General

If at first you don’t succeed … call Peter Jackson

Jim Korkis shines a spotlight on Hollywood’s first attempt to turn J.R.R. Tolkien’s literary masterpiece into an epic film series: Ralph Bakshi’s animated “Lord of the Rings.”

Published

21 years ago

June 24, 2003

Jim Korkis

I got an opportunity to meet with Ralph Bakshi before the release of his animated version of THE LORD OF THE RINGS. I had been warned of his sometimes overpowering personality where he often assumed the persona of the “new” Disney who was going to save animation from the children’s ghetto of Saturday morning television or kiddie matinees at theaters.

Meeting him in person for the first time, revealed a man whose quotes might appear blunt and abrasive on the printed page but when he was saying them out loud, he was actually very sincere and passionate about animation and it was easy to see how animators could be seduced by his vision. Nobody ever starts out doing an animated film thinking that they are going to produce a terrible final product. Especially in animation since so much of your life is spent working on it, you try to make it the best you can.

However, some films like the animated LORD OF THE RINGS turn out to be more than mere disappointments. They seem to serve as a tribute to lost possibilities and talented people who wasted those skills. With the success of the live action LOTR trilogy, Bakshi’s animated version was re-released and is easily available. One of the major criticisms at the time was that audiences were unaware that the film was only part one of the epic story.

I dug out my old notes from that over two decade old interview so you can read Bakshi’s own thoughts about the film before it was released. As you read his words, I can tell you that when I heard them for the first time I was absolutely convinced that Bakshi believed every single syllable and was not in the least trying to hype something substandard.

Ralph Bakshi’s rise in animation had been phenomenal. Immediately after graduation from the High School of Industrial Arts in Manhattan, Bakshi began working for CBS Terrytoons. Starting as an inker, he was quickly promoted to becoming the youngest animator on staff, then the youngest director and finally the youngest studio director. He was running Terrytoons at the age of 26.

“In 1956, the Tolkien books were given to me by a director at Terryoons to read. In 1957, I started trying to convince people that the books could be animated and tried to obtain the rights,” stated Bakshi. The film rights, held by Walt Disney for ten years, eventually passed to United Artists in 1968 where both Stanley Kubrick and John Boorman failed in their respective attempts to put together a workable screenplay. Bakshi began making annual trips to United Artists to find out when the film rights would be available.

Bakshi soon partnered with Steve Krantz to produce Robert Crumb’s FRITZ THE CAT, the first X-rated animated feature film. (During production, some older animators walked out rather than handle the suggestive subject matter.) FRITZ was followed by other animated features which highlighted contemporary material for an adult audience which pulsed with a street energy like HEAVY TRAFFIC (a semi-autobiographical film), COONSKIN (an updating of the Uncle Remus stories) and HEY GOOD LOOKIN’ (about life on the streets of New York in the Fifties). For a variety of reasons, these controversial films received only limited distribution and so Bakshi decided to find a somewhat more commercial topic for his next film.

WIZARDS is an entertaining if disjointed version of the classic battle between Good and Evil featuring fantasy characters that might have felt at home in the world of Tolkien. Produced with a limited budget (Only $1,100,00 as compared to the animated LOTR’s $7,000,000) and obviously borrowing influences from comic books, WIZARDS became enough of a success to establish Bakshi as a commercial filmmaker.

“WIZARDS was a comic book for a young audience,” Bakshi explained, “It was Sword and Sorcery for kids. People accused the film of shortcutting but I really loved it. I felt Mike Ploog’s drawings in the beginning were terrific. It was like comic books. I love comic books. I loved that sequence. We also used the rotoscope in WIZARDS but we didn’t have the time to put in the detail. I didn’t have RINGS in mind when I was doing WIZARDS.”

Publicity for the animated LOTR announced that Bakshi had created “the first movie painting” by utilizing “an entirely new technique in filmmaking”. That new technique was patented by its inventor Max Fleischer on October 9, 1917 and was called the rotoscope. At its most basic level, the process is that an animator traces live action film frame by frame for later inking and painting.

