The United States animation prospered from the early days of the cinema.
No cinema program was complete without a cartoon.
By 1920, characters like Felix the Cat, Oswald the Rabbit, Flip the Frog, Popeye and his
family and Betty Boop were established favorites.
But it was Walt Disney who turned it into an industry.
He had something like genius and his determination, his single minded drive made him the most
successful animated filmmaker who has ever lived.
He entertained millions all over the world.
His most successful character, Mickey Mouse, first appeared in 1928 in Steamboat Willie.
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He died in 1966 and was greatly mourned.
Even Mickey Mouse was in tears on the cover of Paris Match magazine the week after.
From the early 1930s until the Second World War, production of animated films increased
rapidly.
A number of extremely talented young animators emerged during that period.
They created hundreds of popular characters.
This is Bob Clampett with Porky Pig, his leading man.
Tex Avery with his popular creation, Droopy, Tom and Jerry, by Bill Hanna and Joe Barbera,
who popularized television cartoons.
The magnificent Walter Lanz and his creation, Woody Woodpecker.
Fritz Freelang and Speedy Gonzalez.
Chuck Jones had a major part in this golden age of American cartoons.
Chuck Jones has invented many well-known cartoon characters in the last 40 years.
The first major character that we had at Warner Brothers was Bugs Bunny.
There were others that preceded it, but they didn't quite grow up.
A couple of insufficient rabbit pictures were made until Tex Avery in 1938 made a film called
The Wild Hare.
This was the first time Bugs came out, took a bite out of a carrot and said, what's up,
Doc?
At that time he was an insane rabbit and he bounced a lot.
He didn't have the self-possession, the urbane quality that he achieved over the next 10
years.
After Tex had gone to MGM, it was left to three other fathers of the rabbit.
It was me, Fritz Freelang and Bob McKimpson and me.
We directed all the pictures from 1946 till 1963.
The character developed under that age as making Bugs a somewhat unusual rabbit and
he had three or four fathers instead of having hundreds of children.
That's how he came into being.
But after the war, many young artists left Disney to form their own company, United Productions
of America.
UPA had two celebrated characters.
Mr. Magoo, who was very determined but half blind, and Gerald McBoing-Boing, who was a
one man effect studio.
At the time, the unicorn in the garden and Madeleine seemed immensely sophisticated.
One of UPA's best artists was John Hubley.
His Rudy-toot-toot was a turning point in the history of American animation.
It introduced a new sort of image.
He was the man who was going to prove that people were wrong.
Your Honor, we've had enough history.
Onyx, it's an open and shut kind of case.
We called to the stand the bartender of the joint where the crime took place.
Frankie and Jenny were sweethearts and all over town it was known.
And then one day he came in without Frankie, but he still ain't quite alone.
Now Frankie comes looking for Johnny.
Well, I couldn't tell her no lie.
So I quietly slipped her the info.
He's out back with Nellie Bly.
Nellie Bly?
Rudy-toot-toot.
Rudy-toot-toot?
Right in the snoot.
She shot her man.
There's no dispute.
She shot her man with a Rudy-toot-toot.
Your witness.
No question.
The state rests.
After John Hubley's premature death, his wife Faith maintained the Hubley tradition with
her own films.
Voyage to Next.
Bill Littlejohn, a lifelong collaborator of the Hubleys, recalls their relationship.
Well, Voyage to Next featured Dizzy Gillespie and Marie Stapleton.
Is it Marie?
I think so.
It's a subject that the Hubleys were both very interested in, of course, from way back
when they made the hat even, which the whole, I mean, and the hat, in which the theme came
up about the survival on this planet of humanity and possibly the evolution to a system of
a government to govern this planet.
And Voyage to Next had this as a theme, and I know it was one of their favorite subjects,
and it is my own, actually.
So it was a pleasure and delight to work on such meaningful work.
Before the Boxers, I can tell you what happened before the Boxers, remember?
They shared everything.
They were living sort of like you wanted them to live, I think, at that time, because I
remember you smiling every time.
And then some smarty, he went out and got his and he hid it.
He became the king.
And then the ones that stayed on good terms with the king and the queen became the feudal
barons.
The rest of them became the have-nots.
