A few years ago I posted my Pin-up of Charles and Edgar, two outrageous characters created by my pal nate Stanton and featured in his contribution to the Afterworks 2 Anthology. This composition here was one of the other ideas I had for that original pin-up and I tidied it up this week as a Birthday present, which I will give him in person, later today.
Happy Birthday, Nate!
Gordon Clark and the guys at Wild Brain recently made an entertaining in-flight safety-video for Virgin America Airlines. I really like the pencil-testy look of it. Gordon styled the spot and designed most of the characters that made me laugh (I checked) and he also did the voice-over narration. I recently took a flight to LA and decided to fly Virgin just to see this amusing movie in action, but unfortunately the little TV monitors were not working on that particular flight. DOH!
Frequent visitors to this blog will have noticed that I have Star Wars on the brain at the moment… Here’s a little doodle (3×4 inches) of Princess LEIA done while watching TV last night..
You’ve all no doubt heard of HAN SOLO, but what about his sister; TRUMPET SOLO? (That nugget of internet gold courtesy of CHRIS.)
Some fans of RED SQUADRON made a great, life-sized X-Wing rocket that actually takes off! Not to be outdone, GOLD SQUADRON fans staged their own Y-Wing rocket launch! (Thanks to MICHEAL MAY for these links.)
Behold this neato Darth Vader T-Shirt and also this collection of Star Wars Pixel art. (Sent to me by MR. BKON!)
UPDATE: Here is the FINAL INKED VERSION.
More STAR WARS characters HERE and HERE.
Since getting my copy of Ralph McQuarrie’s new book I’ve been geeking out hard on Star Wars. So skip this post unless you are prepared to trip down that nerd path with me.
A few nights back, I spent a few hours online trying to track down a few images I had seen years ago. After almost giving up the hunt, I stumbled upon a fantastic online catalogue of pulp magazine covers that contained the first thing I was looking for; a black and white sketch illustration and colour cover from July 1975 issue of ANALOG Magazine:
Both were drawn by John Schoenherr to illustrate a short science fiction story called And Seven Times Never Kill Man written by George R.R. Martin. These crossbow wielding furry alien warriors certainly remind me of one the characters from a blockbuster-hit science fantasy film that came out two years after this issue hit the news stands.
As a kid, Chewbacca was one of my favourite characters and was a rare case of my preferring what appeared in the film over any of Ralph McQuarrie’s early designs, which looked more like a big, bug-eyed lemur. You other Chewie fans out there might enjoy this theory that, when viewed as a whole, the Star Wars films reveal that R2D2 and Chewie are really in control (It’s a long read but interesting and fun).
Another fan has come up with a funny theory that Leia and Luke got busy after the Death Star was destroyed in the first Star Wars movie. Yes! Worth a read, eh? (short, funny read)
Speaking of Luke, fanboys and haters still debate Mark Hamill’s career and argue over his acting chops. Despite what many people say, I think that Mark Hamill is far from being a bad actor. In fact, compared to the relentlessly stiff acting by Samuel Jackson, Liam Neeson, Ewan McGregor and many of the other respected actors in the prequels, Hamill’s portrayal of Luke’s growth from whiny farm boy to Jedi Badass is actually one of the better performances in the Star Wars movies… (Bracing for a backlash in my comments section 
)
More can be found out about the original trilogy actors in the where are they now article including some sad pics showing how the aging process works on fresh young faces….
Look at this history of the screenplay drafts of the original movie, starting with the rough outline written in 1973. Most of these drafts are barely recognisable as the final film, and pretty terrible into the bargain… which I found inspiring in a way; Don’t give up on your idea if it seems shonky at first. Just keep plugging away at it until it works.
The next thing I found during my exhaustive “research” online is a great picture of the Prototype Darth Vader which more closely resembles the original Ralph McQuarrie design. I had never seen this picture or anything like it before. Isn’t the internet wonderful?
And, finally, here is the second image that I went online to search for in the first place; a painting by Syd Mead done way back in 1968 for the book “CONCEPTS” as a promotion for for US STEEL. Does this gizmo remind you of anything? A wicked cool walking vehicle from a 1980 smash-hit science-fantasy film perhaps? It’s even walking around in the snow!
