'Mr. Magoo's Christmas Carol'

"Mr. Magoo's Christmas Carol," the first animated yuletide special, premiered on NBC in 1962 and introduced a lot of youngsters to Charles Dickens' beloved "A Christmas Carol." Featuring a musical score by Broadway composers Jule Styne and Bob Merrill, and a masterful turn as the miserly Ebenezer Scrooge by the nearsighted cartoon character Quincy Magoo, the hourlong special quickly became a perennial on NBC during the 1960s and has lived on in syndication and DVD.

But the special encountered a few challenges that could have turned this "Christmas Carol" into a humbug instead of a delicious serving of "razzleberry dressing" and "Woofle jelly cake."

"Lee wanted Robert Goulet to sing all of Jim Backus' parts," Van Citters says. "Somehow Jim must have persuaded him he could pull it off. I don't think it would have worked with Goulet. There would be a real audience disconnect."

Mr. Magoo was created by UPA animation studio and made his debut in "Ragtime Bear" in 1949. Two of the shorts starring the little, wealthy retiree who refused to admit he needed glasses won Academy Awards: 1955's "When Magoo Flew" and 1956's "Magoo's Puddle Jumper." He even starred in a feature-length film, 1959's "1001 Arabian Nights."

But in 1960, UPA changed hands. Because the theatrical market for animated shorts had run dry, they began making cartoons for television.

It was Orgel's idea to put Magoo and UPA's other famous character, Gerald McBoing-Boing — as Tiny Tim — into a musical version of the Dickens classic, Van Citters explains. "It seemed like an odd thing, but he probably saw Lionel Bart's "Oliver!' on stage, and that was the first time they put music and lyrics together to Dickens."

Van Citters says that it is the score that really makes the special soar. And so do the performers, including such Broadway vets as Jack Cassidy and Jane Kean. Among the gems are the lively "The Lord's Bright Blessing," the poignant "Alone in the World" and the haunting tune of lost love, "Winter Was Warm."

‘Yogi Bear’: Unbearable | 1 star

Parents wearied by malls and crowds and hopeless of the adult fare at the multiplex will take their children to see “Yogi Bear.”

“I loved Yogi when I was a kid,” they’ll think. And when it’s over, having left their popcorn bags and a few IQ points in the theater, they’ll marvel at how quickly a beloved childhood memory can be shattered.

Which brings up the question: For what audience was this pessimistic, crushingly witless film made, exactly?

Not for parents who grew up with “Yogi” on TV, because as “Scooby-Doo” showed us, turning a cartoon into a live-action film is intrinsically wrong. You can’t make cartoons work in the real world. They have their own rules and environments. A movie like “Who Framed Roger Rabbit?” knew this and played with the self-importance. “Yogi Bear” is far, far too stupid to care.

There’s a plot, but so what? Dan Aykroyd and Justin Timberlake voice Yogi and his young sidekick, Boo Boo. Anna Faris is the romantic interest, proving that it’s time for her to shoot her agent once again. Seeing her wasted is yet another reason to hate this steaming heap.

Want a great gift idea for the kids? Here’s a surefire hit: Don’t take them to “Yogi Bear.”

Sintel DVDs have shipped with film, commentaries, and Blender tutorials

Well, even though it’s much longer than initially planned, the film is still very short just under 15 minutes. I don’t want to give away spoilers, though you may have heard them by now. But the film is moving to a far greater degree than the artsy and solid Elephants Dream or the cartoon humor of Big Buck Bunny. Not yet “high art”, perhaps, but entertaining and connecting. The characters are much more attractive than in the previous films. It seems to me that the Blender Institute is successfully learning how to produce better films.

I really enjoyed it, and I had to right away watch it several times to be grateful for the detail. Of course, the technical know-how of the modeling and animation is the real value of the show, and there is some amazing stuff here. Perhaps most on display is the particle-based hair modeling, which looks really good. I understand that it’s still not fairly where the developers want it to be, but as a viewer, I found it fairly impressive even as it is.

If I noticed anything that was unsatisfactory, it was probably the water effects. At a couple of points in the film, there is water in a urn, and the shape is wrong, as if the thickness and the optical properties of the water were wrong. But it’s a very minor subject, considering the number of things they got right.

There’s also just a lot in this film. Due to the use of mosaics with lots of different 3D environments, this short film has an awful lot of distinct settings, which must have required a lot of modeling.
The first two disks contain the movie and special features in NTSC and PAL formats, in that order; the third disk is a DVD-ROM with “Extras,” especially tutorials; and the fourth contains the actual Blender file data used to create the film

Scorching animation more than just kid's play

Highlighting the creativity and possible of original Web programming, Miss Puff's Goldfish Bowl is an animated work that breaks new ground with its adult-themed content.