Remember Marco Polo?
Did I tell you?
He went to China.
And when he got over there, they'd never seen anybody look like that before.
So they looked at him.
They looked back at him.
So vice versa, they looked at one another.
And then he came back and he presented the king of Venice with a choice.
Guess which one he chose?
And then the other nations found out that they could get some of it and there was a
scramble.
And what they do is build bigger and bigger and bigger and bigger boxes.
These boxes, you could call those nationalistic public cities.
Nation state boxes.
Well, why don't you help them a little bit?
Help them?
They're gonna help themselves.
All you're doing is sitting up there making sun, water, rain, and then drown them.
Well mother, you think they'll make it?
Well father, it's their choice.
Of course they can make it.
But in time?
Barry Nelson is one of the new generation of Hollywood animators.
Here he talks about his film, Opens Wednesday.
Over a period of five years, I was doodling animation with no thought in mind except that
it would be surreal and evolve and metamorphosize into the next scene.
I was practicing.
I had a pile of drawings about this high and I thought if I had a director in a stage situation,
directing the proceedings as if it was a live action show, a kind of avant-garde nouveau
vague kind of director, then I might have a film.
The thing that was missing was an antagonist.
And that's when I invented the cleaning lady.
She would ask all the obvious questions and perhaps pull the director's concepts into
focus.
From then on I felt good about the concept.
Opens Wednesday is an animated joke about animation.
Barry Nelson is writer, animator, director, and commentator in this film.
Plenty of metamorphosis.
Keep your lines strong and remember it's all an illusion.
Okay gang, let's take it from the top.
One two three four.
Nice.
Okay.
Wait a minute.
You're losing control of the pattern.
Now let him have it.
That's it.
Where's the other skier?
Wait, wait, wait, we can't.
Hold it, hold it, hold it.
I wanted you to choreograph your movements in a painfully fashion.
Remember to exaggerate your moves and keep it flowing about 24 frames a second.
Some of you are a little too rigid.
Let's loosen up a bit.
Okay listen big fella, you were great but I'm going to change your scene.
I'm sorry but I'm under pressure to keep this a family show.
Keep in touch.
Have you ever heard of Stanislavski or Woody Allen?
Blood, we need more blood.
I love it, I love it.
Okay, the ending is working, I really like the ending.
We may have a film yet.
Bob Bleckman, who is a New Yorker, is one of the leading cartoonists in the United States.
In his film, The Soldier's Tale, he mixes Stravinsky with Tangle, Waltz and Ragtime.
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Well, Vinton animates figures made from modeling clay.
The Great Cognito was Will Vinton's comment on the grotesque mannerisms of contemporary politicians.
And of a thousand faces, Mr. Prisonator himself, The Great Cognito!
Hey, that's really fine. Thanks for the great intro, and by gosh, it sure is good to be here today.
But of course, I'm gonna talk about something like war. War, you know, war is hell, let's face it.
It is hell, and no wonder. Look at our leaders. Our leaders are, you know, I mean, well, let's take Hitler.
Nine hundred thousand! Die hundred thousand! Well, let's forget Hitler, right? He wanted to be a house painter anyway, you know?
Okay, well then there's MacArthur. MacArthur, he had his shorts. Oh, he looked so good in his shorts, you know,
walking back and forth out of the sea all the time at the corn cob-
I shall return.
Oh, no, you won't.
Oh, yes, I will.
He always did, you know, but who knows when? I don't know. Gregory picked up the same thing.
And then there's Patton, right? Patton there, he's like, oh, yeah, yeah, Patton, oh, yeah, Patton, Patton.
Always slapping guys around. Stop, stop, stop, stop. That's all he like to do, stop, guys.
Get up, wine! Get out there and fight! Come on, you coward! Get out there and be a man!
Man, manhood, man, man. How do you get that helmet on anyway? I wear the shoehorn, you know?
How do you get that helmet on? Who knows? Rommel, Rommel out there in the desert, right?
Where the tanks are desert and everything, you know, the sweat coming down, you know, all the Germans are sweating.
That's where they sweat all over the place.
Spittable, glib, lark, hoot, sleeg, apostar, aga.
Well, they're Nordic from the north. Oh, Churchill with a cigar, you know?