I think it’s time; I need to watch the original three movies again…
Osamu Tezuka has been a big influence on me since I was a small child. I enjoyed his animated shows that played in re-runs on Australian TV in the 1970s, namely Astro Boy and Kimba the White Lion. Years later, I found out that both these shows were based on comic books that Tezuka himself had drawn, and were merely a fraction of the many properties that he had created.
Tezuka is sometimes referred to as the “Walt Disney of Japan” which is a comparison that Tezuka himself would have been flattered by, as he was a big fan of Walt Disney. But Disney’s (unmistakeably huge) influence is mainly that of a visionary businessman; his artistic output of drawings over the course of his career is minuscule at best, whereas Tezuka’s creative output in BOTH comics and animation, was staggering.
The Asian Art Museum here in San Francisco is showing an exhibit of Osamu Tezuka‘s original comics artwork entitled MARVEL OF MANGA, which runs until September 9th. This exhibit was created by Australia’s National Gallery of Victoria, in co-operation with Tezuka Productions in Japan. The original show ran in Melbourne from November 2006 through January this year, when it moved to The Art Gallery Of NSW in Sydney for February and April. In June the exhibit came to San Francisco, for what will be its only U.S. appearance.
If you have any interest at all in Manga or Anime, I strongly recommend that you see this show. Even though the art style may seem dated and quaint to some people, it is worth remembering that many (if not all) modern Manga and Anime artists stand on the mighty shoulders of Osamu Tezuka. For me, it was marvelous to see his original artwork with my own eyes… I had never seen any of his original art before and there certainly is a lot of it on display. Plus, the sheer scope of all he did, taken in all at once, is pretty astonishing.
I was happy to see that as well as his comic artwork, there were some screenings of Tezuka’s animation, including his experimental films such as “Broken Down Film” and “Jumping” Which are both very much worth a look-see.
The exhibit started on June 2nd and runs until September 9th so if you have plans to be in SF during that period then don’t miss the show. Be sure to check on the schedule of lectures ahead of time so that you don’t miss out on any goodness. Also, take a look at the exhibition program/catalog, which is a beautiful hardcover book, including essays about Tezuka compiled by the curator of the exhibit, Philip Brophy. I regretted not buying this book as soon as I left the museum (I will pick up a copy on my NEXT visit).
More from the stack-O-doodles. This is another of my rare attempts at a famous costumed-hero character, inspired by seeing all the costumed folks walk by at Comic Con.
I am not sure if I will see the latest Fantastic 4 Film… Somehow the idea of the baddie being a planet-absorbing cloud, rather than a ginormous planet-devouring bloke in a wicked cool red and blue helmet is a bit of a let-down.
If you feel that way too, then cheer yourself up by looking at either THIS or THIS.
Last weekend I put on my moth-eaten old suit and walked the few blocks from my apartment to the San Francisco Masonic Hall, to watch a screening of Ratatouille, the latest PIXAR film. Later, at the Wrap-party, I was surrounded by co-workers and friends, all dressed-up, wearing huge grins on their faces. It wasn’t only the champagne making them smile; they realized that they had somehow made yet another great movie.
I am curious to see how Ratatouille goes over with general audiences. If they like it as much as the Wrap-party audience then it might be the biggest hit of any Pixar film yet. Kids will no doubt enjoy the fun scenes of a rat-chef as much as I did, but will they appreciate the thematic sophistication? Will clean-freaks get beyond the “ICK-factor” and learn to love a little rodent (yes, even in the kitchen) as much as me? How will it play for the People of France and other Francophone people? Will they see the love-letter to French culture that I see, among the many layers of this film?
There were quite a few French artists on the crew. No self-respecting animation studio can compete without its fair share of French artists these days (they are as sought after in the corporate animation-race as German rocket-scientists were in the space-race) and I think that their participation in this particular project lends it an authenticity, right down to the distinctive Gallic gestures in the beautifully acted animation.
Paris is lovingly presented, in one beauty-shot after another. The scenes of the city seen through evening fog from the River Seine brought back memories of my own nocturnal wanderings along those banks. This is the new movie to beat in terms of animation design. Character-design, production-design, staging, shading, lighting… everything.