“I was told,” commented Bakshi, “that at Disney the actor was told to play it like a cartoon with all that exaggeration. In LORD OF THE RINGS, I had the actors play it straight. The rotoscope in the past has been used in scenes and then exaggerated. The action becomes cartoony. The question then comes up that if you’re not going to be cartoony, why animate? I think it’s the same reason Howard Pyle illustrated. Why illustrate? Why not just take a photograph? The reason is that there is an energy there and that’s important.”

“In THE LORD OF THE RINGS,” Bakshi continued, “it is the traditional method of rotoscoping but the approach is untraditional. It’s a rotoscope realism unlike anything that’s been seen. It really is a unique thing for animation. The number of characters moving in a scene is staggering. In THE LORD OF THE RINGS, you have hundreds of people in the scene. We have cels with a thousand people on them. It was so complex sometimes we’d only get one cel a week from an artist. It turned out that the simple shots were the ones that only had four people in them.”

“I didn’t start thinking about shooting the film totally in live action until I saw it really start to work so well. I learned lots of things about the process, like rippling. One scene, some figures were standing on a hill and a big gust of wind came up and the shadows moved back and forth on the clothes and it was unbelievable in animation. I don’t think I could get the feeling of cold on the screen without showing snow or an icicle on some guy’s nose. The characters have weight and they move correctly.”

When I asked Bakshi was he was trying to accomplish with this film, he smiled and replied, “What was I trying to do? I wanted to bring another level to animation. I wanted to try to get away from the WIZARDS cartoon work. The goal was to bring as much quality as possible to the work. I wanted real illustration as opposed to cartoons. I visited Tolkien’s daughter and his executor and a biographer in England. I spent time in Oxford to find out what her father thought. Of course, things had to be left out but nothing in the story was really altered. Tom Bombadil was dropped because he didn’t move the story along. Descriptions were dropped because you actually see it in the film.”

“It’s not that important to me how a hobbit looks. Everyone has their own idea of what the characters look like. It’s important to me that the energy of Tolkien survives. It’s important that the quality of animation matches the quality of Tolkien. Who cares how big Gandalf’s nose is? The tendency of animation is just to worry about the drawing. If the movie works, whether you agree about Bilbo’s face or not, the rest becomes inconsequential.”

“No contemporary illustrators inspired me on this film. The major influence was guys like Pyle and Wyeth. It’s very classical. Actually, the film is a clash of a lot of styles like in all my films. I like moody backgrounds. I like drama. I like a lot of saturated color. Of course, a big problem was controlling the artists so they drew alike. How do you have 600 people draw one character alike? The tendency is to want to let the artist have some freedom but then someone would leave off a hat or horn on a hat on a character.”

“The only joy you get during the year is seeing the background paintings. Johnny Vita has painted the backgrounds on all my films. He’s about 65. He does 15-20 paintings a day. He’s worked for me for seven years. I met him at Terrytoons. He paints better than Frazetta and Jones.”

“Making two pictures in two years is crazy. (The live action reference and the actual animated feature.) Most directors when they finish editing, they are finished; we were just starting. I got more than I expected. The crew is young. The crew loves it. If the crew loves it, it’s usually a great sign. They aren’t older animators trying to snow me for jobs next year.”

“I love the medium very much and when it starts to work, it’s fantastic. I’m now interested in building an animation company and I’m certainly amazed at the belief these younger guys had in me that we could do it. I think we’ve achieved real illustration as opposed to cartoons. Artistically, we can do anything we want. Maybe FRANKENSTEIN. Who knows? I’d like to see ten animated features a year. Ten live action films fail a month but if one animated film fails, there is the belief it failed because it was animated. This film is an awful big gamble. I’m glad it is nearly over.”

“The directorial problem was directing an epic. Epics tend to drag. The biggest challenge was to be true to the book. LORD OF THE RINGS was done with honesty. You can’t buy the love that went into the project. It’s the finest thing I’ve done. It probably could be the highlight of my life. I spent two years with Tolkien and there’s nothing wrong with that.”

General

Seward Johnson bronzes add a surreal, artistic touch to NYC’s Garment District

Published

9 years ago

June 23, 2015

Jim Hill

Greetings from NYC. Nancy and I drove down from New
Hampshire yesterday because we'll be checking out
Disney Consumer Products' annual Holiday Showcase later today.