In this, people, under the front, we must defend it.
Couldn't understand him, you know, he had a cigar in his mouth.
Who understands? Roosevelt, you know, day of infamy.
This generation of Americans has a rendezvous with...
Oh, Frankie.
Yeah, the mistress, you know. And then there were the movies.
Training, training, training, the two brothers, you know, they're fighting, you know, they're always fighting.
I'll break your face, take this one, you rotten...
I'll take that, man, take that!
Well, they're getting in shape for the war, you know, they feel good about that, they feel good about that.
Oh, then they go to the bar and drink on furlough, right, and they fight the Air Force, they fight the Navy and everything.
You're mother...
Of course, there's no coast guard.
Oh, and then of course, you know, back home, there was the Andrews sisters singing bugle boy of Company C.
Da da da da da da da da da da da da da da da da da da da da da da da da da da da da.
Oh, somebody real happy about that, you know.
And then they get on the ship, you know, they're going on the cross ship.
Whoa!
Oh, here comes the zeros, the zeros, boom, boom, boom, boom, and you can see the tracer...
Come on, Cosy, pilot.
And then there's a guy that can't go up, he can't go up, he doesn't feel good.
Oh, he doesn't feel too good.
Go on, get your ass up there.
He goes up and gets shot down, he was a hero, you know, the right is mother, she'll feel good.
My boy.
Oh, and the submarine.
Depth charges.
There goes the submarine.
There's the island, there's the island, the gulf, there's the Stephanie's, the Stephanie's are coming, the Stephanie's are coming, my God, they're coming.
They got a flamethrower.
Nobody knows what they're saying.
Get the flamethrower, get the flamethrower, get the flamethrower, get the flamethrower, get the flamethrower, get the flamethrower, get the flamethrower.
And John Wayne is standing there.
All right, Jeff, anyway, you're good.
Oh, my God, John Wayne gets shot.
Sam Weiss is a veteran of modern animation.
He made the film, The Legend of John Henry.
The Legend of John Henry, which I made with a group of very talented people in 1974,
was a very exciting challenge.
The original lyrics to the song do not really tell a story.
The lyrics are well known and people are familiar with them.
But in order to create a dramatic structure which would make a valid film, we wrote new lyrics.
We took the melody of the song and adapted it, giving it a jazz flavor and also pacing the music so that it had a beginning, middle and end.
And we actually had to create this ending with the dramatic structure both musically and visually.
John Henry's been tied on his hammer and he made his hammer sound.
And men close by heard him say, I'm gonna beat this steam drill down.
I'm gonna beat this steam drill down.
I go for power on top of the floor to try to move the drill ahead.
But John Henry went on jumping even faster, although his hands were running red.
Although his hands were running red.
The people outside were all waiting to see who would win the race.
And the question went around like a rumble in the ground.
Could John Henry stand that pace?
Then with one mighty blow, John Henry broke the tunnel through and said,
Said I, I beat that steam drill down.
Yes I did.
But I'm dead.
Oh Lord, I'm dead.
But I'm dead.
Oh Lord, I'm dead.
Leo Soltkin is a greatly admired designer of characters, an animation director and a producer.
He made a film for TV called The 2000 Year Old Man.
This is The 2000 Year Old Man.
And he's a visual interpretation based on a series of recordings that were made by Karl Reiner and Mel Brooks.
And in those recordings they play, they have fun with the concept of what was life like 2000 years ago
as seen through the eyes of this particular man who has survived for 2000 years.
And so the film was a visual development based on their original recordings.
And so in developing the character, the problem essentially was how are you going to translate a character that a lot of people have heard
and the voice characterization is extremely vivid.
And the problem is how are you going to create a visual impression of this guy that doesn't feel false or a distortion
or just a simplification of the character that people felt that was in the voice.
Sir? Sir, is it true that you are 2000 years old?
Oh boy.
It's hard to believe sir because in the history of man nobody's ever lived more than 167 years as the man from Peru would claim to be.
But you claim to be 2000.
Yes, I'll be, I'm not yet. I'll be 2000, October 16th.
You'll be 2000, when were you born?
We didn't have formal years and names and writing. We didn't know.
