I have been going through the book, The Illusion of Life: Disney Animation by the amazing Frank Thomas and Ollie Johnston. I had marked a few pages with quotes I wanted to take note of a while ago but never did so here they are. They are realy helpful quotes and back-up my reason for doing my animation about a cat. Some also help with making my animation better :)
‘In our own lives, we find that as we get to know people we share their experiences – we sympathize, we empathize, we enjoy. If we love then, we become deeply concerned about their welfare. We become involved in their lives.
We involve the audiences in our films the same way. We start with something they know and like. This can be either an idea or a character, as long as it is familiar and appealing. It can be a situation everyone has experienced, an emotional reaction universally shared, a facet of someone’s personality easily recognized, or any combination of these. But there must be something that is known and understood if the film is to achieve audience involvement.’
The Illusion of Life, page 18-19.
‘“I definitely feel that we cannot do the fantastic things based on the real, unless we first know the real.” Walt Disney’
The Illusion of Life, page 71.
‘That all changed in one day when a scene was animated of a dog who looked into the camera and snorted. Miraculously, he had come to life! Walt was quick to appreciate the difference and so was the audience. The year was 1930 and the animator Norm Ferguson.’
The Illusion of Life, page 74.
‘As he thought about it, Ben decided that the key ingredient must be “realism.” In his own experience, he had found that much of the material in cartoon films was lost on the viewers; they could not understand it or relate to it. Walt had bridged that gap with realism, or a caricature of it. His situations were understandable, clear, and funny. His personalities were based on someone you knew.’
The Illusion of Life, page 80.
‘The scale of the characters to the things around them, and to each other, is an important part of making them believable, as well as giving them charm and appeal.’
The Illusion of Life, page 239.
‘If an animal in a film is wearing any kind of costume, he can be handled with human attributes and the audience will accept him. In contrast, if an animal in his natural fur should suddenly stand up and start gesticulating, the viewers will feel uneasy. Put a cap on him, or a tie, and he can swagger around, gesturing and pointing like any ham actor.’
The Illusion of Life, page 331.
A good example of this is in ‘The Aristocats’. The kittens all wear a small form of human clothing such as Marie wears bows and Toulouse has a bowtie on. The geese even follow the same rule and wear bonnets and Uncle Waldo wears a top hat.
‘Of course natural animal drawing or realistic action will always add sincerity and interest to this type of film, but it is not truly needed to tell the story. On the other hand, if the story is man’s view of what the animal world is like, as in ‘Lady and the Tramp’, ‘101 Dalmations’, and ‘The Jungle Book’, the animals must be completely believable or the whole premise will collapse.’
The Illusion of Life, page 331.
'When we say “real,” we mean only what the audience accepts as being real, for obviously a real animal cannot act or emote as broadly as animators require. The more an animator goes toward caricaturing the animal, the more he seems to be capturing the essence for acting. For example, if we had drawn real deer in ‘Bambi’ there would have been so little acting potential that no one would have believed the deer really existed as characters. But because we drew what people imagine a deer looks like, with a personality to match, the audience accepted our drawings as being completely real.'
The Illusion of Life, page 332.
‘Ears are an important part of the attitude on any animal.’
The Illusion of Life, page 340.
‘Hair can be a key to personality, and many times will show how a character feels. Scraggly hair gives an unkempt, irritable look. Smooth and sleek fur is soft and feminine.’
The Illusion of Life, page 340.
‘Tails can do much to show the mood of an animal. They can give a perky feeling, or show dejection, or affection. They should not rest on the ground without a reason. They must have life too. Watch out for “dead” tails.’
The Illusion of Life, page 340.
‘The neck is often passed over when considering parts of the anatomy that can help show an attitude. It can be arched for belligerence, show alertness, be cocky with chest out, or indicate anger.’
The Illusion of Life, page 340.
‘A cat’s eyes are extremely expressive and change shape radically as they convey different emotions. At times they are mere slits, lost in a puff of cheeks and brows, or they are half closed in complete contentment, or wide with curiosity.’
The Illusion of Life, page 450.
