Ezra Thursday: Buzz, Woody & a Ghost Robot!

I think it's about time I change up Ava Thursday a bit -- since Ezra's doodling more and more lately, what I'll do is have Ezra Thursday from time to time. Maybe even do an Ava & Ezra Thursday every once in a while, where I'll post artwork from both my kids. Today, it's Ezra. Two drawings from a little boy who loves robots, Spider-Man, cars, superheroes, dinosaurs, and mostly boystuff.


Ezra draws everybody's favorite spaceman & cowboy buddy team: Buzz & Woody from TOY STORY. He was so proud of this drawing. Can't say that I blame him. I would be too! Love the helmet arc over Buzz's head. And Woody? Got those boots down, doesn't he?


Part of a series of robot drawings that Ezra did one day, this one was different by the squiggly line coming off of the robot -- that's a ghost tail, Ezra tells me. This is a Ghost Robot! I just had to laugh -- could this be an homage to my buddies at Ghostbot? Hmmmm, you never know...! I say that they use this for their new logo.

Ezra turned 4 in June. Ava just turned 8 last weekend. My, how time flies.

One last look at San Francisco

Finally got all my San Francisco pics uploaded. You can view them all here. All 89 of 'em. Yeah, it's taken me a month to finish it. I'm a terrible blogger/flickr-ite. I deeply apologize.

On that Thursday, we got to do the ultimate tourist-y thing and hopped on a bright red shiny cable car:


Some of us held on tight.


And here, you can see why.


We took the cable car down to the Fisherman's Wharf and got to meet this happy gal at the wonderfully creepy and charming Musee Mecanique.


Amongst the old arcades and puppet shows, I found this wonderful device. Listed as the oldest machine there, it's a praxinoscope. The faceted nature of the mirrors gives off the same effect as a shutter for film -- very important in order to give off the optical illusion of 'persistence of vision'. The images projected from the drum onto the mirrors allowed you, the viewer to see the girl jumping rope, instead of becoming a big blur. It was so cool to watch one of these for reals.


Ava really enjoyed watching this thing go.


Further down the Wharf, we saw some sea lions lounging at the über-tourist trap, Pier 39.

On that Friday, we paid Chinatown a second visit to see what we could see.


And what did we see? Well, some cool old signs, for starters.


And a very impressive wall of Wacky Wobblers.


Stumbled upon some cool numbers, too.


Following the sweet smell of fortune cookies, we found a couple of women making them in a small shop in a back alleyway.


Which was the perfect place for running around in.


One last pouty session before we head out. We're quite used to this by now.


On our way out, the Golden Gate Bridge was cloaked in its usual attire.

So long, San Francisco! We had a fabulous time. Looking forward to visiting you again soon. One last big THANK YOU goes out to Leslie and Riley for sharing their home with us. You two are the coolest. Thank you.

My SF photos.
Andrea's SF photos.
Leslie's photos.

Calico Elly

Because there's not enough elephants running around here.

More San Fran

What more did we see in grand ol' San Fran? Well...

We saw some deliciously colorful murals...




...some nifty signs...



...overlooked beauty...




...and a few other variousities...





Oh, and a master at work:


I'll be done with this soon enough. I promise. But I can't help myself. That town was just too cool to not share with you.

My SF.
Andrea's SF.

San Francisco

We weren't going to go. It was one of those things where we nixed the notion of going on our family vacation immediately after the Big Bomb was dropped on us. We had been planning this thing for several weeks now, it was hard to throw all that preparation away. After a few days it was decided that maybe we can do a truncated version of our trip, maybe stay there for three days instead of a whole week. Yes, that's what we needed. A chance to get away.

And then, as luck would have it, one of Andrea's friends offered a place for us to stay for the entire week. So generous of Lesile and Riley to open up their home. So thankful to have good friends like them.

And you know, a week STILL didn't seem like enough time to get the full experience of San Francisco. We'll be back. That's a definite.

