"A SEASONAL PLACE"

I'll bet I'll regret publishing these sketches. The drawing and acting sucks, the characters look different in every panel, mis-spelled words...it's a mess! The only reason I'm putting it up is because I know that if I put it in a desk drawer to rework another day, it'll never get done. Besides, if I don't post this then I'll be left without anything to put up tonight. OK, so here it is, flaws and all......"A Seasonal Place."

THE PARIS ART SCENE, CIRCA 1885

There were lots of art schools and lots of type-A art teachers. Here (above) an angry art teacher goes berserk and possibly beats the class with another student.

Paintings often had to be done on a tight schedule. Here (above) an artist puts the finishing touches on a painting as it's being delivered to the buyer.

According to Daumier one painter paints from nature while another paints from what the first painter painted.

Some painters had fancy studios...

...others painted in hovels. No heat, no bathroom. Rats.

Here (above) is Montmare which, because it was situated on a steep hill, had low rents. Lots of artists here.

Here's a Lautrec poster (above) . Is it for the Moulin Rouge? Does it say "The Queen of Joy (Life?) with Victor Jose"? What the heck is that about? Whatever the real meaning the picture, it reminds me that a number of Lautrec's other posters for that club depicted the customers rather than the stars. Sometime the posters seemed to advertize the interesting people and friendly women you'd meet there. Lautrec did a couple of paintings from the vantage point of someone walking behind adventurer-customers looking for excitement.

The Moulin Rouge Gardens. Outdoor entertainment, good food, spirits, a beautiful giant elephant...looks good to me. Why don't we have more places like this now?

KANDINSKY

Am I the only person here who likes Kandinsky? He was a Russian painter who was infuenced by fauvism but left the movement when Matisse declared that fauvism was incompatible with abstraction. How do you like this railroad painting? I think he and Gaugain (spelled right?) "owned" green!

These "Blue Rider" paintings with the colored frames (above) are terrific in my opinion. He sneaks in some white puffballs...more about that later.

This watercolor (above) looks like a tiny model for a stage set. You can see the Matisse influence but he Russianizes it somehow.

Here's (above) an early example of how Kandinsky adopted pointalism to traditional Russian style. The dabs of paint look like little puffballs. When I first saw them they reminded me of cheesepuffs and I found myself wondering where the Russians ever got the idea of painting on black vevet with junk food. After a moment's reflection I figured that was a pretty superficial observation; the picture obviously referenced balls of lint. It's a pretty picture, though. The dots of light are like stars or fireflies. It makes the whole scene seem magical.

SCRIPTS OR STORYBOARDS?

It won't come as a suprise to anyone that I'm on the storyboard side of that controversy, especially if we're talking about animated cartoon comedy. I've written in both script and storyboard formats, and the boarded stories always turn out funnier. That's because a board provides constant feedback on how the visuals are going. Some ideas just don't look funny when drawn and it's nice to be able to toss them in favor of something that draws better.

It's also because scripts are a form of book. They're a medium of their own and what feels good in the medium of print often doesn't feel good in animation. As an example, scripts tend to be dialogue-heavy, even when they're written by artists. That's because ddialogue driven scripts are leaner and easier to read. Dialogue comes in trim little columns surrounded by oceans of white space. It looks better on a page. You can read it faster. It's an amazing but true fact that dull, dialogue-heavy, talking head cartoons get made for the trivial reason that their kind of script is easier to read.

Here's an example. This is an excerpt from a first-draught script I wrote for Animaniacs. A witch's candy-covered house attracts the Animaniacs and she tries to eat them. They turn it around and harass the witch to distraction. The script reads OK whenever it depicts dialogue but watch how hard it becomes to read when it describes visual gags:
Which part would you rather read?

It's also true that stories that originate on storyboards tend to emphasize visual gags, the thing that animation is best at. When I'm drawing I naturally pay more attention to the way a character looks in clothes, the way he bends to pick things up, etc. Sometimes these details are so funny that I end up building a whole sequence around them. That feels right to me. Comedy is best when it's about little things. Scripts, on the other hand, favor the overview, the big things and the complex subplots.

