Sunday, 31 July 2011

Two Weeks Holiday

Hello readers, folks and anyone else that follows my blog. The blog post might not be updated until around August 13th, as I'm having two different holidays. Tomorrow, I'm off to an activity place where there's rock climbing, canoeing, zip wires, etc. with friends tomorrow on August 1st and finish on August 5th - I might make a quick post on that day. The next day (August 6th) I will be on a weeks cruise around France, and the northern part of Spain, and I will be returning back to England on August 13th.

In the meantime, reading my older posts will have to do at the moment, I will continue posting shortly afterwards. Believe me.

Friday, 29 July 2011

It's my Birthday

15 years ago today - I came down to this very little planet to join all you people in the world, and show what I can do. So far, I've been able to show what I've been doing by creating two blogs - and sharing some posts and happy to write down articles never told before.

As I'm now 15 years old today, I'm up at 6.30am now and I'm waiting for my folks to wake up to wish me a Happy birthday. At the age of 15, it may be just a another year of childhood - before you turn 16 where you get more privileges and you could leave school, get lottery tickets, and all that sort of stuff. Of course, I still want to use up as much as I can in that year, and enjoy the remaining childhood parts of my life. :)

Stumbling through a bit of history on that date: here is a news event that I found on my exact birth date July, 29 1996 on Wikipedia: 1996 – The child protection portion of the Communications Decency Act is struck down by a U.S. federal court as too broad . The rest of the information are not too important, I know that on July 29, 1987 - Margaret Thatcher made an agreement to build the Channel Tunnel (a tunnel from Dover to France). On July 29, 1921 - Hitler became the leader of the National Socialists German Workers' Party in other words to put it (Nazi) - Oh my. I even looked up on famous people's birth dates - I couldn't find any. But I found a death date of a name I'm familiar of - Vincent van Gogh, who sadly committed suicide on my birthday - thus my oh dear.

A BIT of Disney history: Walt's Disney first ever full-length short ever created Little Red Riding Hood for Laugh-O-Grams was released on July 29, 1922 - so the first Disney film started on my birth date - even though it may not be official. Other Disney shorts released on my birthdays (The Shindig - July 29, 1930), (Old King Cole - July 29, 1933) and (The Fox Hunt - July 29, 1938). The rest I don't need to bother knowing about.

So, here is a video that the March Hare and the Mad Hatter made especially for me, to celebrate (I'm afraid that they're that mad that they got the title wrong).

A Very Merry Unbirthday.

See you later folks - my birthday won't be a mad one. ;-)

Thursday, 28 July 2011

Snow White Mosaic: Part 10

This continues on from the "Spooks" sequence. The dwarfs are convinced that there's definitely a monster that resides up there in their bedroom. As they enter their own bedroom, at the same time - they walk together at the same group and stuck together, and then they notice the bedsheets moving (Snow White) - and I believe that it is a reuse from the previous sequence.

As they pull open the bedsheets, they realize that it's just another human sleeping in their beds, and they are all smitten by her looks. Grumpy, is the only one of the seven dwarfs that suspects something bad about her, and as Snow White wakes up they all hide. From that point, when Snow White looks at the dwarfs the first time, she realizes that they are not children, they're just men, or the way to put it - dwarfs. She asks to greet them, and they don't know how to greet one another. She uses her philosophy and wise guesses to guess which of the seven dwarfs is who.

Out of the seven dwarfs, Dopey is the only one of the seven dwarfs who doesn't introduce himself to Snow White. It is known that Dopey that he never learnt himself how to talk and the audience realize that's why he never speaks throughout the film. Instead, Happy introduces Dopey to Snow White. In fact, Happy is the only one of the seven dwarfs that doesn't allow Snow White to guess who is name is - instead, Happy interrupts and doesn't listen to Snow White's quest "Don't tell me, I'll guess your names," she couldn't even get a chance to guess which one is Dopey - and yet Dopey would've been an obvious guess.

In this sequence, we learn on how all the seven dwarfs are unsophisticated compared to Snow White. Their social skills weren't very good from the start, as they didn't know how to greet one another. Grumpy and Doc tend to argue in this sequence - and even argue horribly in the bedroom fight scenes that were deleted from the film. Grumpy is the most unsophisticated dwarf there. Throughout the film, the dwarfs become more sophisticated and mannered, thanks to Snow White. At first, they never washed their hands and rarely did so - even in the deleted soup eating sequence, they didn't know how to eat their soup properly, and often slurped their soup with those horrible sounds, or funny ways.