Below you'll find a few more of my shots of our trip, although Andrea does a much better job at capturing the soul of the City by the Bay. By all means check her on-going photoset. Beautiful images. You'll be thanking me.


On the road trip, we passed by the beautiful Mt. Shasta in northern California.


You know she fell asleep like this: with her finger on the button. I guess she's a true photographer now.

For our first big day, I didn't bring my camera, so I don't have anything to show for that day. But here's a shot of me with Harley Jessup at Pixar. Oh, yes. We visited the Emeryville studio and had lunch there. What a great treat.


Harley, as you might recall, was the art director for Twice Upon a Time. He was the production designer for Ratatouille as well as for Presto, the new short film currently playing in front of Wall-E. To quote a fellow Pixarian, Harley's a class act. And he's absolutely right.

Oh, hey -- big ups to Sanjay, Erik, and the few others I had the great fortune of talking with during our visit to Pixar. What a remarkable place, guys. Thanks for the time.

On Tuesday, we took the ferry into the city:


Ezra doing what he does best: making his big sister laugh.


Your typical shot of the Golden Gate Bridge. And a boat.


Sure he's cute, but tough as nails if you try and take his cupcake.




How cool is that? Vintage streetcars. This one was originally from Kansas City, and was in service from 1948 to 1988.

On Wednesday, we walked around the Mission District. So colorful. A couple of Andrea's friends (the very talented Mati and Kelly Rae) showed us a few hidden alleyways that boasted some amazing murals.


Ava looked at this mural for a long time.


Cool doorway.

I'm still in the process of uploading more photos from our trip. I'll post more of them here later on.

The trip was definitely a shot in the arm for us. We had such a great time that we vowed to come back right away. I really mean that.

There are more photos to see in my SF photoset and in Andrea's SF photoset. Enjoy!

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I've been working on my portfolio website lately. Finally registered my domain name and will hopefully have the thing up and running soon. Things have been so-so with the new job hunt. Some slivers of opportunity here and there, but nothing's really solidified. I've done a few illustrations for Jib Jab, which was a lot of fun, and have done another illustration for the next Von Glitschka book (due out in early '09) -- but really, putting together a portfolio from scratch has proven to be incredibly time consuming and frustrating. I've been constantly changing the thing after each meeting or interview, which makes it even more time consuming.

I'm remaining optimistic, though. No sour grapes here, I promise. It's all a matter of finding the right opportunity at the right time. That's what I've always told people when I'd talk about the biz, and here I have to remind myself of this very thing. So, yeah. Need some storyboards done? How about some character designs? I'm here to help. I'll treat ya right. (How's that for some shameless promotion?)

More SF pics soon....

Greetings from the Golden State

Hi. We're in San Francisco this week. It's been a fantastic trip already and we still have two more days left. Recharging batteries, uplifting spirits, soaking in new sights, sounds, and smells. This is an incredible town.

Behold the rare photo of my wife: one that she doesn't hate. Rockin' the 50mm Nikon lens at the Golden Gate Bridge.

aww yeah

Back in 1999, I had this idea for a side project on hip-hop and the culture that was born out of it. To this day, I'm still fascinated by hip-hop. Even though I've placed this particular project on hold, I never tire of digging out these paintings done with gouache and ink on illustration board. Some of these images are based off of photos, but altered just enough to incorporate a certain look & style I was trying to finesse at the time. I had a lot of fun working on these.





Oh, and I want to say that I really appreciate all the kind and encouraging words I've received from you all regarding my job situation. It's been nothing but ups & downs for me lately, but getting great comments and emails offering words of advice and support definitely will put me in the 'up' category. Many thanks, guys.

What's been going on with me lately? Ah, who knows? But I do have to say that I'm looking forward to taking a nice vacation with the family tomorrow. A much needed vacation. Be back soon, kids!

