Showing posts with label Animation. Show all posts
Showing posts with label Animation. Show all posts

Monday, February 05, 2024

'Male and Pale is Stale' Leads to 'Flop Busters'

 

Dream Factory Now a Nightmare for Some

 
 
 
An anonymous member of the Writers Guild of America has posted an open letter to the guild pointing out the hazards of DEI.  (A more nuanced defintion here.) Said writer posted the letter to a movie critic site called Film Threat instead of the entertainment industry press.

The letter speaks of a climate of fear smothering Hollywood as the top-down push for DEI is resulting in discrimination against white males and the hiring of writers for no other reason than the color of their skin or sexual preferences. This leads to the production of expensive 'flop busters' such as The Marvels or the latest Indiana Jones.

Sadly, animation—South Park excepted—was gobbled up by DEI years ago.

There's more in the open letter. Also, if you must watch video, check out YouTube Channel Film Threat's take on the subject. 

The clash between enforced DEI and productivity is being waged across many industries. Now Hollywood must choose between the illusion of fairness and product quality, in addition to appeasing the Chinese.

South Park best summed up the effects of DEI on creativity:

(Language Warning)
 

Monday, January 15, 2024

Central Florida ComicCon Invites Old Friends

 RUEGGER, RUGG TO CFCC 

 

As Lakeland, Florida USA gears up for their big comic con, old Warner Bros. chums Tom Ruegger and Paul Rugg prepare to meet their public. 

Come this Saturday, Januray 20th, these animation legends will host a panel entitled (and I quote):

The Ultimate Animaniacs and Freakazoid Panel

Tom Ruegger and Paul Rugg talk about the making of Animaniacs and Freakazoid and take questions from the audience in this panel for the Ultimate Animaniacs and Freakazoid fans!

Don't miss it! (I'll miss it, but then I was there.)


 





Monday, December 25, 2023

A Warner Bros. Merry Christmas v.2

 Ten years ago,  posted the below remarks. All the best today to you and your family.

 Inspired by a Facebook post from friend Josh, and plucked from the blog of Tom Ruegger, here are the Warners Brothers (and sister) as shepherds from "The Little Drummer Warners." Back in the day, we showed the episode to Steven Spielberg who joked that we now owed him a Warner Bros. tribute to a Jewish holiday. Hanukkah and Thanksgiving at the same time would have been perfect, but that kind of calender gold doesn't roll around too often. Plus Animaniacs would've needed to be airing for twenty years like Gunsmoke. So we still owe him.

Monday, November 13, 2023

Cracked Magazine Article on the Rise and Fall of Freakazoid

I should know. I WAS THERE!!!

Thanks to Brian Van Hooker for the terrific article on one of my very favorite TV animation shows ever. Tom Ruegger, Paul Rugg and I are interviewed regarding our recollection of those ancient times. 






Friday, September 29, 2023

Top Ten Disney Sassy Animal Companions

 ChatGPT compiled the list and added the voice artists. I'm growing fond of that crazy AI.


1. Mushu - from "Mulan" (voiced by Eddie Murphy)

2. Timon - from "The Lion King" (voiced by Nathan Lane)

3. Puss in Boots - from "Shrek" (voiced by Antonio Banderas)

4. Donkey - from "Shrek" (voiced by Eddie Murphy)

5. Iago - from "Aladdin" (voiced by Gilbert Gottfried)

6. Sebastian - from "The Little Mermaid" (voiced by Samuel E. Wright)

7. Abu - from "Aladdin" (various vocalizations)

8. Heihei - from "Moana" (vocalizations by Alan Tudyk)

9. Pascal - from "Tangled" (vocalizations by Frank Welker)

10. Meeko - from "Pocahontas" (vocalizations by John Kassir)

Friday, September 15, 2023

Animaniacs Celebrates 30th Anniversary

 Yes, I recall it well. The 10th or 13th of September, 1993. A big party on the Warner Bros. lot. Free food.

In honor of the event, here's a festive tune from the olden days.

rainbowzzzzzzzz

Monday, March 27, 2023

Wondercon '23 Notes

 Great fun. Good seeing old friends and meeting fans of the shows. Here is the original Animaniacs panel:

(l. to r.) Julie and Steve Bernstein, Paul Rugg, myself, and Tom Ruegger


With more onstage the next day for Freakazoid!