Grumpy is one of the main focuses in this sequence, he obviously doesn't want Snow White to be living here, and even in the deleted scenes where he and Doc fight horribly - there's a reason why he doesn't want her to stay. He thinks that Snow White is a witch and would cast a spell on the dwarfs, considering that her step-mother is "an old witch".

This there is the bedroom fight between the scene where the dwarfs say "Gooseberry pie - hooray she stays" and between the shot where the cauldron boils. The scenes do not work in that film, and the voices of the dwarfs have obviously been unedited or just recorded, and that's why the voices sound terrible. The animation is all by Fred Moore, and even Snow White scenes by Grim Natwick, and one scene of Snow White shouting "STOP" by Jack Campbell. It's a "miss" sequence, a sequence that doesn't belong in the film.

In this sequence, the main dwarfs animator here is Fred Moore, and he animates nearly of the dwarfs by himself - except for a few scenes that are animated by Frank Thomas in the beginning shots. As soon as Frank animates the dwarfs pulling the sheets off Snow White - Fred Moore takes over the dwarfs and continues from then on. I really like Moore's animation on the dwarfs, they are so flexible, smooth and very appealing - too. There isn't really bad animation in that sequence, they all work well. When you watch this sequence (as an animation enthusiast or historian), you can really see Fred Moore's animation in the film - with his rubber hose and chubby cheeks he provides for the dwarfs. Fred was a very young animator at the time (around 25 when animating this sequence), and yet he was very capable of animating great acting scenes like when Doc can't control his speech or what he's going to say, Fred was told to be a natural at animation - and never had any animation training - it goes to show that naturals are great at those jobs.

I also like Ham Luske's animation of Snow White a lot. He animates the entire character in that sequence (with one scene surviving in this sequence by Grim Natwick). Luske's animation of Snow White may look child looking, but not too much here in this sequence. I think that Luske's animation of Snow White really works here - she does look very different, from what Grim Natwick and Jack Campbell animate, and a lot younger looking - but the animation does work very well. Ham animates the lips very solid and smoothly done, and I like the way he animates Snow White's eyes differently from Natwick or Campbell.

All in all, this sequence is a great introduction to Snow White and the dwarfs - and they all decide that she could stay (just over gooseberry pie), and in that case - the dwarfs are still unsophisticated.

Wednesday, 27 July 2011

"Billy Elliott" - Review

Last around last week - I went to London to watch Billy Elliott on Broadway, at the time I was quite aware that it was rated 15, and even though I'm very close to nearing that age - I still felt I shouldn't watch it, since I'm just barely under age. However, I got permission and approval from my parents, and it was either watching Billy Elliott or watch Shrek: The Musical - I admit that Shrek would suit my needs better.

I already saw the film Billy Elliott before watching it on Broadway, and I admit that I was pretty darn disappointed with the film in terms of character personality, really. There were some entertaining parts to the story, but the film wasn't my cup of tea to say the least. When I watched it on Broadway, it felt very slow watching it considering that I already watched the film (blame the teachers for that - they thought it was a wise idea to watch it on film before watching it on Broadway), and I admit it DID feel slow. The songs, were quite unmemorable in it (most of whom I forgotten already), and I admit I thought it was better than the movie - because the characters were better in it.

When I first saw it on Broadway, I had no idea it was based on the movie at all - and I thought it all started off from the musical. Now from what I've heard, it does make the musical unoriginal and the corny songs added to it, with some bad added dialogue in the musical. Since it's based on the movie, I'll review the movie:

Billy Elliott is a British drama film that was released in 2000. It was directed my Stephen Daldry, produced by Greg Brenman and Jon Finn, and written by Lee Hall -who wrote the whole concept of this story. The story mainly focuses in Durham, England and it's set during the 1984-1985 miner's strike in the UK and it was during the time when Margaret Thatcher was head of the Conservative Party, and when he considered closing down the mines. It was a depressing for 11-year old Billy (Jamie Bell) and his family, his older brother: Tony (Jamie Draven) and father Jackie (Gary Lewis) were miners and were out of a job, and they protested. Billy's mother died a couple of years earlier, and only a vauge memory for Billy. Billy's nan ends up living with himself, his dad and brother. She's rather old and senile, and wanted to a be a dancer when she was younger.

Billy had a strong passion for ballet all his life, and wanted to be a ballet dancer when he was older. When his father took Billy to the Sports Centre for boxing lessons. Billy has a hard time with boxing, and preferred doing ballet lessons. While he started to secretly join in ballet lessons, he struggled slightly, and his mentor was a strict, cantankerous ballet teacher named Mrs. Georgia Wilkinson (Julie Walters). One time, Billy's dad caught Billy from dancing lessons - and interrupted the ballet lesson to take Billy home immediately. Jackie [Billy's dad], who is rather outraged and worried - tries to tell Billy that ballet is for girls or boys that are "poofs", and tries to encourage him to do sports that are considered "manlier" like football, wrestling, rugby, etc. Billy rejects those options and rudely calls his Dad a "bastard", and storms out the house.