Nobody kept time then. See we didn't know, we didn't write, we just sat around and pointed in the sky and we said they were all hot.
That's all you said?
We didn't even know it was the sun.
You really didn't know anything?
We didn't know anything. We were so dumb and stupid. We didn't know who was a lady.
They were with us, we didn't know who they were. We didn't know who was the ladies and who was fellas.
You thought they were just different types of fellas?
Yes, stronger or smaller or softer. The softer ones I think were ladies all the time.
How did you find out they were ladies?
A cute fat guy who could have mistaken him for a lady. Soft and cute.
Who was the person who discovered the female?
Bernie.
Who was Bernie?
Bernie, one of the first leaders of our group.
And he discovered the female?
Yes.
How did it happen?
He said, hey there's ladies here.
I'm very interested to find out how Bernie discovered the woman.
How did it come to pass?
One morning he got up smiling.
So he said, I think there's ladies here.
I said, what do you mean?
He said, of course in the night I was thrilled and delighted.
So then he went into such a story that it's hundreds of years later I'm still blush.
Joanna Priestley is one of a new generation of American animators which has introduced new elements of freshness and vivacity into American animation.
Hello. I'm here because I want to tell you something.
Something really important to me.
I'm an animator and while I'm animating I have lots of time to think about things.
I'd like to share some of my thoughts with you.
Of course I could use this time just to entertain you.
Want to see me wiggle my ears?
Or I could draw a cute little cartoon character.
Look at the funny voice.
I could get very deep and symbolic.
Let you guess what I'm trying to say.
I could do lots of things.
But I think I'd rather speak directly to you face to face.
I've been thinking about fear and worry and how negative thoughts can control my life.
If I'm afraid, bad things start happening to me.
If I always worry about what might go wrong, before long I'll have an accident.
It's like being afraid of the dark.
Everything always seems like a monster.
Fear is a choice and I'm in control of that choice.
I can see myself as limited or I can change my mind and expand the range of my possibilities.
Sometimes I worry about getting old.
I see a few wrinkles.
A few gray hairs.
Then I really start to worry.
The wrinkles seem to multiply.
I can accept with my body looking older.
Technical excellence, diversity of styles and talent will probably ensure that American animation will always be exciting and amongst the best in the world.
Here is the symbol.
Here are the people.
They're among the best anywhere in the world in film animation.
Norman McLaren has been with the National Film Board of Canada for 45 years.
During this time he has introduced a number of new techniques and pioneered some brilliant ideas.
Hello. Ick Ben Norman McLaren.
Speaking as an animator, if all these pictures of me which you've just seen were to be considered as the key drawings in my life,
and if you single framed all the in-betweens, the dope sheet would amount to about 50,709,880,000 frames.
So you see I'm a very old man.
Let's go back a few years.
In 1943 Norman McLaren makes Hen Hop, drawing and painting directly onto the raw film stock.
In Blinkety Blank, he draws the music and sound effects onto the film as well.
But at last the bird and his opponent give up the fight and mate.
And from the mating flow the usual consequences, hearts and flowers, and the one, the whole, the egg.
In a cherry tale he animates an inanimate object, a chair, which has a mind of its own.
prosecution
In pas de deux, he uses live photography, and with special effects stop motion, he staggers
each frame in order to achieve the final effect of sequential movement.
I'm Caroline Leaf, I'm the director of The Street, and I animated it. The Street is a story told by a man remembering his childhood in Montreal when his grandmother was dying, and the family had a very small apartment,
and more than anything the kid thinks that the grandmother is taking up his bedroom, he wants the room for himself.
People, when I said that I wanted to use the story for an animation film, thought that it was a rather peculiar story for animation, it wasn't very funny, sort of morbid, and I made the film because I liked it, and it said something to me,
and since then many people have come up to me who have seen the film and say, gee, it's sort of like what happened in my family when I was growing up, and I know that they feel the film, and I'm glad that it lets people feel connected to each other, I'm glad if they laugh too, because I think there's humour in it.
The summer my grandmother was supposed to die, or as my mother said, pass away, we didn't leave the city.
The only thing was to stay at home and wait for it to happen.
It was a hot summer, the bedroom was just behind the kitchen, and when we sat down to eat you could smell her.