(l. to r.) Dan Riba, Steve and Julie Bernstein, Mitch Schauer, myself, Tom Ruegger and Paul Rugg—the voice of Freakazoid!


Lots of laughs as we recalled the old days.  Then we all left early to take our medicine.


Saturday, March 25, 2023

I Arrive at Wondercon 2023!


Here's how much the Hilton thinks of me. I'm given TWO bottles of Evian Water FREE. Everyone else, the slugs, the dregs, the nobodies, pay $5 a BOTTLE. Just livin' large in Anaheim, CA.

Monday, March 20, 2023

How Freakazoid Episodes were Made


So THAT'S how they did it.

 There was a formula back then. Follow it and you'd have something to watch . . . something strange and mystical.

Friday, December 16, 2022

Paul Rugg and I are Hired at Warner Bros. v.6

 



And I Have the Memories to Prove It

Today, December 16, marked 27 years since Paul Rugg and I were offered jobs at Warner Brothers TV Animation. We were over at Paul's house watching Zontar: Thing From Venusdrinking coffee, eating chocolate donuts, and smoking. We'd just turned in scripts for some new show called Animaniacs. (Mine was "Draculee, Draculaa.") Paul's wife was off earning money as a social worker, while my future wife was still employed at the magazine I'd quit two months earlier. Rugg and I were performing improv and sketch comedy at the Acme Comedy Theatre. (Along with cast member Adam Carolla.) Money was very tight. The payment for one script would really help out my Christmas. 

Then Kathy Page, Tom Ruegger's assistant, called to offer us staff jobs and the trajectory of our lives veered sharply into an unexplored cosmos.

We were amazed, stunned, numb. Walking outside, we smoked more and talked it over. Should we take the jobs or would they pollute our comedy pureness by turning it commercial? We would accept the work immediately. 

Now it all seems opaque. If it weren't for the Web and talking to Paul Rugg yesterday, I'd swear the whole experience never happened. But I'm glad it did. (Paul, too.)  So thanks to Tom and Sherri Stoner. (And her husband, M.D. Sweeney, our Acme director, who recommended us.)


Note: After thirteen years of blogging, I'm running out of life events to chronicle.

Notes: 2019

A little hyperbole last year. I have plenty of life events and more on the way. Now then, Paul's episode was about a pet shop, I believe. In 1991 I wrote on a Mac Classic. (They look so quaint now, like a fancy radio from 1938.) Jeffrey Dahmer, Silence of the Lambs, Thelma and Louise, the unraveling of the Soviet Union and the number of computers on the newly commercialized Web reached one million.

Not mine, but similar.

Notes: 2020
What a year! (Wednesday will be 29 years, but close enough.) Pandemics, riots, politics. It's like 1968 on crystal meth. What's new? Well. You can now obtain the Top 5 Dating Tips of H.P. Lovecraft. Yes, that weird horror guy. For details, go to this nifty spot.  Actually, try THIS nifty spot for my mailing list, should such an act spur you. 

Notes: 2021
NOW it's 30 years. After three decades, events merge together into a clot of time. But I'll never forget that day. A life-changer. 

Notes: 2022
Paul has moved to Virginia. I remain in crumbling California. People on Twitter keep the memory of Animaniacs alive. I thank them.

Saturday, July 16, 2022

Wedding Bells Have Rung for Paul Rugg's Daughter


L. me and father-of-the-bride.

 


And that's how fast time flies. Away into a new life goes a young lady who once edited a short story of mine. I was quite happy for her and the family. 

Here is a picture of Paul and I at the reception. It appears a large alien craft is landing behind us and we're the last to know.

Ah, well, in the midst of life, interstersteller visitors.

Friday, April 10, 2015

Lobo on the WB 3

D.C. Comics was very cool about the whole project. We sent them a script and they signed off, seemingly content to let us create the best animated Lobo we could.

My days evaporated, coordinating with everyone and writing story outlines. Scott's crew drew up the props for the first script. We were excited, digging the ideas, seeing the potential. Mike even put up a large cork board in my office covered with 3x5 cards—the mark of a show. On a Friday in mid January, the machine hummed, primed for the official production start the following Monday.