As someone who worked on it myself, I am not able to give an unbiased review of this film, so I shouldn’t even try. Let’s just say that if you are a fan of any of the other 7 Pixar films, then you are not going to be disappointed by number #8.
Drive-In theatres are fondly remembered for providing teenagers with both a cover story (a trip to the movies) and a relatively private place (a car) for their furtive, mutual anatomical research. But they were also frequented by families with small children. Before the ages of video and DVD, a drive-in theatre was where parents could see movies without having to feel self-conscious about their bawling kids. No need for a baby sitter for the tiny ones, just bring them along. Sealed off in your (more or less) soundproof bubble you weren’t likely to bother the other patrons, who were probably families themselves, or teenagers who had more pressing things (ie; the pressing of “things”) on their minds. But you could easily bother each other, cooped up in there during a double bill of “Blue-Beard’s Ghost” and “Herbie the Love Bug”. With all the bickering and crying and spilled drinks and whatnot there was often as much tragedy and comedy and drama in the car, as on the screen.
I remember going to the drive-in to see family films when there were little babies in our family (and I was small myself). In particular I was very affected by seeing “BAMBI” when I was 5 years old. My brother Jo was still a small baby and provided his own vocal accompaniment from the front seat where he was attended to by my Mother, already pregnant with next brother, Rob (who would be along to help out with the yodelling chores in a few months). Despite the occasional noise, and being treated to moments of SENSE-AROUND when baby-bro had to have his underthings changed right there in front of me, I was very much engrossed in what was going on up on the screen.
Like a lot of children, the death of BAMBI’s Mother affected me very deeply and I’m absolutely sure that I added my own blubbering to the general commotion within our car at that point. Parents sometimes like to shield their kids from such raw emotions, but this moment of tragedy is a big part of one of my most powerful early-childhood memories. And it wasn’t over yet, BAMBI was about to affect me in perhaps an even more powerful way; it was while at the drive-in watching “Bambi” that I realised that this film was somehow different to other movies… IT WAS DRAWINGS… Moving and talking and seeming to be alive… and then seeming to be killed… drawings making me feel both happy, and then sad. The tears of anguish were barely even dry on my face before I started to wonder how this could be so…. What kind of magic was this? I could not grasp how it was possible for these drawings to be alive. It was a singular moment; I was both pulled into and popped out of, the movie at the same time.
I had always liked cartoons, but never thought about how they were made, in fact I don’t think that I had ever thought about how ANY movies were made until this moment watching Bambi at the Drive-In theatre in Hobart. If I had thought about it at all, I probably thought that films were documentaries and the events on-screen were really happening (Reality TV in today’s parlance). But the realisation that this film was made of drawings made that idea an impossibility. Mum and Dad now had their hands full. Baby on the one hand and on the other, a 5 year old who needed some answers. They both did their best to explain the rudiments of the animation process, but it seemed completely unbelievable. Tiny drawings? What? How? I wasn’t apt to take their explanations at face value either; I hadn’t forgotten the great lengths they had taken to try and dupe me with that Santa Claus nonsense (which I never believed in for a moment, much to the great disappointment of my Mother). You never knew what kind of hokum grown ups were going to put over on you next….
Behind our car at the back of the drive-in, in the same building as the snack bar, there was a tiny window allowing patrons to peek into the projection booth. In an attempt to convey the truth of the animation process to me, my Dad lifted me up high enough that I could see in. I watched a big machine spool out a long shiny ribbon that passed through a ray of light, sending a flickering beam out through the main window and onto the huge screen, in front of which our family car was parked, under the night sky. I was told that there were thousands of hand drawn little pictures on that strip of film and through some process as yet beyond my ability to comprehend, they looked alive when put through the projector and light went through them.
It sounded like some kind of magic to me and even If it wasn’t “real” magic then it was clearly the next best thing. The sense of wonder from that night stayed with me for quite some time; certainly long enough to get me into the animation industry. I can still conjure up a ghost of it even now after 25 years in the biz.
These days of course, people don’t need to go to Drive-In movies. You can watch whatever you like, and whenever you like at home on your groovy big-screen home entertainment centre, or for that matter just go ahead and take the tiny kids to the multiplex, no problem. Nobody is going to hear them over the all cellphone chit-chat anyway.
RECENT COMMENTS