As Billy walks to Mrs. Wilkinson's house, he persuades her to try and do ballet lessons as secretly as possible - so he has some one-to-one sessions in Mrs. Wilkinson's spare time. In the meatntime, her daughter named Debbie who fancied Billy and tried to get Billy interested in her by saying, "I'll let you look at my fanny" - which is quite gross for a child to say that, and Billy never shown particular interest in her, much. She was just a minor character in the film who fancied Billy and that was it. Meanwhile, back to the plot - Mrs. Wilkinson asks Billy to bring him in some of his favourite things. Billy did come back with a few pointless stuff, and even a sweet, farewell letter from Billy's mother when he was littlle and as she read it - Billy read the letter off by heart. He also secretly stole Tony's casette album to the song We Love to Boogie. The more Billy dances, the better he got and the potential he got to join the auditions in Newcastle to apply scholarship at the Royal Ballet School.

One of Billy's friends - named Michael actually thought Billy was a "poof" since he liked ballet, and he started off wearing female's clothing at his home, and trying on makeup on Billy, and trying to convince him he's not gay. Even on a Christmas night, Michael tried to warm Billy's hands in his armpits, and kissed him on the cheek. Billy, convinced him again that he was not a homosexual, and Michael realized that he was right. Ballet is alright for anyone - and Billy kept the "kiss on the cheek" scene quiet, and not spoken.

On the day of the Newscatle audition, Billy ended up having to miss out on the audition because his dad and older brother ended up waiting in court. Mrs. Wilkinson enters the house later, furious at Jackie and Tony for their misunderstanding that Billy missed an audition, when actually Billy never said anything about it to his family, considering that he could get into trouble by them. He is ended up forced to give up forever, and Billy ends up dancing furiously, in a dance sequence.

Upon Christmas Day, when Billy and Michael were playing in the Sports Hall on Christmas, Billy does a ballet performance and Jackie enters the scene and watches Billy perform ballet for the first time, and this touches Jackie in a way because he had no idea that ballet was Billy's passion, and that he wanted to follow his dream. So, Jackie tries his best to go to the London auditions for Billy - by finding out the price from Mrs. Wilkinson (£'5000), and tries to cross the picket line in the sake of Billy's training. A few of the miners and neighbours help raise money for Billy's audition.

On the day of the audition, they arrive at London - Billy and his dad. They discuss about why his dad never went to London before, and he mentions because "they're no mines down there". Whilst arriving at the audition, Billy nervously dances in the audition and does his best -after that, the judges didn't raise anything and dismisssed him. Billy, furious from that judge's point of view becomes very upset claiming it was "a waste of time", and worried that his father payed so much money on nothing. As a fellow kid tries to comfort him, Billy physically assualted him. As Billy and his father enter the same room where Billy did his audition. They mentioned that physical violence would not be allowed, and that it was not only being a good ballet would offer you a place at the Royal Ballet School - you had to have good qualifications and academic standards in your schoolwork, and Billy was aware that he didn't do too well. The judges tells them that Billy will be informed through a letter in the next couple of ways, and says to Billy's father "Good luck with the strike".

A lettter finally arrives addressed to Billy Elliott - and as Billy reads the letter, he becomes amazed that he got a scholarship at the Royal Ballet School. His delights his father and brother very much, and are both very happy. In the meantime, the union said that the minors are being sent back to work which would be good news.

That's my review: When I first saw that film just last week - I admit that I thought that there were disappointments in it - in terms of personality wise. I really felt that the relationships between Billy and his father and brother - really lacked warmth in the film, and we only saw the warmth towards the end. I felt that he didn't see enough warmth, and that was quite sad to me. Well, I guess you can say that I'm an effectionate person. The relationship with Billy and his teacher Mrs. Wilkinson is quite strange time to time, she can be quite a bossy-boots, but also a sweet side. I didn't like her final scenes with Billy at the end - when she found out that Billy got a scholarship. She seemed rather cold from that standpoint, I suppose because he got to go to Royal Ballet School, and she was quite sad that he had to go already - and she knows that she can't teach him anymore. Also, I never ever quite understood the friendship between Billy and Michael, when he kissed Billy on the cheek - he didn't seem ticked off from that. Also, when he left home to say goodbye to Michael, he kissed him on the cheek, also.