Disturbance in the force

So yeah, here's a slight change of career plan for ya: I'm no longer at Laika. My last day was the 6th. Quite a shock to the system, but hey, to quote Kurtis Blow: "that's the breaks." I've now decided to use this opportunity and focus my efforts on character design and storyboarding. I feel that I'm at my happiest when I do those two particular things. And when I'm happy, I produce some great work. I love animating, too, so I'll be looking for any 2D traditional work, as well. It's strange to be looking for opportunities when I've had opportunities find me for the past 12 years.

So, there ya have it. I'm looking for work. Crazy, huh?

Here's to rude awakenings and new perspectives....

That's 'bout right

Found this via Design Notes and it pretty much sums up what's going on with me lately. Click on image to download. It's about 23MB, just so you know. By Action Figure.

Tipping My Hand

Since my last post, I've received some great responses through comments and emails about my thoughts on sharing what I'm concocting animation-wise down in my basement. I appreciate the dialog and the feedback. It's what I was striving for when I decided to write that post -- to get the word out there and see what others think. I guess that would be my main gist for going 'live' about my short film in the first place. Sometimes as animators, we tend to be holed-up as we work on our projects and maybe lose track or sight of the initial vision, and here, I just wanted to get it out there. Let the people know, sort of thing. As I mentioned in my post, I was thinking about having my production blog available for public viewing at a later date. I've since decided against this because I feel that this would ruin the surprise. I think now what I'll do is make the pro-blog public AFTER I have the film finished and officially released. That way, if you happen to catch it at a festival (wishful thinking) and wanted to find out more about it (more wishful thinking), then you could do a google search and stumble upon the blog. Think of it as an online Bonus Features of sorts.

I had a couple of people respond to my complaints of not finding any time to work on the film. Noting the fact that, well, you're spending time right now talking about it, why not use this time wisely and actually work on the thing? I just had to laugh because I was very well aware of this realization -- why aren't I doing something constructive with my time here?

Actually, my answer is simple: the time spent talking about my film actually counts as working on it. There might be some ideas that I need to bounce off of someone and to be able to have some sort of platform to do so is indispensable. I consider myself lucky to have as many readers as I do who could offer me some productive feedback.

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On my previous post, there was a comment left by 'SD' that was rather lengthy, yet very informative. Instead of replying to his/her comment in the comments section, I've decided to answer some of the questions here.

Regarding the notion that I might be "tipping [my] hand too soon, or to the wrong audience can potentially kill [my] own momentum in unexpected ways", I would have to say this: no worries, I don't plan on revealing too much up front anyway. Especially now, since I've had some time to think this through. Like I mentioned before, I'll most likely reveal bits here and there, but nothing that would ruin the entire experience for anyone.

Right now, I'm riding on some great momentum, thanks in part to the fact that I've pretty much finished the writing stage -- there's still some things that need to be sorted out, but the main section that was going to be the main hurdle for me story-wise has been crossed and am now ready to start on storyboards. Of course, once I 'board out the thing, there'll be some changes made, story- or gag-wise. Can't avoid that. That's a given! That's the nature of the beast.

For the rest of SD's comment, SD wanted to know some "non-specific generalities of [my] impending project", asking so many questions that I decided to answer them in a Q & A format. Call it an 'instant interview' if you will. Here ya go:

What medium & production process do you intend to work in?

My short film will be animated traditionally, with pencil on paper. Backgrounds will be either drawings scanned and then painted digitally in Photoshop, or actual paintings (gouache and/or cel vinyl paint -- of which I've recently discovered and am head-over-heels in LOVE with it), or a combination of both. I haven't decided yet. I'll then composite everything in After Effects.

What pre-production elements have you pinned-down so far and what's your process been like in developing your idea?

The basic idea was something that I've had swimming in my brain for a very long time but it wasn't until two years ago when I suddenly remembered it. It's been itching to get out there and finally I'm doing something about it.

How long of a project are you aiming to create?