That morning, Jean called me up to her office.

Lobo was cancelled. 

Jamie Kellner and the WB finally decided they didn't want it. 

There are seven stages of grief. I never got past denial. It was like showing up at church and learning a man had shot your bride because he didn't like the bouquet.

JEAN MACCURDY TO THE RESCUE?

The Nest 

For the rest of the day, Lobo swirled around the bowl as Jean worked the phones. There was no one savvier in the ways of corporate politics. If it were possible to finesse the show onto the air, you could summon no greater champion than MacCurdy. I'm not entirely sure who she called, but I would bet on Dan Romanelli, Bob Daley, Jamie Kellner, Bob Bibb and Lew Goldstein—two marketing guys who actually laughed out loud if they thought something was funny. (They were Old School that way.)

Nevertheless, by mid-afternoon Lobo finished circling the porcelain and disappeared in a surge of blue water. 

No one was willing to force a show onto the WB over Kellner's wishes. 

How did the production get so far? The WB knew we were spending money. They knew what was coming. But because they couldn't make up their minds earlier, artists who had reported for work that morning were turned around and pointed back out the door. 

The mood was depressed and ugly. 

I sent out my last memo, shutting down the production.

Bob Doucette arrived late to that year's pitch fest, but he had an idea for a series called Detention. (Rag-tag group of kids defying school authority.) Needing a replacement, the WB snapped it up and rushed the show into production. 

And that was that.

Jean had run the TV animation division for years with no one else but Joey Franks. There were no development executives. There were no executives attached to every show. There wasn't even a lawyer in the building. Warner Legal would visit every few years and tell us safe ways to parody, but they never overstayed their welcome. (Except for annual Sexual Harassment Seminars. These were conducted by a pair of Warner lawyers who kept insisting, "We are not the thought police," as they threatened to patrol artist cubicles and rip down 'offensive drawings.'  The seminars mysteriously halted after Bill Clinton and Monica Lewinsky, never to return for the rest of my tenure.)

In the end,  the ratings finally killed us. Our shows tracked older than the 7 to 12-year-old demographic that advertising was sold around. 

And Warner TV animation no longer enjoyed the informal protection of Steven Spielberg. Having co-founded DreamWorks, he was now a competitor.

And so the growth of middle management commenced. 

ALONE WITH HANNA AND BARBARA

Muppet Wiki

To be fair, enlargement had already begun, with an exec. brought in to handle the Cartoon Network and another exec. hired on in general. Nice people, but Jean had been magnetic north for too many years. That's where the compass pointed. That was the only direction that mattered. Jean had taste. She could tell crap from fudge. And she trusted the writers and artists. With the new regime at Kids' WB, if they didn't get a joke, the joke was out. That meant a show's humor was now indexed to comedic sensibilities honed at Harvard Business School and sharpened by countless development meetings.

(At the same time, Kids' WB pretty much left Bruce TimmAlan Burnett Paul Dini  and the other batlings alone. Batman Beyond had premiered and the new regime wisely chose to let it breath.)

And while I  remained on staff at Warners for nineteen more months, my big dog days were deader than Earth Shoes. After Lobo, I never came close to running a show again. And minus a show, I no longer rated an assistant. Mike and I packed up the 3x5 cards and bid farewell as he was reassigned. I tried writing a script for Detention, but the network rejected it. I wrote series premises and direct-to-video ideas. I wrote a pair of Batman Beyond scripts, which I enjoyed. Of course, there was my trip to Cambodia with Kathy Helppie, the State Department and the Agency for International Development. But that's for another day. 

Eventually, I lost my nice corner office on the fourth floor, ending up on 14, down the hall from Hanna and Barbara. They had capacious ceremonial offices and their own secretary, but nothing else to do except continue aging. 

The Main Man resurfaced twice more. There was an attempt to sell Lobo to Saban who wanted to pay $75 an episode. We thought it was an opening bid, but that's the way they rolled. Then Warner Online chose to do Lobo as a Web series—hot thing at the time. I wrote the episodes, but suddenly everyone had an opinion including D.C. Comics, an accountant, and a security guard who had several high concept ideas but didn't mind if I wrote them up and took the credit. (As everyone knows, you can never have enough voices when it comes to comedy.) With my contract up soon and not due to be renewed, I Alan Smithee'd my way off the project. 

