was 5 when I told my folks I wanted to be Porky Pig when I grew up. Not the kinda thing a Jewish mother wants to hear. My Dad moved the family to LA when I was 14, and I went through the Yellow Pages looking up anything and everything that said "cartoon" or "animation". I found Hanna Barbara`s number and talked to Ginny McSwain, who referred me to Daws Butler. I studied with Daws for years, along with anyone else who taught a voice-over class in LA. A week after high school I got my first agent, Don Pitts. That same week I booked my first cartoon, Spiderman and his Amazing Friends. I worked as a tour guide at Universal for about 5 years before I was able to make it fulltime as an actor.
LL: You have been teaching your Voice Over seminars for 18 years. That means, first off, that you like teaching. Secondly, it means that you have mentored a lot of people.
How did you get into teaching?
BB: I was doing a play in 1987. My bio in the program mentioned my voice-over background. A gentleman came up to me after one of the performances and told me he was opening an acting school, and wondered if I was interested in teaching an animation voice-over class. I told him no, but thanks for asking. A few weeks later I was contacted by SAG asking if I would teach a seminar for members. They paid nothing, so I decided to do it. I figured if I sucked I wouldn`t feel guilty about getting paid. I found I not only enjoyed it, I was good at it! So I taught for free at SAG Conservatory for about a year. I then contacted the guy from the acting school and offered my services as their animation VO instructor. I taught there for about a year before opening my private animation voice-over workshop. Not only do I teach here in LA, but I also travel the country teaching weekend animation voice-over seminars.
LL: What do you get out of teaching other people to be your competition?
BB: I never think of it that way. My philosophy is if you are right for the job you`re going to get it, no matter who the competition is. This business is always looking for new talent. I take it as a compliment, and quite honestly get a thrill out of seeing a former student make it in the business.
LL: Who are your successful former students?
BB: OY, it`s 3:30 am, and I`m about to leave for a fan convention. My mind isn`t working on full caffein capacity yet, but here`s a short list off the top of my sleepy head:
Quinton Flynn, who does lots of cartoons including Johnny Quest,
His brother Bart [Flynn] who does the promos for Jeopardy! (good talent genes in the Flynn family)
Michael Reisz.
I know there are oodles more but just can`t think right now. I`ll get back to you when I get back on this one.
LL: Who were your mentors in the business?
BB: Mel Blanc, Daws Butler, June Foray, Frank Welker, Dom Messick, Paul Winchell, etc.
LL: One of the things that stayed with me from your appearance on the ASIFA panel at Comic Con is a statement you made about animation voice acting not just being funny voices, it was finding the character and acting in that funny voice. I knew I butchered the paraphrase so why don`t you restate and then explain/expand this idea a little more?
BB: It`s not about how many voices you can do, but rather how good an actor you are with the voices you have. In this business they are looking for actors first and funny voice people second. This means if you do 5000 voices but can`t act the odds are against you. But if you are a solidly trained actor, you stand a better chance of making it.
LL: I have been out to your web-site as of late. I noticed that you talk or write about your 3-step process for creating and sustaining a voice characterization. If it would not give away the secrets of your seminars could you talk a little about that process and where you came up with it?
BB: I came up with this from experience. It`s a combination of the classes and workshops I took, various directors I`ve worked with, and my own take on creating characters. The 3 things that make up a good character are:
1) The Voice
2) Your acting
3) A signature, which is that lil something "extra" that you the actor bring to the character that makes it memorable and gives it the essennce of it`s personality. It can be a catch phrase, an accent or dialect, phrasing or a specific speech pattern, impressions, etc. It`s Porky`s stutter, Homer Simpson`s "D`oh!!", Snagglepuss` "Exit, stage left!!", etc. It`s the "it" factor when it comes to cartoons and auditioning for cartoons. It`s why one actor gets the job over the other 500 who didn`t. It`s taking risks, not being safe. And it`s often hard to define.
