New York Institute of Technology + Popeye and Mighty Mouse Animators = Start of Computer Animation

From the 1920s through to the early 1960s the New York area was home to two major animation studios: The Fleischer Studios (which later became Paramount Pictures' Famous Studios) and Terrytoons.

The Fleischer Studios produced the Betty Boop, Popeye, and Superman cartoons; while Terrytoons had Mighty Mouse, Heckle & Jeckle, and Tom Terrific.


These studios were no longer in existence when I started my career in animation in the mid-1970s. However, my first job at New York Institute of Technology landed me right in the middle of the most talented group of animators who had worked at Fleischer/Famous and Terrytoons. It was from these animators (Johnny Gentilella, Marty Taras, Dante Barbetta and Earl James) that I received my on-the-job training in the basics and mechanics of animation.


A few years earlier, Dr. Alexander Schure, the founder of (and who basically owned and ran) New York Institute of Technology, had started working towards developing a computer graphics program. With this as a goal, he had put into production "Tubby the Tuba" as full-length animated feature. The basic purpose was to have a team of computer engineers study the process of putting together an animated feature and see what technical problems needed to be surmounted by a computer.

In March of 1975, I wound up being hired as the studio's first full-time inbetweener. (I worked at the studio and developed into an assistant animator, leaving in May of 1976 to work on the animated feature "Raggedy Ann & Andy".)


The animation studio was on the NY Tech campus in Long Island. As Tubby was being produced by a crew of animators headed by Chuck Harriton and Johnny Gentilella, a separate crew on the far side of the campus (headed by a young Edwin Catmull) was busy experimenting with ways to draw and color pictures on a computer screen.


This is the same Edwin Catmull who is the current president of Walt Disney Animation Studios and Pixar Animation Studios.


There were times when Johnny Gentilella and some of the other animators would work with the computer crew. The animators' task was to draw and animate simple objects with the tools the computer crew was developing, and explain to them what difficulties they had using these tools.


The eventual direct result of all this experimentation was the development of both Disney's CAPS system and Pixar's CGI systems.

I have posted two sets of documents. The first is from a 1997 interview given by Edwin Catmull, where he gives some of his background history, explaining how he became involved with Dr. Schure and how he left to go work with George Lucas.


The second set of documents is Catmull's analysis of the problems facing computer-assisted animation. This analysis was finished circa 1977. It is very informative, giving a clear and concise step-by-step outline of all the phases of producing an animated cartoon.

Thoughts on Script Writing For Animation #4

Let's pick up where I left off. We now continue with Scene 3 of my sample script pages, explaining why I chose to write what I did.

Again, for visual design, think of the Dick Tracy world of 1943, with all the caricatured images that suggestion creates in your mind. 

Scene 3

INTERIOR, THE CASABLANCA LOUNGE OF THE OASIS -- CONTINUOUS

As Pearl glides along the carpeted floor, MALE and FEMALE CUSTOMERS call out to her.
(Pearl resumes being pleasant and charming. This sets up the calm before the storm.)

FEMALE CUSTOMER #1 (O.S)

                                   "How's your son, Joey?"

PEARL

(smiling)

                                   "He's fine. Stationed in San Diego."
(Dialogue establishes that Pearl is a mother.)

MALE CUSTOMER #1 (O.S.)

                                   "Where's Carl?"

PEARL

(smiling)

                                   "In the Gaming Room."

MALE CUSTOMER #2 (O.S.)

                                   "Don't think so. I just came from there."
(Dialogue sets up the rumbling of the coming thunderstorm between Pearl and her husband Carl.)

As Pearl continues gliding, a flash of understanding passes through her.
(The first flash of lightning!)

Her expression changes from happy to suspicious to false pleasantry.
(Pearl momentarily loses her composure, but quickly slaps on a smiling mask to hide her anger from the public/paying customers.)

Without missing a beat, she turns on her heels and heads for the dancers' backstage dressing room.

(Pearl does not put off what needs to be done immediately.)

CUT TO: 

SCENE 4

INTERIOR, OUTSIDE OF BACKSTAGE DRESSING ROOM -- CONTINUOUS

CARL JULES (mid-40s, dark haired, wiry, a ready smile) watches the ten laughing and chattering CHORUS DANCERS (lots of ostrich feathers and long legs) file back from their performance onstage in the The Caravan Room. The music of Cab Calloway and his orchestra is loud and jumping. 
(This sets up the scene for the impending confrontation.)

 CUT TO:

SCENE 5

FULL SHOT: BIRD'S EYE VIEW -- CONTINUOUS

Carl gently pulls aside one of the dancers (GINNIE, 20 years old, red head, long legs) and chats her up -- how are things going? And so on and so forth.
(Shows Carl as being a smooth-talking skirt-chaser.)


Loud dance band music drowns out all conversation.
(Forces the audience watching this scene to concentrate on imagining what is being said between Carl and Ginnie.)


Pearl marches up behind Carl, swings him around.
(The fuse is lit!)


Ginnie escapes into the dressing room.
(Ginnie doesn't want to get caught in the crossfire between her two bosses/wife and husband.)


Pearl reads Carl the riot act, jabbing her finger into his chest. Carl gestures "What'd I do now?" Pearl jabs a final point and leaves to go back to her duties greeting customers.
(Pearl is warning Carl and ALL the girls in her employment to keep hands off each other. Pearl is staking her claim on Carl as HER man! And that's THAT!)


Carl gestures after her "I'm innocent!"
(Shows Carl trying to save face. This also plants the seed in the audience's mind that perhaps Pearl is overly jealous and jumps to conclusions.)

FADE OUT:

 So, to quickly recap: SHOW your story on the screen, not TELL your story; and use dialogue (as sparingly as possible) to reveal what can't be shown on the screen.