It has created a buzz on the Internet and generated 4.5 million views since it was on the loose three months ago.

Like Old Boys, the show is part of the 11 Degrees New Media Project series co-produced by Youku.com and China Film Group Corp (CFGC).

Centering on a love affair between the eponymous heroines, Miss Puff, a Beijing girl with a sleek figure, the show is "gelivable (awesome) because of its sexy scenes", says Pi San, the director of Miss Puff, and a lead the way of online cartoons.

"I don't think animation is a child-specific product," Pi says. "The cartoon art form can swathe many subjects, it doesn't always have to deal with innocent relationships between kids.

"Like Miss Puff, animations can also depict grown-up lifestyles, love and fantasy."

"As long as my works hold no unlawful content, I can dig up more adult subjects - and the Web is a perfect platform to do this," he says.

Jin Lu, distribution manager for the 11 Degrees New Media Project series, says the reason why Youku invested money in such an animated work is to enrich the genre and broaden the plea of Web-original shows.

'Firebreather'

Few things disrupt a homecoming dance like the influx of two ill-tempered, 120-foot fire-breathing dragons.

On the other hand, it's kind of fun to watch the responses of the attendees, as long as you're not on the hook for a couple of hundred bucks on that rental tux or shiny gown.

"Firebreather," a new animated movie, tells the tale of Duncan, who would be a normal high school student, your basic new hot guy on campus, if it weren't for the fact his mother once saved the world from an attack of these dragons - Kaiju - and his father is one of them.

Don't ask how that happened. Please, don't ask.

Duncan just wants to be a normal kid and he looks normal enough so he could pull it off, except for a few genetic markers he inherited from his father. At lunch, for example, instead of pizza and an energy drink, he eats a plate of coal.

That's to feed his inner firebreather. It still tends to draw gazes in the cafeteria.

Duncan soon runs into bigger evils, though, like an epic showdown between humans and Kaiju, who it turns out have been living in caves under the Earth's crust for millions of years and see humans as intruders who are ruining the planet's quality of life.

Humans, naturally, feel the same way about Kaiju, what with the firebreathing and the aptitude to crush several humans at a time just by stepping on them.

Duncan, with a foot in both worlds, unavoidably gets drawn into this dispute, and at the most inconvenient moment.

In the bigger picture, "Firebreather" seems to be aimed at approximately the same age group, though not all the same individuals, who enjoyed the somewhat less violent "High School Musical" series.

There's no explicit performance or language, and while the Kaiju create a high sense of danger, there's nothing graphic in the results.

The dialogue includes a few puberty-level jokes and a few pure budding-romance exchanges, seemingly inserted just to make things interesting for someone other than 10-year-old boys.

In general, it succeeds. Unless you're stuck with a badly singed corsage.

Stop, Diego, Stop: Cartoon doll gets man carpool path ticket

To be clear, State Patrol troopers say, kids do count for the carpool lane tally. Just not fake one.
On Thursday, the State Patrol detailed a stop in which a man late for work put his daughter's doll in the front passenger seat and tried to glide by in the carpool lane.

The doll was Diego, cousin of Dora the Explorer.

Diego got his own show, a spinoff of the Nickelodeon pre-school-age series, in 2005: "Go Diego, Go."

Luckily for him, fake kids don't get tickets from troopers.

The incident happened Nov. 29 on the northbound state Route 167 ramp to northbound Interstate 405. The driver was one of 21 people stopped for carpool lane violations that dawn.

"As cars moved past in the HOV lane the trooper observed a vehicle whose passenger had enormous unblinking eyes," Trooper Julie Startup said in a statement. "Realizing it was a doll in the front seat the vehicle was stopped."

But at least the driver was careful with his daughter's doll. Diego was wearing his seatbelt.

Katzenberg Planning 6 ‘Kung Fu Panda’ Movies

This past summer, DreamWorks Animation closed the book on Shrek, putting the once lovable green ogre out of his unhappiness with Shrek Forever After, the fourth fairy tale adventure in the studio’s highest-grossing franchise. The widely popular series, which grossed $1.27 billion theatrically in the U.S. alone, seeded two holiday DVDs, a Broadway musical, and an upcoming Puss in Boots spin-off, but the big, bad Shrek only lasted for four features.