Furthermore, I actually feel the movie is somehow similiar to Kes - my all-time favourite film. In a way, the character looks like Billy Casper from Kes, and the fact that story is about a boy with a hawk and he follows his dreams - except that his chances go very low towards the end.

There are morals in this film, the first is being a ballet dancer does not make you gay or a "poof" at all, and that's why there are famous athletes that do ballet, and they are very strong people. The second moral is to follow your dreams. If you have talent in your life, you should follow it and not spend the rest of your life doing checkouts at a supermarket (unless you think that it's fun).

Tuesday, 26 July 2011

Second Blog

Okay - some of you folks who do follow my blog are probably thinking Why does Steven Hartley have two blogs now? Well, yesterday I opened up a blog titled Likely Looney, Mostly Merrie. The blog's purpose is meant to be focusing mainly on Warner Bros. theatrical cartoons from 1930 to 1969 - Looney Tunes and Merrie Melodies.

Recently, I've been thinking of preparing a challenge of watching every single Looney Tunes and Merrie Melodies in release order from the very first Bosko short to the very last Cool Cat cartoon, basically the 1930-1969 era. I'm not only going to be watching them as part of the challenge, but another goal is to try and review every single one of them, each.

Some of you people may be raising their eyebrows about why I created a seperate blog on mostly Warner cartoons, and not just put it in my regular blog. The reason is that, recently I've became a real fan of Warner history - and I'm getting interested in identifying animators' work like Rod Scribner, Bob McKimson or Ken Harris, even. I have tons of more Warner posts to talk about - and I felt that putting them all in this blog is just going to fiddle and mess my schedule up. So, I felt that creating a new blog separately would be more suitable.

Furthermore, I should point out that I felt that my blog wasn't getting too much feedback as I felt - and I thought that creating a new blog on a different topic would be more interesting and that I felt that Disney has been discussed too much, and that more Warner posts need to be published. I don't recall a post where a blog on Warner posts reviewed every Warner shorts chronologically, but there is a Disney one. We do need more of those blogs I think. Don't worry, I'm not going to give up Blabbing on Arts and Culture - I still have more posts coming my way - but I just want to let you know that I may be focusing on that new blog a bit more.

Now, I know I've heard from people saying that there's 1'004 Looney Tunes shorts - but my count was only 1000 - but I still add 1'004 - because I tell them as I hear them.

Monday, 25 July 2011

Snow White Mosaic: Part 9

Sorry I haven't been able to post this in quite a while, I was quite busy making this - and also leading to the creation of my second blog. But, now I'm able to post this and I'll go through as much detail as I can.

From the previous sequence, the animals heard singing voices. It's the seven dwarfs of course walking home singing Heigh-Ho - they stop and see something mysterious going on in their house. They feel that there could've been a "monster" breaking into their house or a burglar, perhaps. They start investigating, and while the animals trick them by making screeching sounds - they feel that the house maybe haunted, and Dopey investigates and spots a "monster" (Snow White in bedsheets), and runs out the house panicking, and Dopey is in pots and pans and the dwarfs believe that it's a monster before realizing it's just Dopey. Dopey pantomines on what's going on in the house - and they believe it was a ghost living up there (as Snow White covered with bedsheets, shows that it looks like a ghost).

To point out, Dopey is one of the main roles in which he causes the dwarfs to be scared. He gets the dwarfs scared twice, the first time when Dopey slams the door as they tiptoe inside the house - and the dwarfs panic and realize it was Dopey. The second time, was when Dopey went running out of the room panicking, and causing the dwarfs to mistakenly refer Dopey as "the monster". Funny enough, both those incidents were casted by the same animator - Art Babbitt. I wonder if he was cast for that particular reason?

Sneezy and Dopey are the only two dwarfs out of the seven, that cause the risks and fears of the dwarfs. Sneezy particularly sneezing so violently, that it blows the dwarfs away, and thinking that it would scare away "ghosts", and they would get killed. Grumpy and Doc appear to be the only two dwarfs, that are fully aware that there is something spooky going on in the house, and often try to stop the dwarfs from anything that would be considered risky. Grumpy does that job, like in the shot where Happy and Dopey smell some food in the cauldron, and Grumpy stops them - convinced that it's poison.

The animals play an important role in the haunted sequence, too. They're job in this sequence is to trick the dwarfs - as they believe that they don't belong here and to leave Snow White in peace. The birds would peck the rafter, and the dwarfs fearing something haunted going on. The birds make screeching sounds, that scare the dwarfs' out of their wits.

