PRETTY FACES

Everybody loves a beautiful face, but be honest...don't you love pretty faces (above) more?

Pretty isn't quite as mathematically perfect as beautiful, and it may be a bit nerdy, but it's more likely to include friendliness and character. 

Beautiful is for magazine covers and the movies. Pretty is accessible. It's what you find in the real world if you're lucky.

Some women (above) straddle the line between pretty and beautiful. That's okay, I'll accept them as honorary pretty types. 

Pretty entitles the possessor to giggle and be fun to be with.

Of course pretty women can have flaws just like anyone else. I'll bet the pretty girl above has a depressive disorder.

Here's (above) a pretty woman that strikes me as positively dangerous. Men would be well advised to walk the other way, but it would take an exceptional man to do that.

THE GREAT GEORGE CLAYTON JOHNSON

Weeell....if you weren't at Steve Worth's last night, TOO TOO BAD! You missed a chance to meet ace Twilight Zone writer, George Clayton Johnson (that's Steve on left and  George on the right, above). For readers who are unfamiliar with George, here's a yeoman introduction cribbed from Steve' blog, Animation Resources:

Mr. Johnson was one of the principal writers on Rod Serling’s “Twilight Zone”, writing both stories and screenplays for such legendary episodes as “The Four of Us Are Dying”, “Kick the Can”, “A Game of Pool”, and “Nothing in the Dark”. He also was the writer of the first regular episode of Star Trek to air, “The Man Trap” and the feature films “Logan’s Run” (he co-wrote the novel the film was based on) and “Oceans 11″. He was part of a group of Southern California science fiction writers that included Richard Matheson, Ray Bradbury and Charles Beaumont. He collaborated with Ray Bradbury on the story for “Icarus Montgolfier Wright”, an Academy Award nominated animated film produced by Format Films.

I came to the event with a bunch of questions for George, foremost of which was this: how does a dramatic writer fill in the details of a story without being boring? In George's Twilight Zone episode "A Game of Pool," the whole extended middle was a pool game. Now how do you make a thing like that interesting? 


The answer isn't obvious. I'd just seen the episode and there wasn't a single second where the film was less than fascinating, even though there were no fights, shouting matches, power outages or third characters. How did George keep the interest level so high? You're going to die when you hear what he said.

The answer in paraphrase was...personality...character friction...two appealing ideas in conflict...the gradual unveiling of an overriding great thought...and. of course, suspense about the outcome of the game and how the story's going to end.


Fine, I reply, but what kind of character conflict could possibly keep our interest for so long? One man's a seasoned pro and the other's a talented usurper. So what? What can you do with that, that hasn't been done a million times before?


George's answer was that I hadn't done my homework. I should have paid more attention to the human relationships on display in the street. It's not enough to characterize people as pro or usurper, or shy or extroverted. You have to try to understand why they're that way. Their outward actions are a manifestation of their inner ideas about the world. Exactly what are those ideas? What happens when those ideas are challenged? It's not anger, it's something more interesting. 

Holy Cow! When all those things come into play, the task of filling up the middle of the story seems like fun. In fact, the middle now becomes the most interesting part. Thanks, George! I'll never look at that problem the same way again!


BTW: are these theories relevant to animated comedy? Mmmmmm...maybe not exactly. Cartoon comedy has its own rules. But they're still very, very interesting, you have to admit.

AAAAAARGH!!!!!!!

Gee, I couldn't finish this post (above) about date rape before it was time to rush off to Steve's place to meet...in person...a wonderful screenwriter, George Clayton Johnson. It was a terrific night! I'll tell you all about it after I get some sleep, I'm just too... sleepy......to..........write..................

ACTING SEEN FROM THE BACK (EXPANDED VERSION)

Thinking about the opening back shot in "Miracle on 34th Street" (see the previous post) got me thinking about the subject of back shots in general. I'm a big fan of back shots (actually back acting, not just isolated poses) in live action, but you don't see them much in animation. That's a shame. Back shots are funny. Where would "The people of Walmart" site be without back shots like the one above?



I understand why animation people avoid them.  You can't easily study yourself in a mirror when you're drawing the back. You could draw somebody else's back, but they're not likely to act the scene right. I guess you could act it out yourself in front of a digital camera and play it back.

 I wonder how the dancers in the video above did it. How did they know how their dance would look to us? That's a nice dance, isn't it? 'Very effective from behind.

I can't find any ready-made clips of good animated back acting, which is what I meant to discuss. I can't even find any good live action reference for it, apart from Chaplin. I'll return to this subject later when I have better visuals.