LL: As a fellow teacher I know the secret that all teachers know and no one else well ever believe, mainly, that the teacher gets more out of the lesson than the student does. I think that is mainly because we don`t really know what we know until we organize it so that we can teach it to someone else.
Do you find any truth to this statement or am I just full of it?
If there is any truth to this statement, do you have any examples of this from your 18 years as a teacher?
BB: Absolutely!!! I learn from my students all the time. When I`m auditioning or working I`m too busy in my own process to be able to self direct the way I can with my students. I`ll often times give a student direction or an idea to play with, then write it down for my own future auditions. I also encourage all students to pay attention to their fellow classmates while they are at the mic. Don`t lose out on an opportunity to take the ideas they are throwing out in the booth, or the direction they are being given by the teacher!
LL: The question that everybody outside the business always want to know, how to you break in? How much does networking have to do with it? What are the best places to network? And how should you act in the presence of professionals and heroes?
BB: It`s all about who you know. But you`d better be ready for the opportunity when you`re asked to show your wares. This means don`t pursue til you are ready! In voice-over you get one shot per listener. Make it count!!!! And keep in mind that your "heros" are just regular folks who are fortunate and talented enough to be able to make a living at what they do. I don`t know of any VO actor who doesn`t love to take the time to talk to fans. They paid for our houses!!! Just be courteous, and don`t ask them to do funny voices in the men`s/ladie`s room !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! As for networking, classes, cons, etc. I also have a monthly happy hour I put together for anyone in or interested in the world of voice-over. I call it VOX on the Rocks. The info is on my website. If you live in LA come join the fun!! We get everyone from actors, to students, casting directors, agents, studio engineers, etc. It`s more of a social thing than a blatant networking thing. But it`s a great way to meet really cool people within the business.
OK-that`s all for now. More to come!!
;-),
BB ¶ 10:28 AM
Still having problems getting anything to post to blogger. Do not know if it is blogger itself or the ASIFA host that is the problem. Can`t get an image in any which way and everything in text takes multiple tries.
I just was able to post the above and even an the image to the story below. So I am going to try to edit this. So maybe things are working again? Been getting things ready for Cal State Fullerton History of Animation class which is about to start up again real soon.
Trying to get my animation off the ground again, I miss it. This coming week, I have got the beginning and the end. Just have to fill in the center and then get the sound finished. No lip sync just some voice over so I am doing post on the sound. I feel so Van Beuren.
Let`s see if this will post? ¶ 12:03 AM
I just was able to post the above and even an the image to the story below. So I am going to try to edit this. So maybe things are working again? Been getting things ready for Cal State Fullerton History of Animation class which is about to start up again real soon.
Trying to get my animation off the ground again, I miss it. This coming week, I have got the beginning and the end. Just have to fill in the center and then get the sound finished. No lip sync just some voice over so I am doing post on the sound. I feel so Van Beuren.
Let`s see if this will post? ¶ 12:03 AM
Thursday, August 04, 2005
Howl`s Moving Castle Book to Film:
I was just on the phone with a friend yesterday, Steve Brooks ASIFA volunteer and Computer FX guy, and we were talking about Howl`s Moving Castle. Steve loved some of it but thought the ending was strange, just kind of stops.
Since I have just read the book by Ms. Jones I can report that the ending is very much like the book. If fact, the ending is one of the few things that was like the book.
I am the type of reader that gets very unhappy with big changes from book to screen. There are a number of changes here, the war theme is added as is the evil king`s Sorceress and the bird thing that Howl changes into. Hayao Miyazaki made his own work on the bare bones of the book.
Normally this much change between book and film would anger me. Maybe it is because I saw the film first (I planned it that way) or maybe it is because Miyazaki is Miyazaki but I accept the film as it is and judge it as a stand alone work.
The question is, why I can forgive Miyazaki for changing Howl`s and not forgive Walt for changes to Jungle Book? Maybe it is the fact that I read and loved Jungle Book as a kid way before the animation. Maybe that is why I could not look at Jungle Book the film without seeing in my mind Jungle Book the book?