There are a lot of animators cast in this sequence for the dwarfs: in fact there is seven animators animating the seven dwarfs. None of them really specific dwarfs casting. The seven animators are Bob Wickersham, Fred Moore, Bill Roberts, Bill Tytla, Dick Lundy, Art Babbitt and Fred Spencer. Bob Wickersham is the only uncredited animator here who animated two minor shots. I admit, that I Wick's shots here are not very appealing and do look ugly looking - I wonder if that has a reason to why he lacks credit in the film?

I admit that I don't like Dick Lundy's animation too much - not as nice looking or enough appeal that the other animators give. Shot 19 of Grumpy by Dick Lundy, isn't very appealing to me at all - and Grumpy has those beady eyes there. It just feels that Lundy wasn't used to much of the modern animation in those standards, as he was an old fashioned animator. Hopefully, we might see more nicer work by him later on the film. He animates Sneezy quite strangely in shot 5 - with the cheeks, mouth and eyes. Although, I must say shot 3 by Dick Lundy was done pretty well.

Overall, it's a safe bet that Bill Tytla was the head animator on that sequence - even though he didn't animate it from start to finish. But he planned the animation mostly earlier on the sequence. Fred Moore only animates two shots here - and they are animated very well and entertainingly done. I always liked that shot where Sneezy's beard is tied to a knot - it's perfect casting for Moore, it would be a challenge and Moore would never lose it's appeal. If that was cast to a second-rate animator, it would lose it's appeal, most likely.

Bill Roberts does a neat introduction to the dwarfs where they are walking home singing Heigh Ho and when Doc halts the group and the dwarfs bump into each other - that has neat timing. Shot 27 by Bill Roberts is a good shot in terms of execution and the weight of being strucked by wind (sneeze).

Fred Spencer and Art Babbitt are my two favourite animators in this sequence, and they get to animate the best part of the sequence, which are the other part. The first part was animated by a variety of other animators, while Babbitt and Spencer then take over the final shots. Art Babbitt's animation of Dopey was wonderfully done in my opinion, and he gives Dopey the feeling of being scared like when he shakes and worried whilst going up stairs, he uses speed-lines for when Dopey turns when he hears Snow White's groan. He exaggerates the character's expressions, and gives Dopey a very expressive look. Shot 42, animated by Art Babbitt is a VERY expressive shot. It's so extreme, and Babbitt occupies a lot of squash and stretch in that animation. It really does look like Rod Scribner's work on Warner cartoons. Like I mentioned about the turtle in my previous post - the turtle is more Bill Melendez looking (in terms of Warner animation). Shot 42, is very extreme that it looks strangely animated - but I think it works in this sequence.

Fred Spencer also gets the bulk of animating the second half of this sequence and he animates it very, very well. I know of Fred as an early Duck animator before tragically dying in a car accident in 1938. He seemed to be a fast-action animator at comedy. He animates the shot where the dwarfs fall down the staircases when Dopey knocks them down - that was later reused in a Reitherman sequence in Sleeping Beauty. I like his use of speed-lines in shot 45. The animation of the dwarfs attacking Dopey thinking it's a monster - would've been a difficult shot to stage, and yet Spencer managed to handle it well.

Sunday, 24 July 2011

Snow White - My View on the Character

Since, I'm in the middle of producing the mosaics for Snow White and that I'm still working on a sequence. I also forgot to talk much about the title character herself, and I'm going to explain my views on Snow White, the princess.

Snow White, is more or less a character who is one of the Disney princesses that I consider quite weak character development. I know that some people's jaws would probably drop when I say this, but I admit that I don't think her personality is very strong and she's not even strong-willed like the other Disney princesses made. The only type of strong-willed princesses ever produced at Disney would include Jasmine in Aladdin, Ariel in The Little Mermaid, the title character in Cinderella, as well as a few others.

By what I meant was that, in a way she is quite a pathetic character, in my very own opinion. It's just that she never seems to complain too much - and I do think that she's very sexist in a way. She never really seems to stand up for herself. She's so ladylike, like when she tells the dwarfs to wash their hands or they'll not get fed at all. She's bascially meant to be a teenager, and she gets to tell the dwarfs off since they are much older looking, and they only seem to do that in terms of her beauty.

She's meant to be a easy-going type character, she's sort of treated like a slave - and yet is happy to do it. When the Queen dresses her in rags and orders her to be her maiden, there doesn't seem to be any negativism by Snow White about the Queen. She appears to just get on with it - and not complain about it, and enjoying it once she has company. She also appears to be happy to just clean up the dwarfs house, when they can just slack about - but she only does that in order that the dwarfs will let her stay.