Back acting is different than front acting. It's not just a question of making good silhouettes...back acting is more about timing and context. You have to make the audience delight in imagining what the face they can't see is thinking and doing.

Oh well, I have plenty of back-of-the-head reference. I'll talk about that. For me, back of the head means big ears (above), whether the person has them in front or not.

For the purpose of drawing, the small-eared girl in the upper right (above) should look like the girl in the lower left when she turns her head.

I call your attention to the wispy little neck hairs in the picture. I thought only guys had neck hair! I wonder if girls shave it. Maybe they just let it grow. Imagine what a girl would look like if she cut off all her normal hair but kept her long neck wisps. 

A good back of the head (above) is a thing of beauty, even on a guy. The two dots aren't mine.




I love over-the-shoulder shots, especially when the actor facing front has an extended acting scene. Laying bare your emotions to an impassive lump of hair and tweed in the foreground strikes me as funny. I tried it out in this video from a couple of years ago.

BTW, The best acting moments here come close to what I would have put into similar scenes if I'd been an animator working on an animated film. I really need to assemble a small reel of rough animation showing how I would animate characters using my own style of acting.

A POST MODERN "MIRACLE ON 34TH STREET"

Which do you prefer: the old 1947 version of "Miracle on 34th Street," or the newer 1994 version? It's not a fair comparison because the older version had a bigger budget and some of the best stars and technicians of the day. Good writing, too. Even so, comparison is still possible.

I maintain that the biggest advantage the old version had was a philosophical one. People in those days had a more interesting way of seeing the world. We see things through a depressing Post Modern filter, or at least we did back in 1994 when the remake was made.

Let's take a look at some examples.....

Here's the start of the 1947 version: the titles are superimposed over a traveling backshot of Santa walking along Manhattan streets.  Introducing a robust, confident character with a backshot is a great way to create suspense, and the immersion in the life of the city alerts us to the film's subtext, which is that the modern world (and specifically New York) is a wonderful place to live.

The titles finish and Santa, who we'd only seen from the back til now, rounds a corner and stops to kibbitz when a shopkeeper goofs up his reindeer display. The back and forth between the two men establish Santa's personality. It works fine.

Now here's (above) the 1994 version. It starts with a frontal shot of Santa walking down a single street. The shot is made with a long lens, which flattens the background and robs it of its character.  No reveal, no subtext, and no color. Why is everything brown? I understand that it's cheaper to shoot this way, but is this really the best the director could do? What went wrong?

What went wrong is that the producer handed off a sentimental 40s story to an unsentimental Post Modern director. Unlike Woody Allen, the director just couldn't bring himself to cast New York in a positive light.

In the newer film Santa's character (above) is established by having him react to an astonished kid who recognizes him. It's not a bad way to go, but the handling was unimaginative. Too many close-ups, too long lenses, too few extras and pedestrian dialogue. And that's not all. 

Also at fault is the flat, deliberately deadening Post Modern way of staging.  Like atonal music, it's a bleak style that's deliberately meant to be flat and unsettling. Flat anesthetizes the senses. It's a style that fights the sentimental story it's trying to tell. It's a shame because you can tell that Richard Attenburough (Santa) had real enthusiasm for the role.

Here's the old version again. Santa (unseen here) discovers that the parade Santa is drunk , and storms off to report the problem to the coordinator, Maureen O'Hara, pictured above. It's all staged perfectly and there's plenty of extras. Everybody's looking at O'Hara...she's the center of attention, which is a good way to introduce a star. 

Here's (above) how the Post Modern version introduces its star. She's in a dark media truck loaded with video monitors. What gives? The parade coordinator is our star, and we can hardly see her.  

Okay, it's a cheap way to shoot, but it also fits with the Post Modern, Phillip Glass, trance rhythm of the film. The Post Modern style looks for broad patterns, and resists the notion of making scenes stand out. That's an odd style to choose for a classy story that begs for virtuoso scenes.  

I'll add that video monitors are a Post Modern symbol of alienation. How depressing!

Here's (above) the old version showing Natalie Wood and John Payne watching the parade from O'Hara's apartment. Seeing the parade reminds us of the exuberance and grandeur of the city. What the characters say has extra weight because the visuals connect them to the grand adventure below. 

Here's (above) a similar shot in the new version. No grand adventure here. Why is everything so dark and flat? And why is the parade reduced to shapes passing by the window? Couldn't the filmmaker afford to rent some stock parade footage? 