LA AENEID

The Aeneid

When I finally departed Warners in August of 2000, there was a lawyer assigned to TV animation with his own office in the building. There were executives by the gross. In addition, there were all kinds of other new faces with jobs that had nothing to do with writing or drawing an animated TV series or paying the people who did. I'd never met the woman who oversaw my out processing and collected my parking and building passes. Rugg and Ruegger and Rich Arons and many others without an 'r' in their name had already moved on. The place I left was a memory. 

Like Aeneas wandering the Mediterranean, I sought a new work life, hoping in the back of my head that the old Warners would somehow reconstitute somewhere in the TV animation industry. But that's like hoping high school will reconstitute without the embarrassments and awkward moments.

I welcome the new and cherish the old.

And remember the Lobo that almost was.

Lobo and the WB 1

Lobo and the WB 2

(Thanks to Paul Rugg@Froynlaven and Garrett Gilchrist@OrangeCow for linking the Lobo posts. For some reason, I can't get Blogspot to cough up the rest of the non-porn, non-Russian sites where I'm linked.)

(This is an update of a blog post titled Main Man Mania from back in 2008.)

Thursday, April 09, 2015

Lobo on the WB 2

Since the WB was equally chilly to all shows pitched, Jean figured she had nothing to lose and selected Duck Dodgers and Lobo for the next stage: focus group testing.

Change was definitely in the air. Nickelodeon focus tested shows. Warner TV Animation flew by the seat of their pants ... or used to. I had zero faith in focus groups and felt at that point that neither show would ever see daylight.

Back into editing with Al and Boyd. Using some Steven E. Gordon art and Boyd's characters, we put together a Lobo focus group reel for whoever did focus groups. Al and I did likewise for Daffy.  (I seem to recall Jeff Bennett providing the voice overs.) By now, it's late October, early November. If the network wanted a series in Sept. '99, we needed to start production soon.

On focus group day, I stayed in my office.

Gonway
LISTEN TO THE CHILDREN

Jean gave me the results: boys and girls really liked Duck Dodgers. But boys had gone stratospheric over Lobo. (Lobo broke things and didn't take any lip. What's not to love?) Pre-production began for twelve half-hour Lobo episodes. (Once a production number is assigned, you know it's serious. ) Jean told me to start writing the first script. With marketing in our pocket, the Main Main looked solid. But Duck Dodgers was still in the hunt.

Mike packed up our pitch materials and we took the Duck Dodgers show on the road. Specifically from Sherman Oaks to Burbank and the executive building on the Warner lot. We'd be pitching to studio head Bob Daley. This was more of Jean playing three-dimensional chess. If she couldn't green light a show, she could still ensure that powerful players liked what she liked.

Bob Daley didn't laugh, or really smile at all. But he paid attention. You could see his mind working, following along with the story and characters. At the end, he pointed to one character model and said, "That guy doesn't look like any of the other characters. But other than that, it's Okay."

People started asking me which show I'd pick to run. But Lobo had the hot hand.

As I wrote the first script, there were pre-production meetings. Composer Richard Stone was fired up to do music. (We aimed at creating some kind of cool outer space theme blended with Metallica and Nine Inch Nails.) Andrea Romano would be voice directing. But Boyd Kirkland was suddenly being tugged in another direction. It looked like we'd need a new producer.

Keane Eyes Gallery

LOBO SCRIPT

By early January, I'd finished the script. Basically, Lobo was a bounty hunter, hung out in Al's Diner with Al and Darlene, and had been summoned by Vril Dox. Dox hires Lobo to retrieve a witness who has information harmful to interplanetary super creep Ernest Mann. Mann wanted to help everyone by conquering all life and placing it under his loving care. He had created a force of eerie minions: children with big Margaret Keane eyes who morphed into horrid velociraptor-like monsters. Mann was defended aboard his huge space craft by massive robots, each with more firepower than a drug cartel.

He also carried the largest bounty in the universe.