In a way, she's quite a cowardly character, because whenever she is at risk with the Queen, she doesn't fight back - she just runs away. Although, I suppose she runs away because the Queen would just kill her and she doesn't have the guts to try and be brave. Even when the dwarfs leave for the coal mine, they ask her not to speak to strangers or not to have any acknowledge about them - and she promises. But, she is very naively when she encounters the Witch and not realizing it was a disguise. She somehow believes in her pack of lies like a "magic wishing apple", and she wishes what she wants - takes a bite of the apple, and then dies. See, this is why teenage girls can be foolish at times - and are unaware of strangers.

Also, I should point out that I do find the rivalry between the Wicked Queen and Snow White quite silly, in a way. The Queen and Snow White both have something in common - looks. The Queen does look beautiful in a way, but a rather cold, cold character. Snow White is as beautiful and as sophisticated as ever. The Queen just wants to get her back because of her jealousy since Snow White is more prettier. I just wish that there was more reason to why the Queen hates Snow White - the Queen not liking Snow White because she's prettier is just a lack of excuse, really. But I suppose, it does show what an evil character she is.

Furthermore, in a way that most Disney princesses do - Snow White is able to communicate with animals well - and typically sings to them or make them happy. It probably sounds quite wimpy or soft, but yet - it's animated - and Snow White and the animals are believable in their own ways.

That's as much as I'm going to on about - this is just my own personal view on the character, herself. If you have any more views, please say so.

Saturday, 23 July 2011

Parrot's Whisky

I haven't really had much time to go through a detailed and long post today and considering I haven't posted yesterday on Friday, I do like to post down a very funny joke I heard from my guitar teacher which I think you should know:

Sunday, 17 July 2011

Snow White Mosaic: Part 8

As promised, here is the new entry for a Snow White sequence - and this one is quite annoying because there is so little animator information here, and the usual no director or layout credit. I'll still try and go through as much as I can - even with not many information here.

The animation is mostly credited to Ham Luske here - and he animates Snow White here, and he appears to animate on behalf of the animal animation in the scenes where Snow White. The scenes only showing the animals have no animator credit - but there's only one shot of the turtle climbing up the stairs by Louie Schmitt - who later became a key animator on Bambi.

The sequence mainly focuses on Snow White and the animals (again), we see that they have finished cleaning the dwarfs' house and that they have nothing else to do - so they check upstairs curiously to find out what's up there - the animals follow. As soon as Snow White enters the bedroom, she's delighted to find nice looking beds in there. She reads the names of the seven dwarfs carved on the beds, and still mistaken them for children. As soon as she reads dwarfs' last name mentioned, "Sleepy" - she feels rather "sleepy" and as of the other animals, too. So, they start sleeping - and just as they were making themselves quite comfortable, they hear mysterious voices (of the seven dwarfs) and they all rush downstairs to see what's all the noise about?

It's a safe bet that Ham Luske planned and animated some of the animals in the uncredited shots - as well as animating the remaining uncredited Snow White shots. I assume that maybe Milt Kahl or Bernard Garbutt animate around here. The turtle is probably still animated by Louie Schmitt - and I think that shot 16 would've been animated by Kahl or Algar because there's a different animator's style there. The "take" shot of the turtle in shot 16 sort of remind me of Bill Melendez or Rod Scribner's work on Looney Tunes/Merrie Melodies except maybe not as wild or as extreme.

Speaking of the turtle, we get to know the turtle a bit better in this sequence, and some good personality there. All the other animals are capable of going up the stairs quickly - while as for the turtle, it takes him a bit of time and effort to climb up the stairs, so he bites the top of the stairs to climb himself up. After all the effort of climbing up the stairs - and making it. His luck changed, and all the animals scram downstairs and the old turtle falls down the stairs, with bumps, and skids with his shell. It's quite an amusing shot - and it's a shame that we don't know who animated it.

The only known animal animator that animates here is Louie Schmitt for one scene - and he was an uncredited animator. Ham Luske was the animation supervisor for the animals as well as for Snow White - and he gets his share of the animals in this sequence, but that's about it.

It appears to be an early draft in this sequence because not only that there are many scenes without animator credit - but also that there are certain scenes that are not mentioned in the draft, and even some reworking that needed done there.

Shot 10 with the bird extinguishing the flame out with it's wing cap - I wonder why the feathers did not burn?

Saturday, 16 July 2011

More Geronimi Stories

I haven't got time to post a new mosaic on Snow White or even write a lengthy article - but briefly. As I got the Walt's People books - and I did more research on him - I manage to find out more stories about him that are also interesting, but also the same hatred provided from the Disney staff.

