#michael barrier

[chernobog13]

BONES: That face rings a bell, but I just can't place it.

Lieutenant DeSalle, Dr. McCoy, and Lieutenant Jaeger encounter a familiar fellow in the estate of The Squire of Gothos.

[punster-2319]

For animation books that have been out of print for decades, these ones I found online recently are in pretty good condition (and reasonably priced).

[dailylooneys]

Usually, we would try to catch them [WB cartoons] in theaters, and see how the audiences went for them. I made one cartoon, The Hole Idea, that I thought was one of the cleverest stories I'd ever seen. It got an award from the University of Wisconsin; it was one of the ten best short subjects of that year, and the only cartoon. Yet, Eddie Selzer wouldn't put it up for an Academy; he wanted to put up a couple of others. He put up the others, and I don't think they got anything. He didn't want to put up my Hillbilly Hare, the square-dance picture; he put up one of Friz's and one of Chuck 's, and neither one of them was even nominated. Then he said, "Well, I guess I should have put up Hillbilly Hare." I got left out of the Academy stuff quite a bit, for political reasons.

Robert McKimson, interviewed by animation historian Michael Barrier

[mygrowingcollection]

Michael Barrier

[voicetalentbrendan]

[mgiddingsart]

Tytla’s animation of Dumbo is, however, not some peculiar animated equivalent of “method acting” by a two-year-old. The effect is rather as if Tytla had taken to heart what Richard Boleslavsky wrote in Acting: The First Six Lessons, the book Tytla owned: “if you are a sensitive and normal human being, all life is open to you.” Tytla makes full use of what Boleslavsky’s mentor, Stanislavki, called “emotion memory”: his animation of Dumbo reflects his awareness not only of his son’s actions and emotions, but also of emotions he felt himself—as a child, surely, but especially as a parent. In Tytla’s animation of Dumbo, what he has felt is constantly shaping and disciplining what he has seen, and of course, the reverse is also true, so that observation is a check on sentimentality. What might otherwise be mere cuteness acquires poignance because it is always shaded by a parent’s knowledge of pain and risk.

Michael Barrier, Hollywood Cartoons

[mgiddingsart]

According to Gene Fleury, Leon Schlesinger did not care for The Dover Boys: “I suppose what really upset him was the fact that the characters were human—not just one or two, but all of them.” Jones remembered no Schlesinger edict against using human characters, “but that’s quite possible. It would have bothered {Fleury} more than it bothered me, because I was used to Leon being bothered by things. He hated any picture he’d never seen before. But it had no effect on me.” Perhaps. But Jones did not confront Schlesinger with an all-human cast or such openly subversive animation again.

Michael Barrier, Hollywood Cartoons

[aventooras]

Improvisar

"A theater organist or pianist usually improvised while a cartoon was on the screen" Michael Barrier, p. 51