Just what is the responsibility of animation directors to the works that they bring to the screen? I don`t know. I love Jungle Book but there is always this thing about all the changing to my beloved little frog. ¶ 7:51 AM
Wednesday, August 03, 2005
blogger has been down, or not working for me, for about 24 hours. That is one of the main reasons for no new posts. It may still be a reason why you don`t get a post today but you will not know that if this never gets on the blog.
This is a test and if you don`t see it than it is a failed test. ¶ 7:30 AM
This is a test and if you don`t see it than it is a failed test. ¶ 7:30 AM
Tuesday, August 02, 2005
Sunday, the last day of Comic Con and I finally take some time to look at the dealers floor. I never get to enjoy just going to the convention anymore because I am running the presentations and helping run the booth.
Gentle Giant had the wedding set from Tim Burton`s Corpse Bride with all of the lead characters. I spent about 20 minutes talking to Pete Dodd, one of the animators. He gave me a demo on how the armatures work.
The main characters, when you count in the man-hours, cost $50,000 each
I do a quick count and ask, So we`re talking about a quarter to a half million right here behind the ropes?
Pete then took out a Allen wrench and fitted it into the Corpse Bride`s hair. He gave a twice and the mouth starts to open. He then put the Allen wrench into her right ear and adjusted the smile by tweaking the cheek action.
I have been doing stop motion since 1981 and have gone frame by frame through every Herryhausen movie and I have never seen anything like this.
I take a look at the set and I`m thinking no access which means ladders and boards and laying on your stomach for an hour between each frame. Gods Michelangelo had it easy. ¶ 8:44 AM
Monday, August 01, 2005
Due to SIGGRAPH the ASIFA-Hollywood board meeting has been changed from this Wednesday to:
Wednesday, August 10, 2005, at 7pm
at
2114 W. Burbank Blvd.
Burbank, CA
ASIFA board meetings are open to the public. If you are interested in animation and or ASIFA, feel free to stop by. ¶ 3:16 PM
Wednesday, August 10, 2005, at 7pm
at
2114 W. Burbank Blvd.
Burbank, CA
ASIFA board meetings are open to the public. If you are interested in animation and or ASIFA, feel free to stop by. ¶ 3:16 PM
Bonus Material Only Reason to Buy:
Nice Cats is a (sic) animation with no history that I can find. IMDB does not list it. It seems to be aimed for very little kids without much taste in animation.
Nice Cats is just one small step up from the read the book and pan the camera type of visual storytelling of Reading Rainbow. (in truth I like the pan the camera style a little better - much better sound track) I have had lots of students do a much better job on their first animation. (2 cycle walk cycle without blur and the drawing style - please)
¶ 7:46 AM
This is another EastWest DVD thing. Even they do not list date, director, or actors for this work on their web site. But smartly they do list the Bonus materials right on the back of the box.
- Bonus Material:
- Bosko`s Soda Fountain
- Hep Cat Symphony
- Cob Web Hotel
- Lone Star State
- Daffy Duck & the Dinosaur
- Superman
¶ 7:44 AM
Bosko`s Soda Fountain is beautiful. A clean transfer of a rich sepia print. I didn`t have this on DVD so I just got my 99 cents worth.
¶ 7:42 AM
Hep Cat Symphony is my favorite Famous Studios animation. I have lots of copies of this in lots of different formats. If you don`t then that is another point for this disk.
¶ 7:35 AM
Cob Web Hotel, so so print. But can see the 3-D elements at the beginning. Lots of copies of this too.
Lone Star State Sing along. Not a good cartoon. Better than Nice Cats
Daffy Duck & the Dinosaur so so Daffy. Not the best of the Schlesinger Daffys by any stretch. Jack Benny as a cave man. Another multi-copy cartoon for me.
Superman There are so many copies of this one in the market place that I will not even talk about it here. ¶ 7:32 AM