According to Dr. Katzman, any day might be her last in this world. It's in the hands of the Almighty.
It won't be long now, my father said, and she'll be better off if you know what I mean.
God in heaven, what's she holding on for?
A nurse came every day from the Royal Victorian Order. She arrived punctually at noon, and at five to twelve I joined the rest of the boys under the outside staircase to peek up her dress as she climbed to our second story flat.
Before your grandma kicks off, she's gonna roll her eyes and gurgle. That's what they call the death rattle. You know everything, Puts. I read it, you jerk, in Perry Mason.
After she dies, her hair will go on growing for another twenty-four hours. Says who? Doody Craven.
Do you think Uncle Lou will come from New York for the funeral? I suppose so. Boy, that means another fiver for me, even more for you.
You shouldn't say things like that or her ghost will come back to haunt you.
Every Child, Canada's contribution to the UNICEF Year of the Child in 1979, directed by Eugene Filarenko and produced by Derek Lamb, is a highly imaginative film with subtle satire, and it deservedly won an Oscar.
Role of a Petshome.
Oh
Hot stuff is the work of a Canadian scriptwriter Don Arioli and you slavian animators latko girich
Hi, my name is Don Arioli and I'm a cartoonist and a writer but what I've been doing while my introduction was going on was drawing cartoons
The next film you're going to see is called hot stuff you're going to see a part of it and
the most interesting part really I did it for the
National Film Board when I was working there and we did it as a sponsored film for one of the government departments
Who wanted children to understand that fire was dangerous? That was the mandate so I?
Wrote the story and they approved of it and we hired his latko girich who was the genius
Yugoslav animator to come over to work with me and
We did all the layouts of the film layouts are when you do all the key drawings all the movements all the strain
You know you'll see all the situations all the setups
And the one that meticulous that you're going to see is a domestic situation with a husband and wife and she's ironing which is
feminist and anti-feminist I'm sorry, but those before that whole scene
anyways latko
Came we were doing the voices and I did all the voices of the characters of did the husband and the wife
Was cheaper that way you know it's a low-budget film
Because I was in the studio doing the voices and Zlatko came through the intercom
He said you know we need an animal at the end some kind of animal he said why don't you try a cat?
So I improvised some dialogue of a cat it was just an afterthought and
as a result in the film you'll see that no one pays attention to the cat because the animation already begun and
There wasn't supposed to be a cat in the film, but as you'll see the cat steals the show really
so I did all the dialogue and
Our producer wolf Koenig took all the material cut it together and made it into a wonderful soundtrack
His latko just animated the cat almost as a second pass like we need another violin in this symphony
So why don't we do this and I think that's what the cat really is another violin the key violin?
Oh, call me when it comes on okay. Oh, why are you up? Could you get me some toast and coffee poopsie?
I was only gonna get a drink
Where's the cream?
Cream?
My cream have you seen my cream?
Where's the butter dear?
It's right here by the cream
Oh, I see
Hamon
Oh, we come on
Is my name is real because the TV is all again
All right. All right. All right, come on, boy. Where is the quick way to hurry no biscuit anything?
All right, alright. Hurry or I'll bugger with the TV master
They're not listening to me. Look about 2% milk
You know cats have to have their
restaurant
Here, sweetheart, Poopsie, I can smell toast burning.
All right, all right, I said.
Where's the sugar?
Oh, just a minute, Poopsie.
There it is.
Daffy Monson there.
I'm missing my program.
Come on, toast.
Wait, oh, oh no.
Poopsie, no, not the fork.
Fire, fire.
I might just wait for a hot mouse, a mouse flambo.
In the end, all was chaos and fire.
The gods were angry again.
Co-Hooderman in his film Sam Carson,
was a man who was a man who was a man who was a man
who was a man who was a man who was a man who was a man
Co-Hooderman in his film Sam Castle
uses real sand to animate
and creates his own surrealist three dimensional world
with imaginative prehistoric creatures.
Jeffrey Hale and Derek Lamb choose the Wild West
for their adventurous tale, The Great Toy Robbery.
Oh boy, oh boy, whoa, whoa boy, whoa.
The Great Toy Robbery.
Whoa, whoa, whoa, whoa, whoa, whoa.