Showing posts with label Quote. Show all posts
Showing posts with label Quote. Show all posts
Friday, 30 April 2010
Friday, 15 January 2010
Quotes for Dissertation
Sorry that its been a while since posting but been working on my dissertation and character designs. Will post some more sketches soon. Any way, below are some quotes I have found recently that I think would be good in my dissertation. Just not found where to put them yet.
******************************
"They carry the physiognomies of humans, and at the same time, keep their own lovable and honest animal faces."
(Balaz, B, 1952. Theory of the Film. Translated from the Hungarian by Bone, E. London:Dobson LTD)
"One of the most remarkable features of our domesticated races is that we see in them adaptation, not indeed to the animal's or plant's own good, but to man's use or fancy."
(Charles Darwin, The Origin Of Species)
"Something we’ve never seen, an entirely new category of computer-enhanced acting. With not a word of dialogue, he brings to life a close cousin to man with whom we can empathize, yet is never too human-like"
(Covert, C. 2005. What the Critics are saying about Andy Serkis as "Kong" [online]. Available at: http://www.serkis.com/kingkong/reviews.htm [accessed 10 January 2010)
"Humans use animals to transcend the confines of self and species; they also enlist them to symbolize, dramatize, and illuminate aspects of humans’ experience and fantasy. Humans merge with animals in stories, films, philosophical speculations, and scientific treatises. In their performance on many stages and in different ways, animals move us to think"
(Daston, D and Mitman, G. 2005. The How and Why of Thinking with Animals In: Daston, D and Mitman, G, Thinking With Animals. USA: Columbia University Press, 1-14.)
"To imagine that animals think like humans... is a form of self-centered narcissism, one looks outward to the world and sees only one’s own reflection mirrored therein."
(Daston, L. 2005. Intelligences: Angelic, Animal, Human In: Daston, D and Mitman, G, Thinking with Animals. USA: Columbia University Press, 37- 58.)
"Anthropomorphism with Anthropocentrism, that is, when humans project their own thoughts and feelings onto other animal species because they egotistically believe themselves to be the center of the universe."
(Daston and Mitman 2005)
"When we consider a new project, we really study it... not just the surface idea, but everything about it"
(Thomas, F and Johnston, O, 1981: The Illusion of Life. Italy: Walt Disney Productions)
"Disney animators knew well that the large eyes of Bambi would elicit an emotional response from audiences more akin to the affection displayed toward a human child than if they had drawn the deer’s eyes to scale"
(Gould 1979 cited Daston and Mitman 2005)
"The thrust of the limbs starts from the vertebral column and consequently moves to the pelvis, shoulders and legs. The spine reacts to every foot-fall."
(Pisk, L. 1975. The Actor and his Body. London: George G. Harrap & Co.)
"The walking of men is always after the universal walking of animals with four legs"
(Pisk, L. 1975. The Actor and his Body. London: George G. Harrap & Co.)
(Pisk is known for observing the walk of four-legged animals particularly cats)
"Study the creatures involved, film and analyse their movement, examine the texture of fur and muscle, even investigate the skeleton, But sometimes they are inspired by the personality of an actor who is performing the character’s voice"
(Platt, E. 2000. How Disney Makes Magic. The Sunday Times Supplement. Date not printed. Volume 1. 7.)
"Without personality, the character may do funny or interesting things, but unless people are able to identify with the character, its actions will seem unreal. And without personality a story cannot ring true to the audience."
(Platt, E. 2000. How Disney Makes Magic. The Sunday Times Supplement. Date not printed. Volume 1. 7.)
"The magic of Disney is based on anthropomorphism"
(Platt, E. 2000. How Disney Makes Magic. The Sunday Times Supplement. Date not printed. Volume 1. 7.)
"The mapping of human motion to a character with nonhuman proportions doesn’t work, because the most important things you get out of motion capture are the weight shifts and the subtleties and that balancing act of the human body"
(Richard Chuang (vice president of PDI)
"Anthropomorphism rules because, for most people, any other interpretation of the animal’s behavior- any suggestion that it might be motivated by other than human feelings and desires- would instantly devalue these (human and pet) relationships and place them on a more superficial and less rewarding footing."