Anyway … After checking into our hotel (i.e., The Paul.
Which is located down in NYC's NoMad district), we decided to grab some dinner.
Which is how we wound up at the Melt Shop.

Photo by Jim Hill

Which is this restaurant that only sells grilled cheese sandwiches.
This comfort food was delicious, but kind of on the heavy side.

Photo by Jim Hill

Which is why — given that it was a beautiful summer night
— we'd then try and walk off our meals. We started our stroll down by the Empire
State Building
…

Photo by Jim Hill

… and eventually wound up just below Times
Square (right behind where the Waterford Crystal Times Square New
Year's Eve Ball is kept).

Photo by Jim Hill

But you know what we discovered en route? Right in the heart
of Manhattan's Garment District
along Broadway between 36th and 41st? This incredibly cool series of life-like
and life-sized sculptures that Seward
Johnson has created.

Photo by Jim Hill

And — yes — that is Abraham Lincoln (who seems to have
slipped out of WDW's Hall of Presidents when no one was looking and is now
leading tourists around Times Square). These 18 painted
bronze pieces (which were just installed late this past Sunday night / early
Monday morning) range from the surreal to the all-too-real.

Photo by Jim Hill

Some of these pieces look like typical New Yorkers. Like the
business woman planning out her day …

Photo by Jim Hill

… the postman delivering the mail …

Photo by Jim Hill

… the hot dog vendor working at his cart …

Photo by Jim Hill

… the street musician playing for tourists …

Photo by Jim Hill

Not to mention the tourists themselves.

Photo by Jim Hill

But right alongside the bronze businessmen …

Photo by Jim Hill

… and the tired grandmother hauling her groceries home …

Photo by Jim Hill

… there were also statues representing people who were
from out-of-town …

Photo by Jim Hill

… or — for that matter — out-of-time.

Photo by Jim Hill

These were the Seward Johnson pieces that genuinely beguiled. Famous impressionist paintings brought to life in three dimensions.

Note the out-of-period water bottle that some tourist left
behind. Photo by Jim Hill

Some of them so lifelike that you actually had to pause for
a moment (especially as day gave way to night in the city) and say to yourself
"Is that one of the bronzes? Or just someone pretending to be one of these
bronzes?"

Mind you, for those of you who aren't big fans of the
impressionists …

Photo by Jim Hill

… there's also an array of American icons. Among them
Marilyn Monroe …

Photo by Jim Hill

… and that farmer couple from Grant Wood's "American
Gothic."

Photo by Jim Hill

But for those of you who know your NYC history, it's hard to
beat that piece which recreates Alfred Eisenstaedt's famous photograph of V-J Day in Times Square.

Photo by Jim Hill

By the way, a 25-foot-tall version of this particular Seward
Johnson piece ( which — FYI — is entitled "Embracing Peace") will actually
be placed in Times Square for a few days on or around August 14th to commemorate the 70th
anniversary of Victory Over Japan Day (V-J Day).

Photo by Jim Hill

By the way, if you'd like to check these Seward Johnson bronzes in
person (which — it should be noted — are part of the part of the Garment
District Alliance's new public art offering) — you'd best schedule a trip to
the City sometime over the next three months. For these pieces will only be on
display now through September 15th.

General

Wondering what you should “Boldly Go” see at the movies next year? The 2015 Licensing Expo offers you some clues

Published

9 years ago

June 10, 2015

Jim Hill

Greeting from the 2015 Licensing Expo, which is being held
at the Mandalay Bay
Convention Center in Las
Vegas.

Photo by Jim Hill

I have to admit that I enjoy covering the Licensing Expo.
Mostly becomes it allows bloggers & entertainment writers like myself to
get a peek over the horizon. Scope out some of the major motion pictures &
TV shows that today's vertically integrated entertainment conglomerates
(Remember when these companies used to be called movie studios?) will be
sending our way over the next two years or so.