Thoughts On Script Writing For Animation #3

Picking up where I left off, let's continue with Scene 2 of my sample script pages, explaining why I chose to write what I did.

INTERIOR: THE CARAVAN ROOM OF THE OASIS -- FULL SHOT

The war is raging on both fronts in Europe and the Pacific. The joint is packed with 800 SOLDIERS, SAILORS, MARINES, and CIVILIANS all jumping to the live music of CAB CALLOWAY and his orchestra. Patriotic signs and banners decorate the walls. The Caravan Room looks elegant. The tables are set with white linen tablecloths, sparkling crystal, and the best silverware.
(Establishes high energy opening for the story. Creates an expectation that this story is taking place in an unusual setting that is also historical.)
                                                                                                                     CUT TO:

PEARL MAE JULES (late 30s, blonde, dressed to kill) glides through the room, greeting
customers (BIG SHOTS and COMMON FOLK alike) with a handshake or a touch to the arm, always a brilliant smile. Her unmistakable laugh -- controlled, never giddy -- can be heard over the crowd. Wife of Carl Jules and co-owner of The Oasis, the lady is steel encased in silk and velvet.
(Focuses on Pearl as co-owner of the club. She is a classy but tough lady.)

She marches into the kitchen, her sights fixed on the CHEF. She confronts him, ready to bite his head off.
(Shows through action that she is not to be messed with.)

PEARL

(controlled anger)

                                                 "This ain't a greasy spoon. You don't slop

                                                  the food on the plates like you're feeding

                                                  hogs. The next time I see a customer served

                                                  a plate with gravy dribbling off the sides,

                                                  I'm coming in here and kicking your butt

                                                  into the Licking River. Ya hear?"
(Dialogue is necessary to explain why she is angry.)

Chef quickly nods his understanding,
(Indicates he knows he's been slacking off on the job and that he better not do that again.)

as Pearl spins on her heels and marches out -- smile on her face.
(She knows she has power and enjoys it.)

                                                                                                                     CUT TO:


This first script page has quickly introduced:
                                                    1) The Setting (with a twist);
                                                    2) High Energy;
                                                    3) a Major Character (Pearl Mae Jules)
Next time, we'll see how the second script page introduces Pearl's husband Carl Jules and develops tension between the two.


The key thing to remember is to use ALL the story elements to keep the audience interested in what's happening on the screen.

Thoughts On Script Writing For Animation #2

As I promised in a previous post, today I will start focusing on sections of these two script pages, explaining why I chose to write what I did.

Again, for visual design, think of the Dick Tracy world of 1943, with all the caricatured images that suggestion creates in your mind.

 

Scene 1

FADE IN:

EXTERIOR. LONELY 2-LANE COUNTRY ROAD WINDING ITS WAY THROUGH THE DENSELY FORESTED HILLS JUST OUTSIDE OF NEWPORT, KENTUCKY. -- SEPTEMBER 10, 1943 -- NIGHT

(This establishes location and time our story takes place.)

CRICKETS CHIRP and BULL FROGS CROAK. We travel past thick brush and trees. No sign of human life.

(Sound establishes the feeling of solitude and isolation in a non-urban area.)

The CHIRPS and CROAKS blend into a pulsating, RHYTHMIC, JUNGLE BEAT...

(Starts a transition that signals we are heading into unusual territory.)

...and after a few bars become a fully orchestrated BIG BAND SOUND.

(Finishes the transition into the foreshadowing of a surprise: Urban Energy in a Country Setting.)

 The road takes a turn and we find ourselves in a clearing outside a 3-story stucco building lit up in neon. The building has a white dome, bright against the star-filled midnight sky. THE OASIS SUPPER CLUB in pink neon script and a neon palm tree complete the signage.

(Completes the surprise. Audience should be wondering "What's this doing here?")

The parking lot is filled with Cadillacs, Packards, and Lincolns.

(Compounds the surprise with the promise of High-Rollers frequenting this place.)

Before I go any further, let me say at this point that the story is based on historical events and characters. So, even though I combined fictional and historical characters, I have not exaggerated the primary historical setting and story elements. (http://www.cathiejohn.com/jp2.html)

More in my next posting.

Thoughts On Script Writing For Animation #1

A picture may be worth a thousand words, but when it comes to animation it may take a thousand individual pictures to show what a few words in a script describe. For example: "The two armies of angels clash outside the Gates of Heaven."

For me, an animation script is the beginning of the storytelling process. Using words is the quickest way to download the story ideas from one's mind. It's also the quickest way to organize and develop all the elements necessary to show the story on the screen. Note, I say SHOW not TELL.


The writer should be locking down the characters' motivations, their goals, the plot twists and resolution to the story. Dialogue should be kept to a minimum, being used only to reveal what can't be shown on the screen.


In the script, the writer should be thinking visually, and not be in love with his/her words. Yes, there is a place for "snappy dialogue" between  characters, but not when it stops the story dead in its tracks.


As much as possible, each word of an animation script should be an aid to the story artist who is interpreting those words. The script should be the solid foundation upon which all the film's artists, musicians, and technicians can build their performances and add sparkle to the finished piece.


To illustrate my point, the following two script pages describe an opening sequence. These pages are taken from my screen adaptation of "Little Mexico", one of a series of noir crime fiction novels I co-authored and published with my wife Cathie under the name Cathie John.


For visual design, think of the Dick Tracy world of 1943, with all the caricatured images that suggestion creates in your mind.


"Little Mexico" was nominated for Best Paperback Original Novel in 2001.


In future posts, I will focus on sections of these two script pages, explaining why I chose to write what I did.

 

 

(This content is copyrighted, John Celestri)