(Serpell, J. A, 2005. People In Disguise: Anthropomorphism and the Human- Pet Relationship In: Daston, D and Mitman, G, Thinking with Animals. USA: Columbia University Press, 121-136.)
******************************
"They carry the physiognomies of humans, and at the same time, keep their own lovable and honest animal faces."
(Balaz, B, 1952. Theory of the Film. Translated from the Hungarian by Bone, E. London:Dobson LTD)
"One of the most remarkable features of our domesticated races is that we see in them adaptation, not indeed to the animal's or plant's own good, but to man's use or fancy."
(Charles Darwin, The Origin Of Species)
"Something we’ve never seen, an entirely new category of computer-enhanced acting. With not a word of dialogue, he brings to life a close cousin to man with whom we can empathize, yet is never too human-like"
(Covert, C. 2005. What the Critics are saying about Andy Serkis as "Kong" [online]. Available at: http://www.serkis.com/kingkong/reviews.htm [accessed 10 January 2010)
"Humans use animals to transcend the confines of self and species; they also enlist them to symbolize, dramatize, and illuminate aspects of humans’ experience and fantasy. Humans merge with animals in stories, films, philosophical speculations, and scientific treatises. In their performance on many stages and in different ways, animals move us to think"
(Daston, D and Mitman, G. 2005. The How and Why of Thinking with Animals In: Daston, D and Mitman, G, Thinking With Animals. USA: Columbia University Press, 1-14.)
"To imagine that animals think like humans... is a form of self-centered narcissism, one looks outward to the world and sees only one’s own reflection mirrored therein."
(Daston, L. 2005. Intelligences: Angelic, Animal, Human In: Daston, D and Mitman, G, Thinking with Animals. USA: Columbia University Press, 37- 58.)
"Anthropomorphism with Anthropocentrism, that is, when humans project their own thoughts and feelings onto other animal species because they egotistically believe themselves to be the center of the universe."
(Daston and Mitman 2005)
"When we consider a new project, we really study it... not just the surface idea, but everything about it"
(Thomas, F and Johnston, O, 1981: The Illusion of Life. Italy: Walt Disney Productions)
"Disney animators knew well that the large eyes of Bambi would elicit an emotional response from audiences more akin to the affection displayed toward a human child than if they had drawn the deer’s eyes to scale"
(Gould 1979 cited Daston and Mitman 2005)
"The thrust of the limbs starts from the vertebral column and consequently moves to the pelvis, shoulders and legs. The spine reacts to every foot-fall."
(Pisk, L. 1975. The Actor and his Body. London: George G. Harrap & Co.)
"The walking of men is always after the universal walking of animals with four legs"
(Pisk, L. 1975. The Actor and his Body. London: George G. Harrap & Co.)
(Pisk is known for observing the walk of four-legged animals particularly cats)
"Study the creatures involved, film and analyse their movement, examine the texture of fur and muscle, even investigate the skeleton, But sometimes they are inspired by the personality of an actor who is performing the character’s voice"
(Platt, E. 2000. How Disney Makes Magic. The Sunday Times Supplement. Date not printed. Volume 1. 7.)
"Without personality, the character may do funny or interesting things, but unless people are able to identify with the character, its actions will seem unreal. And without personality a story cannot ring true to the audience."
(Platt, E. 2000. How Disney Makes Magic. The Sunday Times Supplement. Date not printed. Volume 1. 7.)
"The magic of Disney is based on anthropomorphism"
(Platt, E. 2000. How Disney Makes Magic. The Sunday Times Supplement. Date not printed. Volume 1. 7.)
"The mapping of human motion to a character with nonhuman proportions doesn’t work, because the most important things you get out of motion capture are the weight shifts and the subtleties and that balancing act of the human body"
(Richard Chuang (vice president of PDI)
"Anthropomorphism rules because, for most people, any other interpretation of the animal’s behavior- any suggestion that it might be motivated by other than human feelings and desires- would instantly devalue these (human and pet) relationships and place them on a more superficial and less rewarding footing."