Photo by Jim Hill

Take — for example — all of "The Secret Life of
Pets" banners that greeted Expo attendees as they made their way to the
show floor today. I actually got to see some footage from this new Illumination
Entertainment production (which will hit theaters on July 8, 2016) the last time I was in Vegas. Which
was for CinemaCon back in April. And the five or so minutes of film that I viewed
suggested that "The Secret Life of Pets" will be a really funny
animated feature.

Photo by Jim Hill

Mind you, Universal Pictures wanted to make sure that Expo
attendees remembered that there was another Illumination Entertainment production
coming-to-a-theater-near-them before "The Secret Life of Pets" (And
that's "Minions," the "Despicable Me" prequel. Which
premieres at the Annecy International Animated Film Festival next week but
won't be screened stateside 'til July 10th of this year). Which is why they had
three minions who were made entirely out of LEGOS loitering out in the lobby.

Photo by Jim Hill

And Warner Bros. — because they wanted "Batman v
Superman: Dawn of Justice" to start trending on Twitter today — brought
the Batmobile to Las Vegas.

Photo by Jim Hill

Not to mention full-sized macquettes of Batman, Superman and
Wonder Woman. Just so conventioneers could then see what these DC superheroes
would actually look like in this eagerly anticipated, March 25, 2016 release.

Photo by Jim Hill

That's the thing that can sometimes be a wee bit frustrating
about the Licensing Expo. It's all about delayed gratification. You'll come
around a corner and see this 100 foot-long ad for "The Peanuts Movie"
and think "Hey, that looks great. I want to see that Blue Sky Studios production
right now." It's only then that you notice the fine print and realize that
"The Peanuts Movie" doesn't actually open in theaters 'til November
6th of this year.

Photo by Jim Hill

And fan of Blue Sky's "Ice Age" film franchise are in for an even
longer wait. Given that the latest installment in that top grossing series
doesn't arrive in theaters 'til July
15, 2016.

Photo by Jim Hill

Of course, if you're one of those people who needs immediate
gratification when it comes to your entertainment, there was stuff like that to
be found at this year's Licensing Expo. Take — for example — how the WWE
booth was actually shaped like a wrestling ring. Which — I'm guessing — meant
that if the executives of World Wrestling Entertainment, Inc. didn't like
the offer that you were making, they were then allowed to toss you out over the
top rope, Royal Rumble-style.

Photo by Jim Hill

I also have to admit that — as a longtime Star Trek fan —
it was cool to see the enormous Starship Enterprise that hung in place over the
CBS booth. Not to mention getting a glimpse of the official Star Trek 50th
Anniversary logo.

Photo by Jim Hill

I was also pleased to see lots of activity in The Jim Henson
Company booth. Which suggests that JHC has actually finally carved out a
post-Muppets identity for itself.

Photo by Jim Hill

Likewise for all of us who were getting a little concerned
about DreamWorks Animation (what with all the layoffs & write-downs &
projects that were put into turnaround or outright cancelled last year), it was
nice to see that booth bustling.

Photo by Jim Hill

Every so often, you'd come across some people who were
promoting a movie that you weren't entirely sure that you actually wanted to
see (EX: "Angry Birds," which Sony Pictures Entertainment / Columbia
Pictures will be releasing to theaters on May 20, 2016). But then you remembered that Clay Kaytis —
who's this hugely talented former Walt Disney Animation Studios animator — is
riding herd on "Angry Birds" with Fergal Reilly. And you'd think
"Well, if Clay's working on 'Angry Birds,' I'm sure this animated feature
will turn out fine."

Photo by Jim Hill

Mind you, there were reminders at this year's Licensing Expo
of great animated features that we're never going to get to see now. I still
can't believe — especially after that brilliant proof-of-concept footage
popped up online last year — that Sony execs decided not to go forward
with production of Genndy Tartakovsky's
"Popeye" movie. But that's the
cruel thing about the entertainment business, folks. It will sometime break
your heart.

Photo by Jim Hill

And make no mistake about this. The Licensing Expo is all
about business. That point was clearly driven home at this year's show when —
as you walked through the doors of the Mandalay
Bay Convention Center
— the first thing that you saw was the Hasbros Booth. Which was this gleaming,
sleek two story-tall affair full of people who were negotiating deals &
signing contracts for all of the would-be summer blockbusters that have already
announced release dates for 2019 & beyond.