Lobo disobeys orders and decides to dangle his witness as bait to draw out Mann. Traveling to a seedy dive on a depressed planet, Lobo and his nervous witness wait for someone to rat them out to Mann. It doesn't take long. Lobo ends up in a shoot-out with one of Mann's iron-packing robots and loses his witness, who is captured and transported to Mann's vessel. Lobo follows, sneaks aboard, rescues the guy, battles Keane children, more robots, and confronts Mann, but fails to capture him,  barely escaping in a running fight that eats up most of Act III.

Finally, having delivered the witness, he relaxes back at Al's. But Lobo vows to eventually collect the bounty on Mann.

And that would be our season arc: first, middle, and last episode involving Lobo and Mann. I figured I'd write those and hired  Mitch Watson and Ken Segall to tackle several of the other scripts. They would include villains like Sunny Jim and Cosmic Bob. Bob's character description billed him as "one of the deadliest men in the universe because he can shoot rays from his nose."

Basil's Films

AND WILLIAM H. MACY, LADIES AND GENTLEMEN

By now, it was early January 1999. Boyd Kirkland was gone, returned to Batman for, I think, a Mr. Freeze direct-to-video. Scott Jeralds replaced him as co-producer. As Jean had approved the script, Scott's crew jumped in and did a fantastic job boarding. Scott put his own spin on the character design, reducing Lobo's bulkiness even more while keeping the muscles and menace. Darlene became more wholesome, less jaded. Another crew was hired and artists started reporting in.

Meanwhile, Andrea Romano assembled a great cast. She'd once again lined up Brad Garrett as Lobo, and cast William H. Macy and Linda Hamilton for voice roles. (Macy would've been the witness, while I don't recall who Linda Hamilton would've played.) Paul Rugg had a part as Vril Dox assistant.

Duck Dodgers was backburnered. Lobo barreled on toward it's production start date.

Tomorrow: A meeting with Jean. Phone calls and reality. What came next.

Lobo on the WB1

Lobo on the WB 3



Wednesday, April 08, 2015

Lobo on the WB

Here's more on what happened with D.C. Comics Lobo and the WB back in the day.

DAWN OF THE MAIN MAN

In early 1998, Jean MacCurdy asked me to write up a short premise for a possible Lobo animated TV series. Created by the late Roger Silfer and Keith Giffen, Lobo was a tricky character for the Kids' WB. Designed as an over-the-top biker-intergalactic bounty hunter, Lobo's legend included murdering everyone on his own planet as well as regenerative powers that made him pretty much impossible to kill. My suggestions were to keep the contempt for authority, make him more vulnerable to counter-violence, and direct his mayhem toward appropriate targets such as space villains and lawyers.


Lobo from Superman episodes
Jean liked the take and ordered a one minute pitch video. Voiced by Brad Garrett, Lobo had appeared in a pair of Superman episodes. So editor Al Brietenbach and I culled the material and crafted our sixty-second saga with me voicing over the Superman material on top of instrumental cuts from "Bad to the Bone." Catchy. But nothing came of it. Soon after, I was drafted on to Pinky, Elmyra and The Brainforgetting all about the Main Man.

PITCHING KIDS' WB

That fall, the studio was gripped with pitch fever. By then, Jean had lost the authority to green light afternoon and Saturday shows to Jamie Kellner and his growing phalanx of WB execs. For the TV animation division to get something on the air, we had to pitch the WB in addition to Warner Bros. marketing. Artists and writers were in a frenzy pulling material together—a show meant job security. My hands were full preparing pitches for three different projects: 21C, Duck Dodgers and Lobo. 21C was the dark horse, an idea of mine—an homage to anime—about a Buffy-like high school girl in the twenty-first century battling lobster men and strangely pathetic robots while shopping for cute tops. Rhoydon Shishido drew some hilarious artwork, but the pitch dance card was full and the show eventually dropped from consideration.

DUCK DODGERS

Duck Dodgers makes an interesting point.
Duck Dodgers was based on the 1953 Chuck Jones cartoon. In this version, there was a human chick teamed up with Daffy and Porky. Jean asked if I could swap her out with Lola Bunny—keep things in the Warner family, as it were—while toning down the ogle aspect and emphasizing her competence. Spike Brandt and Tony Cervone, who worked on Space Jam, supplied the art. (And went on to run the show a few years later when it eventually aired on Cartoon Network.)