Which is why it’s a shock that Jeffrey Katzenberg, co-founder of DreamWorks and CEO of DreamWorks Animation, believes Kung Fu Panda, easily the next big thing at the cartoon production house, will make bigger into six individual chapters?

Speaking with Empire about Madagascar 3, Katzenberg said, “Kung Fu Panda actually has 6 chapters to it, and we’ve charted that out over the years. How To Train Your Dragon is at least three: maybe more, but we know there are a least three chapters to that story. There are in fact 8 books.”
I love KFP and I’m all for planning ahead (make a list before you go to the store!), but plotting out six sequels before a second is even in theaters is absurd and underscores the “dollar first” model of DreamWorks Animation versus the “story first” mentality of its closest competitor, Pixar though they have curved some to the pressure of sequels recently.

DreamWorks Animation defenders will cry out, “But it’s a business! It has to turn a profit and answer to shareholders!” Of course it does, and sequels are a proven way to take advantage of on a brand audiences have responded to before. But that argument/cop out doesn’t hold water when DWA’s “How to Train Your Kung Fu Shrek” is compared to the regular output of original, successful content at Pixar, or Disney Animation in its heyday.

The studio isn’t putting all its eggs in Po’s proverbial bowl of noodles, although. Maybe in response to raised eyebrows over Katzenberg’s master plan, DWA formally proclaimed it will bring Me and My Shadow to the screen in 2013. According to the press release (via ComingSoon), the original concept will unite hand-drawn and CGI animation into a 3D feature about “Shadow Stan, an extremely frustrated shadow who yearns for a dynamic life but happens to be stuck with Stanley Grubb, the world’s most boring human.” Until Shadow Stan breaks the one rule (”they lead, we follow”) and takes control of Stanley.

It sounds talented. Maybe even seven sequels promising. But is it original? Aside from the obvious Peter Pan reference, “Me and My Shadow” is a song written in 1927 by Al Jolson, Billy Rose, and Dave Dreyer (then later famously performed by Frank Sinatra and Sammy Davis Jr.) about a man and his shadow. I wish them the best on this non-sequel.

BFI receives ‘largest ever’ British animation donation

More than 2,800 cans of animation plus film prints, stills, scripts, papers, and thousands of original cells from the Halas & Batchelor Cartoon Company – which includes classic titles such as Animal Farm & The Owl and the Pussycat – have been donated to the BFI National Archive.

The Collection has been donated by Vivien Halas, daughter of husband and wife team, John Halas and Joy Batchelor who set up their studio in 1940 and is the largest single donation of British animation in the BFI’s history.

Hailed as “a British counterpart to Disney”, Halas & Batchelor’s work included not just children’s films and series, but also theatrical shorts, wartime information, commercials and industrial training films.

Explaining her reason for donating the collection, Vivien Halas said: “A portrait bust of my father has been in the board room of the BFI for many years and the BFI National Archive has already preserved most of Halas & Batchelor’s early war films in the COI collection. So it seems very apt that this great institution should become a permanent home for the fruits of my parents’ labours.

“I gave up my career as a graphic designer in Paris to care for the collection after my father’s death in 1995 but now need the security of a large organisation who can offer the specialist knowledge to preserve the materials for future generations and to make them accessible”

BFI Director Amanda Nevill said the organisation was “very grateful” to have been entrusted without he collection which she said: “demands to be seen and we have the curatorial skills and resources to present it in new and exciting ways, whether online as an educational resource, in our expanding chain of BFI mediatheques, on DVD or in cinemas.”

NBC's 'Community' characters get animated

The cast of NBC's sitcom "Community" will be more animated than ever in Thursday's episode because, well, they all were turned into marionettes.

That's right, the entire cast was re-created as changeable creatures for a stop-motion Christmas episode that recalls the Rankin/ Bass specials of yesteryear.

"My compass tells me it's a great little piece of television," says show creator Dan Harmon.
NBC honcho Jeff Gaspin first suggested to Harmon that "Community" should try an animated episode over the summer.

However, traditional animation takes a long time to produce. So consultant, writer and recurring character Dino Stamatopoulos suggested stop-motion, which he uses on the Cartoon Network.
"We started asking is it possible to squeeze something out before Christmas if you start right now?" Harmon says.

There was enough time, he found out, but they needed to start immediately. Soon, craftsmen in the art of stop-motion began the process of creating models of the cast. Harmon and his team began sketching out a Christmas story.

The result, airing Thursday at 8 p.m. on NBC, revolves around Abed (Danny Pudi), who wakes up seeing the world in a stopmotion scene.