Photo by Jim Hill

"But what about The Walt Disney Company?," you
ask. "Weren't they represented on the show floor at this year's Licensing
Expo?" Not really, not. I mean, sure. There were a few companies there hyping
Disney-related products. Take — for example — the Disney Wikkeez people.

Photo by Jim Hill

I'm assuming that some Disney Consumer Products exec is
hoping that Wikkeez will eventually become the new Tsum Tsum. But to be blunt,
these little hard plastic figures don't seem to have the same huggable charm
that those stackable plush do. But I've been wrong before. So let's see what
happens with Disney Wikkeez once they start showing up on the shelves of the
Company's North American retail partners.

Photo by Jim Hill

And speaking of Disney's retail partners … They were
meeting with Mouse House executives behind closed doors one floor down from the
official show floor for this year's Licensing Expo.

Photo by Jim Hill

And the theme for this year's invitation-only Disney shindig? "Timeless
Stories" involving the Disney, Pixar, Marvel & Lucasfilm brands that
would then appeal to "tomorrow's consumer."

Photo by Jim Hill

And just to sort of hammer home the idea that Disney is no
longer the Company which cornered the market when it comes to little girls
(i.e., its Disney Princess and Disney Fairies franchises), check out this
wall-sized Star Wars-related image that DCP put up just outside of one of its
many private meeting rooms. "See?," this carefully crafted photo
screams. "It isn't just little boys who want to wield the Force. Little
girls also want to grow up and be Lords of the Sith."

Photo by Jim Hill

One final, kind-of-ironic note: According to this banner,
Paramount Pictures will be releasing a movie called "Amusement Park"
to theaters sometime in 2017.

Photo by Jim Hill

Well, given all the "Blackfish" -related issues
that have been dogged SeaWorld Parks & Entertainment over the past two years, I'm
just hoping that they'll still be in the amusement park business come 2017.

Your thoughts?

General

It takes more than three circles to craft a Classic version of Mickey Mouse

Published

9 years ago

June 9, 2015

Jim Hill

You know what Mickey Mouse looks like, right? Little guy,
big ears?

Truth be told, Disney's corporate symbol has a lot of
different looks. If Mickey's interacting with Guests at Disneyland
Park (especially this summer, when
the Happiest Place on Earth
is celebrating its 60th anniversary), he looks & dresses like this.

Or when he's appearing in one of those Emmy Award-winning shorts that Disney
Television Animation has produced (EX: "Bronco Busted," which debuts
on the Disney Channel tonight at 8 p.m. ET / PT), Mickey is drawn in a such a
way that he looks hip, cool, edgy & retro all at the same time.

Looking ahead to 2017 now, when Disney Junior rolls out "Mickey and the
Roadster Racers," this brand-new animated series will feature a sportier version
of Disney's corporate symbol. One that Mouse House managers hope will persuade
preschool boys to more fully embrace this now 86 year-old character.

That's what most people don't realize about the Mouse. The
Walt Disney Company deliberately tailors Mickey's look, even his style of
movement, depending on what sort of project / production he's appearing in.

Take — for example — Disney
California Adventure
Park's "World of Color:
Celebrate!" Because Disney's main mouse would be co-hosting this new
nighttime lagoon show with ace emcee Neil Patrick Harris, Eric Goldberg really had
to step up Mickey's game. Which is why this master Disney animator created
several minutes of all-new Mouse animation which then showed that Mickey was
just as skilled a showman as Neil was.

Better yet, let's take a look at what the folks at Avalanche Studios just went
through as they attempted to create a Classic version of Mickey & Minnie.
One that would then allow this popular pair to become part of Disney Infinity
3.0.

"I won't lie to you. We were under a lot of pressure to
get the look of this particular version of Mickey — he's called Red Pants
Mickey around here — just right," said Jeff Bunker, the VP of Art
Development at Avalanche Studios, during a recent phone interview. "When
we brought Sorcerer Mickey into Disney Infinity 1.0 back in January of 2014,
that one was relatively easy because … Well, everyone knows what Mickey Mouse
looked like when he appeared in 'Fantasia.' "

"But this time around, we were being asked to design
THE Mickey & Minnie," Bunker continued. "And given that these Classic
Disney characters have been around in various different forms for the better
part of the last century … Well, which look was the right look?"