Hey fellas, can I play?
Get out of here.
Ah, come on fellas.
Get up, get up, go, get up boys, get up.
Say, have you seen this guy's sack of toys?
The Great Toy Robbery.
Thanks old boy, have one, have one.
Ishu Patel is an Indian and understands how to build
the magnificent Palace of Crystal with all its splendour
in his recreation of an ancient Persian fairy tale, Paradise.
The Great Toy Robbery.
At Radio Canada, the visual quality of titles and promotional announcements makes them
works of art.
They are recognized and identified all over the world.
Basically, we should emphasize living together with the other living things in this world,
whether human, animal, or vegetable.
Each of these has been created with as much care as we ourselves, and they all deserve
the same attention and the same respect.
We all need to see our own personality recognized, but we must also respect that of others.
That's what I try to work on, this love, this respect.
Thank you.
Now, that is usurpation.
That is the naivete of youth, whom we exploit in order to integrate them into a world which
does not lead to happiness, which is real, profound, and durable.
And that is exactly what I wanted to stress in Illusion.
This sort of fraud we impose on youth, and which hides the true values.
Yes, I never thought crack would travel so far, because in fact, I had thought it might
perhaps amuse a few Quebecians here and there.
So I was extremely surprised to find that the film was liked universally by many people
This film, Crack, which takes us back to the cradle, won 22 international awards, including
a Hollywood Oscar in 1982.
For Frederick Back, animation is a way to express the fantastic vision of his own imaginative
acts, and seeing his films, we share in it with him.
Another animated with Radio Canada is Graham Ross, who has made over 200 films, among them
three outstanding shorts of international repute.
His films are very witty.
It was perhaps through a sense of humor that I started doing identifications for CBC.
The station breaks or something, little, four second things.
In this film, a man is jumping, and it's me.
In the sense that we do not apply ourselves to what we are doing.
We tend to think of something else.
At the start of Graham Ross's career, he believed that with animation, everything is possible.
Later, after much experience, he still believes this is so, and retains all the enthusiastic
curiosity of a beginner, as in this film, One, Two, Three.
One, Two, Three.
It's a bit like that.
So it's a bit like me, you see.
What matters, however, is the quality.
One can use the simplest means to achieve this.
Now I'm adding a bit of colored salt with the Indian ink.
I arrange the salt to get an image.
I lift this thing here under the camera.
I do a little tick like this.
It goes down, down again.
We hit again.
I lift again.
It goes down like this and once more.
It's always 1 24th of a second until it goes.
Then it goes all the way down.
That's the idea of the film.
The title of the film is Now or Never.
Andre Thoreau designed the well-known owl symbol
of all Canadian animation festivals.
He understands how to make use of shapes and structures
in animation.
Above all, I wanted to make a symbol which
wouldn't be an abbreviation or a typographical thing
or whatever.
I didn't want letters or a word.
I simply wanted to find an image which was as close to animation
as possible.
If you look at animation, the owl
has always been a pleasant animal.
Also, you watch animated films at night in the dark
like you do for any film.
So I thought of a nocturnal creature, therefore an owl.
And in cartoons, the owl is a kind creature.
He's often wise and likable.
If you look at all the Walt Disney cartoons and others
as well, the owl is a beautiful creature, something that is
good.
And from a cultural point of view,
at least for the Inuit here in Canada,
the owl holds a prominent place.
For instance, the snowy owl is a beautiful bird.
Yes, I'm basically a designer.
I came to CBC as a designer to produce program titles.
So my training is typographical based on pure design.
We simply wanted our design to move,
and that's how I came to animation.
My style is design.
In fact, I do animated design, not cartoons.
The world is your drawing desk.
You can create things, you can draw something,
and you can make it move and hopefully make it come
alive for an audience.
There are about 40 independent production companies
in Canada, and among these, Gerald Pottiton
has won an international reputation.
His approach is very precise.
Well, I've always been interested in very simple
explanations for quite complicated things.
I was always a great fan of Buster Keaton's.
I was very lucky to work with him once in Canada,
and I loved the way that he struggled as one little guy
against the universe, but kept on going.
I mean, Jacques Tati did that to the same.
