BATTLESHIP POTEMKIN: THE LOST FOOTAGE

TRANSLATION: "BATTLESHIP POTEMKIN"


The Potemkin (above) steams into the harbor.


The sailors (above) watch as a political demonstration on land is thwarted by the Czar's soldiers.


It doesn't look good (above) for the demonstrators.


SAILOR: "Comrades! Wait a minute! There's a baby carriage on the edge of the steps!"


SAILOR: "Merciful Heavens! The soldiers are coming and there's a baby on the edge of the steps!"



SAILOR: "Wait a minute! What am I worried about? Nobody would push a baby down the steps!"



CAPITALIST (on the steps): "Hey, there's a baby! Push it down the steps!"



Baby "Waaaaaaa!!!!!"


SAILOR: (Gasp!)




DEMONSTRATOR: (cry of anguish)



SAILOR: "Man, that was harsh!"


SAILOR: "Well, at least we have this cool lighting. How do you like it? It's all done with a flashlight! "

SKETCHING OUTDOORS

"Hi folks! Art Teacher Uncle Eddie here!"


"Today we're going to talk about sketching outdoors."



"Well, not really outdoors...I mean, the real outdoors is dirty and full of bugs and rain. I mean the civilized outdoors that you find inside malls."



"OK, let's see. What examples do we have here?"


"Yikes! This (above) is just what I was talking about! Never, ever, ever do sketches like this! Why? because nobody wants to see realistic depictions of boredom or drowsiness! Half of being a good sketcher is knowing what to sketch. Not every subject is equally worthy of your attention."


"What is worth drawing? Well, cute girls for one thing! Here's some by Katie Rice!"


But that's (above) not the only thing. Character types are worth drawing...anybody that suggests a story...anybody that's fun to think about, even if they're evil or silly.



"But a word of warning! Never draw people who are pulpy! Fat and skinny are OK, even ugly is OK, but not pulpy and shapeless. Most people who will see your drawings worry about their weight and reminding them of it depresses them."



"Resist the temptation to draw what you see. Empty tables (above) are boring. The perspective problem is an interesting one, but as a story-telling cartoonist your time is too valuable to spend on this.

If you must draw this scene, move the foreground person to a table in the distance and ask her to look forlorn, as if she's oppressed by all the emptiness around her. Imagine that she's waiting for a date who will never come."



"Was that helpful?"


"There's more but I reckon that'll do for a start. See ya next time!"

GIFTS FROM E.O.COSTELLO AND KEVIN!

Wow! Talk about eccentric walks...E.O. Costello found a great one (above) on YouTube: It's by Al "Rubberlegs" Norman from "Paramount on Parade."





Here's (above) some great eccentric dancing from Jackie Gleason...I mean, "Reggie Van Gleason III." Many thanks to Kevin for finding this!






Just to round out the program, I'll throw in some boogie woogie (above) from Meade Lux Lewis.

ART OF THE FUNNY WALK

Don't you just love a good walk? Walk acts were a whole genre in vaudeville. They were considered a type of "eccentric dancing." Cagney was good walker, so was Buddy Ebson, but I'll bet the best walkers were names nobody would recognize anymore. Here's a great one that Mike turned me on to (above): Dean Martin's uncle Leonard. Sheer bliss to watch!





Another great walk (above) by a guy named Wall. Holy Cow! It makes you want to burn your Preston Blair (well, sort of....)!

SORRY!

Sorry about the Shakespeare rant! I admit that I'm way too sensitive about this subject, and I sincerely apologize. Most Theory Corner people are artists or people who are interested in art. Of course they save their most intense passion for other artists, or for people in fields related to art, like film or music. That's perfectly natural and I was a jerk for making people feel guilty about it.

I still like this play, especially this version of it, but if I ever talk about it again I hope it's in the role of a friend sharing, rather than whatever I was here.

I'll be gone for a couple of days to take care of business but I'll be back before most people know I was away!

MAD

I got one response to the post about "Julius Caesar"...one! What's wrong with you guys!? I thought Theory corner readers were more together than that. Is Shakespeare not good enough? Not worth listening to? Would you care to tell me who's more worth listening to? Is there a better writer that I don't know about!?

The version I put up is, or at least is close to being, an excerpt from a best version. The best version of the best writer isn't worth your attention?

CATALYTIC PERSONALITIES IN ANIMATION

This is about the so-called "catalytic personality." In entertainment this would describe people who are lucky in the sense that great things just seem to happen when they're around. Everybody just seems to do their best work when this kind of person's near, even if they're not working on the same project. Lorne Michaels, the producer of Saturday Night Live, is reputed to have had that quality. Very often the catalyst gets overlooked on the screen credits, yet the project would have been much poorer without him.


Clampett (director of all the cartoons on this page, save the stiff Daffy cartoon above) strikes me as someone who was a catalytic personality. Did he create Bugs Bunny? I'm not aware that any single person did, Bugs appears to have had several fathers (especially Tex), but it's impossible to imagine Bugs arising without Bob's influence, at least indirectly. Things happened around Bob. Look at the vibrancy of the other pictures on this page. What does that tell you about someone like Bob?


But this isn't a piece about Clampett, it's about catalytic personalities in general. It's sad to realize that catalytic personalities are so often overlooked and under-rated. There's no screen credit that reads: "The person who goaded, provoked, planted seeds, and gave away gags to friends that he would like to have kept for himself." That credit doesn't exist.


In animation a catalytic personality does more than contribute gags. His gags lead to something. They suggest a vision and and an over-all structure.  You ask this kind of person for a gag, expecting to get something like, "How about if he steps on a rake?", and you instead get a gag that suggests a unique character doing something that only that character would do.  You get an action that suggests a new way of pacing the scene, maybe the whole cartoon.  The gag forces you to re-evaluate your whole way of looking at what you're doing.  Catalytic personalities like to wrap up their gags in something larger and more useful.

 

One of the reasons catalytics can be so helpful is that they're constantly running story ideas and character types through their minds. These people don't offer gags, they offer pre-thought out worlds.  The gag is often something deep that's been simmering in the pot for years. It may be a fragment of a structure they'd been painstakingly building for their own use. The risk they run is that you'll run away with the larger idea the gag implies,  and then they won't be able to use it themselves. These are generous people who take big risks for no credit. 

 

The person I know who best fits this description is John Kricfalusi. Things mysteriously happen around John. People get lucky around him. Ideas somehow improve. The man has contributed millions of dollars worth of ideas to projects all around town, but is probably officially credited mostly in the cartoons he's made himself. 

 
I wonder what other people this would apply to. The big names are obvious but I'm thinking of less well-known names like Bill (Bob?)Nolan who worked on the early Lantz Oswalds.