Now that scripts dominate there are very few funny cartoons. Since scripts are uncongenial to visual comedy the powers that be have decided to eliminate visual comedy. This is the shocking price we've had to pay for our script addiction.

COVARRUBIAS

'Just a few pictures by the uber-caricaturist, Miguel Covarrubias. Enjoy!

POETRY CORNER

Here's (above) Sylvia Plath's "Daddy," read by Plath. I like this poem, but it seems self-indulgent and even crazy to me. Boy, Sylvia could certainly can hold a grudge. What could her father have done to her to make her write a poem like this? My guess is...not much. It's possible that he had a mentally disturbed daughter who was willing to throw his reputation under the bus in order to establish her own reputation.

Anyway, love it or hate it, you have to admit that it represents an interesting extreme of revenge literature. The unrelenting, venemous intensity reminds me of "Who's Afraid of Virginia Wolfe?" and the several pages long curse in the Bible aimed at anyone who touches the Arc of the Covenant.





Here's (above) Allen Ginsberg reading "America." I confess to liking this poem even though I completely disagree with the content. Walt Whitman popularized this kind of rambling, sloppy, stream-of-consciousness dialogue where the poet argues with an abstraction. Like Whitman, Ginsberg is often silly and easy to parody but you have to admit that it's appealing on some level.





Here's (above) Jack Kerouac reading one of his poems on the old "Tonight Show" with Steve Allen. Kerouac comes off as immensely sincere and the poem is an interesting, example of word music, at least when Jack reads it.

THEORY CORNER FOR MEN: PICKUP LINES

Hello men! I get a lot of letters asking for advice about dating. Normally I don't answer because, well, some things can't be taught. I recently changed my mind after receiving a gut-wrenching letter from a Theory Corner men who told me that if I couldn't help then there would be nothing for it but a leap into the Grand Canyon. It occurred to me that I might be able to help this man and through him some of the other luckless, blighted males who frequent this site.

I agreed to meet the letter writer outside my favorite Hollywood disco. Out there on the street we'd talk theory then inside we'd put it into practice. 


Uncle Eddie: "Alright, listen up! The basic format is FMAC: find, meet, attract, close. Got that?"

Student: (writing nervously, nearly dropping pencil) "Got it Uncle Eddie!"

Uncle Eddie: "The trick is to play hard to get by deliberately ignoring the woman you're interested in while winning over her friends, including the men. To do that you employ a device called the 'neg'."

Student: "Huh? What's a neg?"

Uncle Eddie: "The neg is a negative comment, a sort of accidental insult. The purpose of a neg is to lower a beautiful woman's confidence. Maybe tell her she has lipstick on her teeth or offer her a breath mint after she speaks. Now what's the number one characteristic of an alpha male?"

Student: (drops pencil; when he leans down to pick it up his glasses fall off) "Um...er, I don't know, Uncle Eddie!"

Uncle Eddie: "The number one characteristic of an alpha male is the smile. Smile from the moment you enter the club! It indicates confidence! OK, let's go in!"

Uncle Eddie (inside the club...the sound is deafening...Thoomp! Thoomp! Thoomp!) : (shouting) "You see how all the guys are dressed? You gotta be bold, over-the-top! Dress average and you'll fade into the background! Wear a conversation piece! Now go up that group over there and start talking! Don't think about it or you'll chicken out! Did you memorize the dialogue? "

Student: (squints to read his notes) "Yes, Uncle Eddie! I walk over to them and say, 'Hey, it looks like the party's over here.' Then I turn to the girl I want and say, 'If I wasn't gay, you'd be so mine!' (he blushes).

'Um...I don't get it, Uncle Eddie. How do I get the girl if she thinks I'm gay?"

Uncle Eddie: (rolls eyes) "Once she feels comfortable and unthreatened by you, you forget the gay thing."

Student: "But isn't that lying?"

Uncle Eddie: "Naw, that's flirting!"

Well, that's enough for one post. Now I don't want to hear anybody talking about diving into the Grand Canyon. I'm a hiker and I don't enjoy stepping over dead bodies.

Editor's Note: This info was derived from a book: "The Game: Penetrating the Secret Society of Pickup Artists" by Neil Strauss.