(Serpell, J. A, 2005. People In Disguise: Anthropomorphism and the Human- Pet Relationship In: Daston, D and Mitman, G, Thinking with Animals. USA: Columbia University Press, 121-136.)
Monday, 14 December 2009
Interview with Craig McCracken
Below is a link to a site where I found an interview with Craig on the Powerpuff Girls 10th Anniversary.
http://coldhardflash.com/2009/01/powerpuff-girls-10th-anniversary-interview-with-creator-craig-mccracken.html
Below is another interview I found with him.
http://www.tibbysbowl.com/bowl/2009/01/28/craig-mccracken-interview/
http://coldhardflash.com/2009/01/powerpuff-girls-10th-anniversary-interview-with-creator-craig-mccracken.html
Below is another interview I found with him.
http://www.tibbysbowl.com/bowl/2009/01/28/craig-mccracken-interview/
Craig McCracken (Foster's Home)
Ok, seen as Simon Tofield is too busy at the moment to reply I have been thinking who else I could ask questions and recieve advice from. My first thought was Craig McCracken who created Powerpuff Girls and Foster's Home for Imaginary Friends. Just need to find some contact details for him now! In the meantime below are some quotes he has said.
• Anything you see on the screen was at one point approved by me.
• Basicly I'm in charge of all creative aspects of the show.
• Basicly what I had to do was do a 7 minute board and pitch it to a room of big wigs from the network and based on that they determined if I would get a short or not.
• But to me what seems to be missing in a lot of portfolios is Cartooning.
• First, there was 2 Stupid Dogs. Then, Dexter's Laboratory. And now, Powerpuff Girls. There were a lot of little things in between, but those were the main ones.
• For a long time I wanted to be a comic strip artist but when I started doing them in my teens they were getting really elaborate with tons of poses and a lot of information.
• I started working at Hanna-Barbera in '92 on 2 Stupid Dogs.
• I'm a geeky toy collector, and to have toys of your own characters is unbelievably cool.
• I'm always thinking about what I might want to do next, but there's still things I want to do with Powerpuff - so I can keep going with this one for awhile.
• I'm hoping that word-of-mouth on the film - people seeing it and liking it - that that will drive more people to the theaters, because I haven't seen the billboards or the posters or anything.
• I've been drawing since I was about 3 and I come from a family of artists.
• It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.
• One of the main things I do is focus on ideas and what stories we decide to tell, but probably the biggest part of my job I'd say is working on the storyboards.
• So what I do is supervise the boarding process trying to get the shows the way I'd like them to be. And in some cases I've completely redone a board myself even though I'm not credited for it.
• The reason they look the way they do is that the first drawing I did of them was really small so I didn't draw fingers, nose, ears, etc and this drawing had a certain appeal that I really liked.
• The shows are either 11 or 22 minutes and they move pretty quickly, and that's part of the charm of them - so it was just trying to keep that in mind and keep the energy of the story moving, even though we were dealing with a longer format.
• The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.
• There's a lot you can do without words.
• We chose the actors thru a series of auditions when we started the show.
• Well, for one thing, the executives in charge at Cartoon Network are cartoon fans. I mean, these are people who grew up loving animation and loving cartoons, and the only difference between them and me is they don't know how to draw.
• Yes, it's a prequel. It tells the story about how the girls were born with superpowers, but they weren't necessarily heroes at the beginning of this movie, so the movie is about the events that happen in their life to make them decide to be heroes.
(http://www.brainyquote.com/quotes/authors/c/craig_mccracken.html - accessed on 14th Dec)
• Anything you see on the screen was at one point approved by me. • Basicly I'm in charge of all creative aspects of the show.
• Basicly what I had to do was do a 7 minute board and pitch it to a room of big wigs from the network and based on that they determined if I would get a short or not.
• But to me what seems to be missing in a lot of portfolios is Cartooning.
• First, there was 2 Stupid Dogs. Then, Dexter's Laboratory. And now, Powerpuff Girls. There were a lot of little things in between, but those were the main ones.