He takes this as a sign that everyone needs to learn the meaning of Christmas. His fellow Greendale Community College students begin to think he's wacky. But soon they're all undergoing hypnosis to explore Abed's winter scene.

"I think we should commit to the format, starting with a song," Abed encourages, before breaking into a melody.

"These people practice a sadly dying craft - because of [computer-generated animation], but it's a completely different kind of art form," Harmon says. "You can't practice it without answering to a higher calling. You have to have a true love of human behavior. You really have to respect the people doing it in the Rankin/Bass days."

Rankin/Bass, of course, were the producers behind the stop-motion classics "Rudolph the Red-Nosed Reindeer" and "The Year Without a Santa Claus."

Those specials, like the "Community" effort, were created by artists who carefully move each model, shoot a frame, move the models, shoot a frame. Or, as Abed says in the show, "We're silicone dolls, with foam bodies over ball-and-socket armatures."

Harmon says it took about a month and a half to shoot the episode, which came in at about the cost of an episode and a half of "Community."

Harmon says calling him a fan of classic stop-motion specials doesn't fully cover his feelings.
"Back when we were kids, there were three networks, and that stuff was going to be dispensed like communion wafers," he says, citing "Rudolph" as a favorite. "Rudolph walking through the snow, with his red nose and that sound effect that came with it.

"A lot of kids were comforted by these myths of misfits," says Harmon, "finding out all these things that make them stand out are going to be the things that make them great."

Independent’s Dave Brown wins Political Cartoon of Year

A cartoon by The Independent's Dave Brown has been named Political Cartoon of the Year 2010.

Published in this newspaper the day after the Coalition government was formed in May, the cartoon shows David Cameron and Nick Clegg in a coal mine with the Liberal Democrat leader as the canary. Speaking at an awards ceremony organised by The Political Cartoon Society in London on Monday night, Dave Brown said the work reflected his belief "that Clegg was there as nothing more than personal protection for Cameron, an early warning of poisonous air ahead, and, of course, ultimately expendable."

Dave Brown previously won Cartoon of the Year awards in 2003 and 2006.

Animation Domination Contest Narrows

The Oscars for the world of animation, the Annies, announced the nominees for this year’s top prize on Monday, and there were no surprises to be had. “Toy Story 3,” “How to Train Your Dragon,” “Tangled,” “The Illusionist,” and “Despicable Me” received nods for best animated characteristic.

The list of finalists, from the International Animated Film Society, is sure to have some partly cover with the little gold man race, especially this year, when the Academy can nominate only three films (out of 15 submitted for eligibility). “Toy Story 3″ is a lock, of course, but may also wind up in the best picture category, as “Up” did last year. “Tangled” performed well at the box office against stiff competition, which could help its chances.

“How to Train Your Dragon” might be a good bet for the final spot, but don’t double-down yet. Last year, Annie voters gave their top prize to the little-seen Irish film “The Secret of Kells,” and it went on to secure an Oscar slot. Can the same happen for the “Despicable Me” or “The Illusionist” this year? The Bagger will pay close attention to the cartoon winnings to find out.

Also, the Annie list for short animation has several titles in common with the Academy’s short list. Oscar pool fanatics, keep an eye on this to game your chances against your friends and colleagues.

New HARVEY COMICS maquettes!

Electric Tiki is offering cool new model cartoon maquettes based on Harvey Comics/Famous Studios cartoon characters.

The latest releases are CASPER and WENDY. Both were designed by Tracy Mark Lee and sculpted by Bruce Lau. Casper is appox. 5" tall, made of cold cast resin and severely limited to 750 pieces. Casper will also boast 2 variants, the first being a Diamond Comics elite clear edition of 250. Electric Tiki will also have a phasing account that will be half clear/half painted. The phasing Casper will limited to only 100 pieces.

Baby Huey is their first "Not So Teeny Weeny" small maquette standing app. 7" tall. Designed to be in scale with the preceding figures, Huey is almost twice the size of his Harvey buddies.

Designed by Tracy Mark Lee and sculpted by James Lopez, Baby Huey is sternly limited to 500 pieces. And it comes individually numbered, in a decorated box with certificate of Authenticity.
Meanwhile, Terrytoons' Mighty Mouse Teeny Weeny mini maquette (below) is based on typical 1940's Connie Rasinski model sheet images.

Mighty Mouse comes fully painted, ready to show and stands on a specially designed logo base. Designed by Tracy Mark Lee and sculpted by famous animation sculptor Ruben Procopio.