There was an incident in Art Stevens' interview in Walt's People - Volume 7 where he was interviewed by Pete Docter - Art mentions Gerry Geronimi a couple of times. He's mentioned that while Gerry Geronimi was working on Peter and the Wolf and Stevens mentions that Gerry had used Sterling Holloway's voice as the narrator, and opposes to Geronimi's choice because he felt that the story was being told twice - the narration and the music. He suggested to Geronimi to take it off - and Gerry simply replied, "Nah, I like it that way!"

Another incident mentioned that it appeared that Art Stevens and Gerry Geronimi got into physical contact that involved at a water fountain at the Studio. Art Stevens said: I was leaning over getting a drink of water at the fountain at the library. He came by and gave me a poke that sent me to the sky. I turned around and I hit him back in the dierre. And I said, "Don't you ever do that again." He said, "Just kidding, Art, I was just kidding." I said, "No, you weren't kidding. You like to hurt people." That's what I mean about him gaining strength by putting down others.

It seemed that Art Stevens got into physical violence with Gerry - oh dear. He even mentioned that "The Mafia will come and hunt me down and destroy me", which I think means that Art is expressing sarcasm.

In Walt's People - Volume 9, in a Vic Harboush interview, he described Gerry "as an asshole". He also said that one time Vic got into an argument with Walt Peregoy, and that Ken Peterson told Gerry Geronimi to fire them, and Gerry fired Ray Aragon - thinking that Ray was involved in the argument, and Ray denied it and exclaimed that it was Vic.

Also, Milt Kahl mentioned that he was talentless, and ignorant. He also said something about Gerry which surprised me was that he knew nothing about directing his cartoons, and he only chose the best people in his crew to make it possible and to please Walt. Some reason I find it quite hard to believe that - true, I've witnessed that his crew often saved him and backed him up on ideas, and he seemed quite a picky person, but I still feel that he had the approval for his directing skills and his own ideas. Floyd Norman even mentioned that he had been a "top dog at Disney for years" even despite the fact that his behaviour wasn't good.

Ward Kimball has described him as a man with a New York taxi driver accent before. It appears to be witnessed that Gerry Geronimi got calmer in his later life - and even asked Ward Kimball to "bury the hatchet" and be friends, while Ward still didn't care and felt after all Gerry had done to him - how would he repay him - by ignoring his request.

Friday, 15 July 2011

Bill Roberts - Disney Animator & Director

I suppose that it's been a while since I last wrote a detailed biography and article on mystery Disney animators on guys like Cy Young, Don Lusk, Cliff Nordberg, etc. It's been months since I've last done that - and since I still have a little bit of information left that Joe Campana sent me - the only one I have left that isn't posted is on Bill Roberts - and I feel the need that maybe I should share a bit about Bill Roberts - who was a Disney animator in the 1930's and directed on features and shorts up to the late 1940's.

This picture was taken during the production of Fantasia. From left to right: Walt Disney, [Igor Stravinsky], and Bill Roberts at the far right demonstrating the storyboard.
Photo courtsey of Hoagan's Alley.

First, a little trivia: Bill Roberts is a Disney animator from the 1930's and up to the 1940's. He first came to the Disney Studios in 1932 as an animator and he was known as a "Pluto" animator in the mid-1930's - he worked as an animator on Snow White and the Seven Dwarfs - mostly of dwarfs, and he earned his way of becoming a director, and he directed sequences on Pinocchio around mostly at the ending - including the Whale chase, directed the The Rite of Spring segment in Fantasia, and he directed several sequences in Dumbo, Bambi, the llama sequence in Saludos Amigos, The Three Caballeros, and Fun and Fancy Free. He also directed several shorts like Reason and Emotion, The Brave Little Tailor, Society Dog Show, as well as a few others.

First some history about Roberts: William Opal Roberts was born on August 2nd 1899 somewhere in Kentucky to parents W.A. Roberts (born 3/18/1873) and B.M. "Bertie" Roberts (born March 1878). He had an older brother named Bryan (born in August 1896), also from Kentucky. He is known to have lived around 1918 as a teenager, before moving to California in 1922 with family. He started off as an animator in 1919 at the Carlson Studio and left in 1922. He started off as a magazine illustrator for New York around 1929-1932, and he was married to Lillian in 1929 - and the couple are not known to have had any children.