• For a long time I wanted to be a comic strip artist but when I started doing them in my teens they were getting really elaborate with tons of poses and a lot of information.
• I started working at Hanna-Barbera in '92 on 2 Stupid Dogs.
• I'm a geeky toy collector, and to have toys of your own characters is unbelievably cool.
• I'm always thinking about what I might want to do next, but there's still things I want to do with Powerpuff - so I can keep going with this one for awhile.
• I'm hoping that word-of-mouth on the film - people seeing it and liking it - that that will drive more people to the theaters, because I haven't seen the billboards or the posters or anything.
• I've been drawing since I was about 3 and I come from a family of artists.
• It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.
• One of the main things I do is focus on ideas and what stories we decide to tell, but probably the biggest part of my job I'd say is working on the storyboards.
• So what I do is supervise the boarding process trying to get the shows the way I'd like them to be. And in some cases I've completely redone a board myself even though I'm not credited for it.
• The reason they look the way they do is that the first drawing I did of them was really small so I didn't draw fingers, nose, ears, etc and this drawing had a certain appeal that I really liked.
• The shows are either 11 or 22 minutes and they move pretty quickly, and that's part of the charm of them - so it was just trying to keep that in mind and keep the energy of the story moving, even though we were dealing with a longer format.
• The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.
• There's a lot you can do without words.
• We chose the actors thru a series of auditions when we started the show.
• Well, for one thing, the executives in charge at Cartoon Network are cartoon fans. I mean, these are people who grew up loving animation and loving cartoons, and the only difference between them and me is they don't know how to draw.
• Yes, it's a prequel. It tells the story about how the girls were born with superpowers, but they weren't necessarily heroes at the beginning of this movie, so the movie is about the events that happen in their life to make them decide to be heroes.
(http://www.brainyquote.com/quotes/authors/c/craig_mccracken.html - accessed on 14th Dec)
Thursday, 10 December 2009
Interview with Hayao Miyazaki from Ghibli Studios
Below is a link to an interview with Hayao Miyazaki. It is a very interesting read.
http://www.angelfire.com/anime/NVOW/Interview1.html
http://www.angelfire.com/anime/NVOW/Interview1.html
Thursday, 3 December 2009
My questionnaire to give people
Below is the questionnaire that I plan to ask people to fill out for my dissertation as primary research. I believe that what I have asked will give me helpful advice and quotes for my dissertation and project. If you wish to be helpful then please leave a comment on this post with your answers.
To view a larger version of the questionnaire you need to click on the image of the page you wish to view.
To view a larger version of the questionnaire you need to click on the image of the page you wish to view.
Tuesday, 17 November 2009
Simon's Cat by Simon Tofield - Great video about it!
Brilliant video by Simon Tofield.
He talks about the insperation, the style, how he does it, the soundtrack, ideas, the book and new characters. There is even a quick sketchbook flip too! Would love to slow that bit down to have a look :D
Quote could also be taken from this video.
He talks about the insperation, the style, how he does it, the soundtrack, ideas, the book and new characters. There is even a quick sketchbook flip too! Would love to slow that bit down to have a look :D
Quote could also be taken from this video.
BBC News - Simon's Cat is an internet phenomenon
"Simon's Cat is the most watched video ever on YouTube with over 45 million hits. Creator Simon Tofield talks to us about the inspiration behind his quirky cartoon cat."
Really interesting interview and definitly can get some quotes from this for my dissertation. A lot of good advice from Simon Tofield to help me with my animated short and the questions asked are helpful too.
Click here to see the Simon's Cat interview
Really interesting interview and definitly can get some quotes from this for my dissertation. A lot of good advice from Simon Tofield to help me with my animated short and the questions asked are helpful too.
Click here to see the Simon's Cat interview
Sunday, 8 November 2009
Simon's Cat Book
Tofield's creations have reached a wide audience over the last few months, drawing more than 20m hits on YouTube and winning a number of awards, including Best Comedy at the British Animation Awards and YouTube's Blockbuster Award. The animations – simple line drawings in black and white - depict the ever-hungry Simon's Cat in various attempts to get his owner to feed him.