Big complicated things didn't appear to be a problem to him.
He kept on moving to the great intricate structures.
Man sees a star in the universe, and he needs a star
for his Christmas tree.
And he decides to build this ridiculously enormous rocket
and just go and get it, which he does.
But he does it, he's not particularly put off
by the complications that would go
into building a machine like that.
He just does it.
And of course, we can do that in animation,
those kind of things, and kind of accept it much easier
than in actuality.
Hm.
Mike Mills was born in Great Britain and now lives in Montreal.
He is known for work in publicity.
His film, History of the World in Three Minutes Flat, does precisely that.
Oh, I had seven days.
Blue six.
Here goes.
Let there be no more trouble.
Let there be light.
A bit of movement.
Sorry.
Moses.
Which way?
That way.
I have no this way.
This way.
No that way.
Okay.
It's dark in here.
It's been dark for ages.
Grow up, Lenny.
Look, it's a blue wall.
Hold your.
Don't shoot till you see the white cellar eyes.
Come on, stand up and fight.
If you have one, then one for you and one for you and one for me.
Hey, he's bored.
Let's dance.
The more we are together, together, together.
Oh well, better try again.
Marv Newland is an American who has worked for a number of years in Vancouver.
He is well known for his remarkable film, Anan Jam Around the World, but he is equally well known for Hooray for Sandboxland.
My newest song.
Me, me, me.
It was an ordinary day.
And the sun was shining.
I was sitting in a seat.
I was tapping out a beat.
That's the way I, I, I, oh I am.
Then I heard about the wave.
Because a little birdie told me.
So I jumped into the blimp.
And I started up the blimp.
And I headed for the sea.
The sea to shore.
Oh, the wave was fast.
The wave was mean.
The biggest wave I've ever seen.
Glad I had my digging machine.
The wave poured down.
Oh, everyone is safe and sound.
And it's an ordinary day.
The sun is shining.
I want to give a big cheer for the people here.
That's the way I, I, I, oh I am.
Hooray, hooray.
Hooray for Sandboxland.
Hooray, hooray.
Hooray for everyone.
Slow Dance World is a film made by Ellen Besson.
An artist from Toronto.
Using simple photo collages, oriental music and choreography.
To achieve a degree of poetic intensity.
Hard Day at the Office is a social comment.
A satire on some modern attitudes.
It was made by Al Sens in Vancouver.
He is a professor of animation at the Simon Fraser University.
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The Cuddy de Peltree is the work of four young animators.
Pierre Lachapelle, Philippe Bergeron, Pierre Robidoux,
and Daniel Langlois.
It was made entirely by computer,
which is a wholly new technique of animation.
Oh, it's so cool.
Daniel Langlois, one of the artists, explains.
You must work with a series of fine lines
to divide the whole surface into a network of polygons
in order to parameterize a surface.
This allows you to divide the object into three dimensions,
like a synthetic sculpture.
To achieve this, it is subdivided into small spheres.
The coordinates are defined with X, Y, Z at each intersection,
which allows you to conceive the model in three dimensions.
From this, you can add facial expressions for every object.
The Cuddy de Peltree is the work of four young animators.
Pierre Lachapelle, Philippe Bergeron, Pierre Robidoux,
and Daniel Langlois.
Pierre Lachapelle, one of the artists, explains.
You must work with a series of fine lines to parameterize a surface.
The coordinates are defined with X, Y, Z at each intersection,
which allows you to conceive the model in three dimensions,
like a synthetic sculpture.
The coordinates are defined with X, Y, Z at each intersection,
which allows you to conceive the model in three dimensions,
like a synthetic sculpture.
Pierre Lachapelle, Philippe Bergeron, Pierre Robidoux,
and Daniel Langlois.
Pierre Lachapelle, one of the artists, explains.
You must work with a series of fine lines to parameterize a surface.
The coordinates are defined with X, Y, Z at each intersection,
which allows you to conceive the model in three dimensions,
like a synthetic sculpture.
Pierre Lachapelle, Philippe Bergeron, Pierre Robidoux,
and Daniel Langlois.
Pierre Lachapelle, Philippe Bergeron, Pierre Robidoux,
and Daniel Langlois.
Thank you.
.