The bleak graphic treatment makes me feel that the parade is either menacing or uninteresting, and that the foreground figures are hiding out to avoid it. How odd for a film that's supposed to be glorifying Christmas. You get the feeling that the director doesn't really care much about the holiday or about the city. What was the studio thinking? 

Do you agree? Rent both versions from Netflix and make the comparison yourself. 

ME AT THE UNION NEW YEARS PARTY

No, that's not our party above, but if feels like our party felt. It was wild, and I enjoyed every minute of it. 

On arrival, the first order of business was to find the food area and do some serious chowing down. The problem was, I met so many friends on the way to the food that it took forever to get there. I confess to  hoping that girls I'd known in the past would take me aside and admit that they'd secretly lusted after my body way back when but, alas, nothing like that happened. 

What did happen was that I met lots of old friends who I sorely missed. Half were out of work and half were doing just fine. The guys who weren't working put on a brave front, which was about all they could do.

I forgot to say that all this took place in the Gene Autry Museum, and I gradually made my way to the area where the exhibits were. What I'd hoped to see was their retro boys bedroom from the 50s, and I was not disappointed.

Holy Mackerel! There it was, the cowboy bed I had when I was a little kid! The chenille bedspread with embroidered lariat thrower,  the wheel headboard...I almost broke into tears. What was missing was the arsenal of cool plastic guns that every kid had in those days. No kid would dream of leaving the house without packing. You needed a Derringer water pistol at the very least.

The exhibit was full of photos of armed children. Here's (above) a lucky kid who had the complete line of Hopalong Cassidy merchandise. Those films were made way before I was born, but TV gave them new life, and I and every other kid watched cartloads of cowboys chasing each other around the Chatsworth Hills. I'll add that we watched them on  tiny screens that required constant vertical and horizontal adjustment.

On the way out of the exhibit area I stumbled on staggeringly beautiful pictures like this one (above) by Thomas Moran. 

Or this one (above) by...er...I don't know. 

Or this one (above), by...I'm guessing...Thomas Moran again. It's called "Slave Hunt."

The museum also owns this picture (above) by California watercolorist Phil Dike. Wow!  Autry had good taste!

Back in the main hall (above) the party had really caught fire, and was even getting rowdy in spots. A couple of people I didn't know recognized me from pictures of myself on Theory Corner, and that was great. Unfortunately I punished them by going on and on about things they were only vaguely interested in. 

Oh well, I guess a party isn't really a party unless every guest makes a fool of himself at least once. 

TRACING THE EVOLUTION OF GEORGE HERRIMAN'S STYLE

A lot of people don't know that Herriman tried several different styles before he settled on the Krazy Kat style that he's most remembered for. When he first started out in 1901 he worked in the German style of the day, and was pretty good at it. That's his very first strip, above. It was done for Pulitzer's New York World.

How do you like the story? 

Only two months later we find him experimenting with an illustration style (above).

 By 1902 (above) he's dumped illustration and tries pure cartooning, a bit in the Opper/"Kattzenjammer Kids" style. 

He comes under the influence of a lot of other artists in 1902, possibly including Windsor McKay (above).

Now HERE'S (above) an interesting strip! It looks like something Milt Gross might have done, or maybe the young Sterrett.  My source attributed this to Herriman, with a date of 1903, but I can't remember where I got the picture from, so I can't check it. If Herriman did draw this then it seems fair to say that both Gross, Sterrett, Barks and others were influenced by this strip, and Herriman the copier of others transformed during this period in to Herriman, whom others copy.

Gee, I got to say "whom."

I'm aware that Gross fans will find this connection between Herriman and Gross to be shocking. I'm not a historian, so if I'm wrong I hope a reader will let me know.

Somewhere in this period Herriman began to experiment with a scratchy pen and ink style. You see it in some of Herriman's "Baron Bean" drawings. I'm guessing that he got it from Bud Fisher, who did Mutt and Jeff.

I wonder if Kurtzman was influenced by this strip. Some of the Baron Bean sketches (not shown) look like Kurtzman's could have drawn them.

By 1907 (if not earlier) Herriman had perfected yet another style (above). Maybe it came out of the political cartoons he was doing in in 1904 and 5. This is my hands down favorite Herriman
.

With Krazy Kat, Herriman's pen and ink style evolved even farther, Here the scratchy, funny lines appear slightly liquid, as if they were brushed on. Were they? I don't think so. Maybe he smeared his ink lines with a little benzine. Or maybe the lines look liquid because they weren't photocopied right. I wish I knew.