Canongate editorial director Nick Davies said: "The humour is refreshingly innocent which gives the characters the broadest possible appeal. I think we have a major new comic creation here—something to rival The Bunny Suicides, Purple Ronnie, and maybe even one day, Wallace and Gromit."
The first book has been published in hardback and the second book will be published for Christmas 2010.
The Bookseller reports that agents have already started talking to a number of film, television and merchandising companies about the Simon's Cat brand.
http://www.yourcat.co.uk/Simon-s-Cat-cartoons/Simon-s-Cat-to-feature-in-books.html
Canongate editorial director Nick Davies said: "The humour is refreshingly innocent which gives the characters the broadest possible appeal. I think we have a major new comic creation here—something to rival The Bunny Suicides, Purple Ronnie, and maybe even one day, Wallace and Gromit."
The first book has been published in hardback and the second book will be published for Christmas 2010.
The Bookseller reports that agents have already started talking to a number of film, television and merchandising companies about the Simon's Cat brand.
http://www.yourcat.co.uk/Simon-s-Cat-cartoons/Simon-s-Cat-to-feature-in-books.html
The insperation for Simon's Cat is...
37-year-old Simon Tofield, from Leighton Buzzard, Bedfordshire, has won praise from cat lovers worldwide with three short animated films, Cat Man Do, Let Me in and TV Dinner, with Cat Man Do picking up the best comedy award at the 2008 British Animation Awards.
In the films, a loving, but frequently exasperated cat owner watches while his cat demands to be fed, let in and groomed.
In Let Me In, the cat is desperate to come indoors while in TV Dinners, his feline resorts to increasingly concerted measures to gain his owner's attention. Finally, in Cat Man Do, he goes to extreme lengths to wake up his owner – much to the amusement of the viewer!
Simon, who works for London-based Animation Studio Tandem Films, explains that the films are based on three of his cats, all moggies.
“Jess is a tiny seven-year-old cat, who I bought from an ad in the paper, in Clapham Common. Maisie is a gi-normous five-year-old rescue cat, while Hugh is a one-and-half-year-old cat from Cats Protection.
“It all started when I wanted to set myself an new animation project last year and one day, I had Hugh climbing all over me and I thought: ‘That’s perfect!”
Simon's actual cat!
Hugh goes on to be the main inspiration in the films, though the action on the sofa in TV dinner is mostly taken from Jess.
“I think it’s so popular, as the cat mannerisms result in well-observed comedy. People enjoy identifying with them and are reminded about their own cats and their own quirky behaviour.”
And for die-hard fans of the series, there’s good news as Simon is already planning more clips featuring the hapless cat owner. “I’m looking for new scenarios for future films and the garden is something I’m considering, as well as feeding time!”
http://www.yourcat.co.uk/Simon-s-Cat-cartoons/Simon-s-Cat-is-revealed.html
In the films, a loving, but frequently exasperated cat owner watches while his cat demands to be fed, let in and groomed.
In Let Me In, the cat is desperate to come indoors while in TV Dinners, his feline resorts to increasingly concerted measures to gain his owner's attention. Finally, in Cat Man Do, he goes to extreme lengths to wake up his owner – much to the amusement of the viewer!
Simon, who works for London-based Animation Studio Tandem Films, explains that the films are based on three of his cats, all moggies.
“Jess is a tiny seven-year-old cat, who I bought from an ad in the paper, in Clapham Common. Maisie is a gi-normous five-year-old rescue cat, while Hugh is a one-and-half-year-old cat from Cats Protection.
“It all started when I wanted to set myself an new animation project last year and one day, I had Hugh climbing all over me and I thought: ‘That’s perfect!”
Simon's actual cat!
Hugh goes on to be the main inspiration in the films, though the action on the sofa in TV dinner is mostly taken from Jess.
“I think it’s so popular, as the cat mannerisms result in well-observed comedy. People enjoy identifying with them and are reminded about their own cats and their own quirky behaviour.”