Which is why Jeff and his team at Avalanche Studios began watching hours &
hours of Mickey Mouse shorts. As they tried to get a handle on which look would
work best for these characters in Disney Infinity 3.0.

"And we went all the way back to the very start of Mickey's career. We began
with 'Steamboat Willie' and then watched all of those black & white Mickey shorts
that Walt made back in the late 1920s & early 1930s. From there, we
transitioned to his Technicolor shorts. Which is when Mickey went from being
this pie-eyed, really feisty character to more of a well-behaved leading
man," Bunker recalled. "We then finished out our Mouse marathon by
watching all of those new Mickey shorts that Paul Rudish & his team have
been creating for Disney Television Animation. Those cartoons really recapture
a lot of the spirit and wild slapstick fun that Mickey's early, black &
white shorts had."

But given that the specific assignment that Avalanche Studios had been handed
was to create the most appealing looking, likeable version of Mickey Mouse
possible … In the end, Jeff and his team wound up borrowing bits & pieces
from a lot of different versions of the world's most famous mouse. So that
Classic Mickey would then look & move in a way that best fit the sort of
gameplay which people would soon be able to experience with Disney Infinity
3.0.

"That — in a lot of ways — was actually the toughest
part of the Classic Mickey design project. You have to remember that one of the
key creative conceits of Disney Infinity
is that all the characters which appear in this game are toys," Bunker
stated. "Okay. So they're beautifully detailed, highly stylized toy
versions of beloved Disney, Pixar, Marvel & Lucasfilm characters. But
they're still supposed to be toys. So our Classic versions of Mickey &
Minnie have the same sort of thickness & sturdiness to them that toys have.
So that they'll then be able to fit right in with all of the rest of the
characters that Avalanche Studios had previously designed for Disney Infinity."

And then there was the matter of coming up with just the
right pose for Classic Mickey & Minnie. Which — to hear Jeff tell the
story — involved input from a lot of Disney upper management.

"Everyone within the Company seemed to have an opinion
about how Mickey & Minnie should be posed. More to the point, if you Google
Mickey, you then discover that there are literally thousands of poses out there
for these two. Though — truth be told — a lot of those kind of play off the
way Mickey poses when he's being Disney's corporate symbol," Bunker said.
"But what I was most concerned about was that Mickey's pose had to work
with Minnie's pose. Because we were bringing the Classic versions of these
characters up into Disney Infinity 3.0 at the exact same time. And we wanted to
make sure — especially for those fans who like to put their Disney Infinity
figures on display — that Mickey's pose would then complement Minnie.

Which is why Jeff & the crew at Avalanche Studios
decided — when it came to Classic Mickey & Minnie's pose — that they
should go all the way back to the beginning. Which is why these two Disney icons
are sculpted in such a way that it almost seems as though you're witnessing the
very first time Mickey set eyes on Minnie.

"And what was really great about that was — as soon as
we began showing people within the Company this pose — everyone at Disney
quickly got on board with the idea. I mean, the Classic Mickey that we sculpted
for Disney Infinity 3.0 is clearly a very playful, spunky character. But at the
same time, he's obviously got eyes for Minnie," Bunker concluded. "So
in the end, we were able to come up with Classic versions of these characters
that will work well within the creative confines of Disney Infinity 3.0 but at
the same time please those Disney fans who just collect these figures because
they like the way the Disney Infinity characters look."

So now that this particular design project is over, does
Jeff regret that Mouse House upper management was so hands-on when it came to
making sure that the Classic versions of Mickey & Minnie were specifically
tailored to fit the look & style of gameplay found in Disney Infinity 3.0?

"To be blunt, we go through this every time we add a new character to the
game. The folks at Lucasfilm were just as hands-on when we were designing the
versions of Darth Vader and Yoda that will also soon be appearing in Disney
Infinity 3.0," Bunker laughed. "So in the end, if the character's
creators AND the fans are happy, then I'm happy."

This article was originally posted on the Huffington Post's Entertainment page on Tuesday, June 9, 2015