I expect the final film to be about 6 to 7 minutes long. I'm paying homage to the great cartoons of the past, so I'm guessing that the film will be about this long as well. Honestly, right now, I have no clue how long it'll be. It's up in the air for me. Once I do a scratch track, I might have a better idea, but again, I won't know for sure.

How many characters?

One main character, with several side ones.

Do you plan to incorporate dialogue? Or narration? Or music alone? Or sound-effects alone?

This will be the first film of mine that will have dialog. My previous efforts were merely pantomime, with no words at all. In fact, those two films started out as a visual concept, and were 'written' out solely through storyboards. Nothing was written down, story-wise. This new one is completely opposite of that. I've been writing everything out first (with a couple of ideas drawn out), and will soon be storyboarding it all. I can't wait to get started on that! Music will be a big part of this film. I've got a great source I'm tapping into, but I can't really say who or what for fear of exposing too much.

Will you use a sound studio for your audio work?

See above.

Will the project be executed entirely by you in your basement -- or might you rally assistance from friends and/or other professional services?

I've thought about accepting help from others, but it's way too early in the process for me to know just how much assistance I'll eventually need.

As you alluded to with your study of "Symphony in Slang" & other golden age cartoons, are there any specific shorts or illustrations or stories that you look at as having similar qualities to what you're aspiring to make?

Tex Avery is king to me, so I'm really studying up on anything that he's done. His timing, pacing, camera moves, etc. I've also bought several DVD sets that have been extremely helpful in my research. I recently bought the Tom & Jerry Spotlight Collection Vol. 1, Looney Tunes Golden Collection Vol. Three (and soon, Vol. Four), not to mention this great set: Warner Brothers Home Entertainment Academy Awards Animation Collection - 15 Winners, 26 Nominees (award for the longest DVD title EVER). That last one has some classic stuff on it! Highly recommended.

(For the record, I'm holding off buying the Tex Avery's Droopy - The Complete Theatrical Collection -- word on the street is that there's been some terrible film transfers for many of the cartoons in this set, including several that exhibit the awful DVNR process, which basically ruins the quality presentation when it comes to any animation on DVD.)

What sort of finishing style & technique & aesthetic texture & colorization values do you plan to implement?

Wow. Good question. One that might not be answered at this stage, though. Even though I plan on emulating the look and aesthetics of classic, golden age cartoons, my goal isn't to copy those films outright -- I'll give this film my own distinct look, with characters and backgrounds designed by me, done in my style.

What medium & style for backgrounds?

I think I answered this earlier on.

How ambitious or complex is the animation you envision?

The animation will be full -- a combination of ones and twos (one frame per drawing or two frames per drawing for those unschooled in animator-speak), but I plan to utilize some limited animation techniques here & there. It'll be a nice combination -- hey, whatever is needed to make it look good, you know?

What sort of editing pace/scene count for the piece?

It'll be brisk, but I do plan on having some mellower scenes to balance the piece out. But really? Still too early to know. Again, once I have a rough scratch track made and then an animatic, I'll know for sure how everything's coming together. But, yeah. Way too early to know for sure right now. Stay tuned!

Based on your current notions, what length of time do you plan/hope to be in production?

I don't want to place a time frame on this. I'm no good when it comes to schedules -- even more so when it's a home project. I might put some general deadlines out there for me to try and hit, but it's not worth all the trouble.

Allow me to end with a quote from a post on the production blog:

I've been working on the story a little bit each day. Some days, I'm on fire. I get several pages done. Other days, nothing. It's been a slow and arduous process, but I think it'll be worth it in the long run. I'm on no particular schedule with this -- I didn't establish a deadline for this film on purpose because I don't think I need one. Why set a deadline when I KNOW I'll never reach it? I have no clue just how long everything is going to take to get done, so there's no need for any sort of scheduling. I'll work on it when I can. Honestly? I get more work done on something that I feel real strongly about, and recently I've been getting more done on [the film] than ever before. The more it's in my head, the better. I'm allowing it to progress on its own, and it's been very fulfilling so far.