And for die-hard fans of the series, there’s good news as Simon is already planning more clips featuring the hapless cat owner. “I’m looking for new scenarios for future films and the garden is something I’m considering, as well as feeding time!”
http://www.yourcat.co.uk/Simon-s-Cat-cartoons/Simon-s-Cat-is-revealed.html
Wednesday, 4 November 2009
Quotes
“By associating with good and evil persons a man acquires the virtues and vices which they possess, even as the wind blowing over different places takes along good and bad odors.”
http://www.famousquotesandauthors.com/authors/the_panchatantra_quotes.html
(accessed on 4/11/09 at 7.48pm)
"Most scholars since the time of the English philosopher Francis Bacon (1561–1626) have agreed that the tendency to anthropomorphize hinders the understanding of the world, but it is deep-seated and persistent."
http://www.britannica.com/EBchecked/topic/27536/anthropomorphism
(accessed on 4/11/09 at 7.55pm)
http://www.famousquotesandauthors.com/authors/the_panchatantra_quotes.html
(accessed on 4/11/09 at 7.48pm)
"Most scholars since the time of the English philosopher Francis Bacon (1561–1626) have agreed that the tendency to anthropomorphize hinders the understanding of the world, but it is deep-seated and persistent."
http://www.britannica.com/EBchecked/topic/27536/anthropomorphism
(accessed on 4/11/09 at 7.55pm)
Monday, 2 November 2009
The Looney Tunes
I've been looking at the Looney Tunes as they are and were a big influence for me. When I was young we used to always go to the Warner Brothers store and sit in a large model of Martin the Martian's spaceship as it contained a TV that played Looney Tune shorts. My mum would then wander off doing her shopping. I thought this was great as I didn't have to wander around town and got to watch Willie Coyote, Bugs Bunny, Daffy Duck and all the other greats! I was devastated when the store closed and I still wish it re-opened as it was my favourite store and quite possibly always will be.
Below is a quote I found that I find quite inspirational. It's funny how it also has a bit of a jibe towards Disney as 2 of their original animators wrote a book called 'The illusion of life'.
"A small child once said to me: 'You don't draw Bugs Bunny, you draw pictures of Bugs Bunny.' That's a very profound observation because it means he thinks that the characters are alive, which, as far as I'm concerned, is true. And, I feel the same way about animation ..... Animation isn't an illusion of life. It is life."
Chuck Jones
http://www.animationusa.com/resources/aboutwb.html
Looney Tune books to look at
I especially want to look at the last book as it even includes model sheets, background art and how they actually created and made the Looney Tunes! Only problem is, its not published any more so I will have to find a used copy. The cheapest I have found so far is just over £30!
* Looney Tunes and Merrie Melodies: Complete Illustrated Guide to Warner Brothers Cartoons
by Jerry Beck, Will Friedwald
* Looney Tunes: The Ultimate Visual Guide
by Jerry Beck
*Animating the Looney Tunes Way (Looney Tunes Collection)
by Tony Cervone
Below is a quote I found that I find quite inspirational. It's funny how it also has a bit of a jibe towards Disney as 2 of their original animators wrote a book called 'The illusion of life'.
"A small child once said to me: 'You don't draw Bugs Bunny, you draw pictures of Bugs Bunny.' That's a very profound observation because it means he thinks that the characters are alive, which, as far as I'm concerned, is true. And, I feel the same way about animation ..... Animation isn't an illusion of life. It is life."
Chuck Jones
http://www.animationusa.com/resources/aboutwb.html
Looney Tune books to look at
I especially want to look at the last book as it even includes model sheets, background art and how they actually created and made the Looney Tunes! Only problem is, its not published any more so I will have to find a used copy. The cheapest I have found so far is just over £30!
* Looney Tunes and Merrie Melodies: Complete Illustrated Guide to Warner Brothers Cartoons
by Jerry Beck, Will Friedwald
* Looney Tunes: The Ultimate Visual Guide
by Jerry Beck
*Animating the Looney Tunes Way (Looney Tunes Collection)
by Tony Cervone
Subscribe to:
Posts (Atom)