With Lobo, the late Boyd Kirkland and I began with my premise, the one-minute video, plus artwork, I believe, from Steven E. Gordon. Boyd standardized the characters, making Lobo less massive, while I worked on a quick, snappy presentation based on showing the video first, then introducing two-dimensional models of characters from the comics like Al and Darlene. (Plus one Steven E. Gordon creation—a human villain with a round, yellow, have-a-nice-day happy face. We called him "Sunny Jim," and made him exceptionally nasty.)

A TALE OF TWO PITCHES

The TV animation division pitch room featured a huge marble-topped table in the shape of the Warner Bros. shield logo. Gathered around this ornate table would be marketing execs. on one day and the WB execs. on the other. I would deliver the pitches for Duck Dodgers and Lobo. My assistant, Mike Miscio, and I had practiced like a magic act. He'd cue up videos and tapes, set down and take away character stand-ups, and generally keep things moving. However, he wouldn't wear tights. I was wrong to ask. 

First up were the marketing guys. Duck Dodgers went fine. They laughed and were very receptive. But they went nuts for Lobo. They were howling after the one-minute video, engorged with toy madness. They could sell this show in a micro second. It was basketball with a hoop three feet off the ground. We were fired up, humming with energy, preparing our Emmy acceptance speeches. 

Then came the execs. 

Buzzfeed
I don't remember how Duck Dodgers went, but I'm guessing badly. In any case, it couldn't have been worse than Lobo. The one-minute video was met with dead silence. The pitch: dead silence. Some coughs. It was as if smiling, let alone laughter, constituted an implicit agreement to buy the show. My confidence fled like air from a slashed tire. Having done stand-up, I knew the only thing to do was amp up the energy and finish with a smile. Finally, like gum surgery minus Novocaine, it ended. As Mike collected our gear, I wished only to leave behind a fragmentation grenade.

Recapping the pitches, no one knew what to make of things. Were both shows dead?  

Tomorrow: Jean weighs in. Focus group? A surprising outcome.

Lobo on the WB 2




Wednesday, August 14, 2013

Tom Ruegger Explains 7D Writing Process


The Big Board at 7D.
Step behind the scenes of an animated TV series over at Cartoonatics.  Learn the subtle interactions that go into crafting a new series for Disney. Complete with illustrations including jazz hands! For example, did you know that attracting good animation writers proceeds thusly:

"Step One To create stories for "The 7D," assemble a team of top-notch animation writers.  Since your budget is limited, offer these writers relatively low salaries but throw in attractive perqs like free bowls of breakfast cereal and unlimited elevator rides to and from the workplace lobby."

More at Cartoonatics.  
 (Image: people.clarkson.edu)

Monday, August 13, 2012

Life at Disney in 1942

My wife spotted this description of old-school Mouse House animation on Cartoon Brew.  I was very much reminded of improv comedy rehearsals at the LA Connection—where art and drinking mixed and mixed well.

Image: millbitchell

Thursday, January 12, 2012

Paul Rugg's Pre-Fab Man Cave

A work in progress but progressing nonetheless. There is electricity, a European-looking device for dispensing heat and coolness that operates via handheld remote, plus a loft and paint-splotched walls. In addition there are exposed wires for a future ceiling fan.

We're I a true 21st century blogger I would accompany this article with cell phone photos but I defiantly haven't. Perhaps soon.

Sunday, January 01, 2012

Lady Gaga and Mayor Bloomberg Meet the Animaniacs

On ABC last night, I watched these two oddly-paired people drop the Times Square New Year's Eve ball.

As 2011 counted down, all I could think was, "I wish Animaniacs were still on the air." Yakko, Wakko, and Dot would've cleaned up on Gaga and the New York City mayor, not to mention Dick Clark. Dick seemed so blasted he couldn't keep up with the count on screen. He behaved more like an animatronic attraction than a famous fellow.

Nevertheless, today is 2012 and we travel forward into an unsullied new year.

Still, 'Gaga Over New Years' would write itself.

Image: Yahoo! news

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