Why Make a Film?

As you may already know, I've dropped enough hints here that I'm currently working on a short film on my own. I guess you can call it a cartoon, since I'm paying homage to the great cartoons of the 40's and 50's. I've been studying a great deal of those films, most specifically Tex Avery's SYMPHONY IN SLANG. (See previous posts HERE and HERE.)

Let's start off with the obvious question at hand: Why am I doing this? On top of my full time job as an animation director at LAIKA/house, along with my blogging duties on The Ward-O-Matic, not to mention my permanent titles as husband and father on the personal side -- why on earth would I want to forge through in making an animated film?

Why not?

There is a great short film by legendary designer and filmmaker Saul Bass called WHY MAN CREATES -- it won an Oscar for Best Short Film in 1968 -- about this sort of thing. Bass explores several venues regarding the issue of creativity in this film. The main jist of WHY MAN CREATES is that there is a desire by mankind to emphasize the individual, to stand out from the typical crowd and make a mark upon this earth. As human beings, it is in our blood to establish who we are and where we've been. From the ancient cave drawings to Greek temples to towering skyscrapers -- throughout entire generations, all of it is basically saying the same thing: I WAS HERE. The most simplistic and base ideal known to man -- identity. Knowledge of self, knowledge of awareness, knowledge of existence. And out of that self awareness, man creates.



For the Artist, this desire to create consumes his/her entire being. It is an uncontrollable urge that makes him want to record his surroundings in ways only he knows how.

That's pretty much the academic take on it. Honestly? I just want to work on something that I can call my own. To create characters in my style, and animate them however I want. To be able to work on something where I don't have to answer to anyone. I'm calling the shots here. No art directors, no producers, no creative directors to answer to! Freedom. Liberation. Joy. And once it's done, there'll be such a feeling of accomplishment you can't even imagine. I look forward to that moment -- it's what will drive me throughout the entire process of making this film.

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More about WHY MAN CREATES:


One lone ping pong ball stands out among the crowd in a segment of WHY MAN CREATES titled, "A Parable."




The film is split up into eight different segments -- the first one, "The Edifice," features a great bit of animation by Fred Crippen who used to work at UPA back in the 50's. It contains one of the longest pans in animation history, I'm sure, as the camera pans up, up, up, through the centuries. We witness the basis of all our creative output by a single cave drawing of a hunt: a recording of an event that sets forth a chain of events that ultimately ends up at the top of an enigmatic column. There's some great humor and satire in the piece, setting the pace for the rest of the film.




Saul Bass finds a great balance in this film between the humorous pieces and serious debate about the creative process in general. In one section, we hear several scientists and doctors talk about the various projects that they've been working on for years and how it's lead them to dead ends. The voice over then asks each interviewee the big question: "What are you going to do now?" It's wild to hear one answer rather sullenly: "I don't know."


In the section "Fooling Around," Bass stops the film to poke fun at a woman being interviewed.


Here's what Bass thinks of critics.

You can order a copy of WHY MAN CREATES directly from the Pyramid Media website. A word of caution, however -- it's mighty pricey. Little bit of trivia about this film: a young, budding filmmaker was credited as the camera operator. Who might this filmmaker be? Why, none other than George Lucas.

More on Saul Bass's career HERE.
Nicely designed site utilizing some of Bass's graphic elements HERE.

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I've given it much thought about whether or not I should share my thoughts during the course of production of my short film here on this blog. Problem is, I can never find enough time to work on the thing. It's beginning to bother me, but I'm trying not to let it get me down. I did start up a production blog for the film, but don't bother looking for it. It's private and I've only invited a few family members. Once I get the ball rolling with actual artwork to show, maybe then I'll make it public and share with you all the concept of what I've been working on all this time. In the meantime, just keep checking the Ward-O-Matic and maybe I'll drop a few hints about the project from time to time.