He joined the Disney Studios in 1932 - working as an animator for Disney on cartoons like Giantland, Mickey Plays Papa, Mickey's Steamroller, etc. and some Silly Symphony shorts like Father Noah's Ark and Old King Cole in that era. [He also animated the parrot attorney in Who Killed Cock Robin - he was known for his speedlines in his animation]. His animation career mostly peaked around 1935 - when he was one of the top animators and also inspirations to the Nine Old Men - like Milt Kahl, who is believed to have been his assistant. Roberts was mostly known as a Pluto animator, working for Norm Ferguson - who was probably the top animator at the Disney Studios at the time working on Pluto - and he worked on Pluto in Pluto's Judgement Day working on Pluto and cats. Bill Roberts' most famous animation he did for Disney was on Alpine Climbers when he animated Pluto and the eaglet duelling, and also introductory shots of Mickey, Pluto and Donald climbing the mountain

Bill Roberts was one of the top animators at the Studio assigned onto Snow White and the Seven Dwarfs, and he has animation all over the film. Mostly animating the Dwarfs, and pretty much "hit and miss" scenes. He animated shots of Doc halting the group in their Heigh-Ho song noticing the house's lights are on. His scenes come mostly later on the picture, where he animates the dwarfs at the mine - and discover that the Witch has got Snow White. Roberts did the action scenes of the dwarfs chasing the Witch, as well as animating a couple of Witch scenes, along with Ferguson.

After the success of Snow White and the Seven Dwarfs, and the advantages that the Disney Studios were getting, Roberts was soon promoted to director in 1938 - directing many sequences in Pinocchio - particularly the scenes later on in the picture. He practically directed every shot and sequence featuring Monstro the Whale, and just about every Jiminy Cricket shot directed by Roberts had Woolie Reitherman or Paul Busch animating. It's a safe bet that Bill Robert's top animator was Woolie Reitherman at the time. True, Roberts was the director of the sequence where Pinocchio and Jiminy return home to find that Gepetto had gone - and the fact that it was described as poor storytelling - with Jiminy reading the message (to Pinocchio) delivered to the Blue Fairy - whilst Pinocchio couldn't have read it himself.

Roberts went on to direct several sequences on The Rite of Spring - but he mainly directed on all the dinosaur sequences and anything that has living creatures in that segment. While Paul Satterfield did the non-living sequences with the earthquakes and evolution.

On Dumbo, he directed several sequences that had the clowns in them - doing their fire performance, and the animation in it really reminds me of later MGM animation - pretty much because it had Ray Patterson and Grant Simmons animating the clowns, and it showed that Roberts had a unique way of animation apart from the Disney standard. He also directed the Lullaby sequence with Dumbo and his mother embracing each other - which is one of the emotional standpoints in the film. He did one of the last sequences, in which the story was at it's peak when Dumbo flew at the circus and everyone first saw an elephant fly.

He also directed several sequences in Bambi, Saludos Amigos, The Cold Blooded Penguin in The Three Caballeros and several sequences in Mickey and the Beanstalk in Fun and Fancy Free. Bill Roberts left sometime around the late 1940's, and I believe that he became a Real estate manager and made quite a bit of money from that. He appears to have banished after leaving Disney, and never returned to the animation business.

Bill Roberts died on March 18, 1974 in Tulare County, California at the age of 74. His wife Lillian died five years later in 1979.

Saturday, 9 July 2011

Snow White Mosaic: Part 7

We have reached into the part with the song Heigh-Ho and all the seven dwarfs are introduced in this sequence, but imagine yourself watching the film for the first time in 1937, and not knowing any of their names, at first you don't know their names at all - and it's not clear to find out all of the dwarf''s names until when Snow White first encounters the dwarfs while she estimates their names correctly.

The first shot of this sequence introduces us to some of the dwarfs: Sneezy, Happy, Grumpy, Bashful and Sleepy on the cart with the deer attached to the cart. It's clear that those five dwarfs are minors, their occupation is mining, and all day they dig for gold - and that it's their hobby, and it's their job to find diamonds, rubies, crystals, etc. Happy, Sneezy, Grumpy and Bashful are four dwarfs are appear to be assigned as diggers searching for diamonds or any type of crystal that mine. Sleepy has the job of delivering the diamonds to Doc for approval, it's interesting to find Sleepy given the job to ride the cart - as he sleeps on the job and you don't do much. Doc appears to be the manager of the dwarfs while mining, and checking for any diamonds that are precious and valuable, and that are worth saving - buy doing that he taps the diamonds with his hammer for nice sparkling sounds - any dodgy sounds that Doc hears are no use and throws it away. Dopey, appears to be the janitor while mining - sweeping away any useless diamonds that are not worth, and throw them away. It seems appropriate to find Dopey working there.

Dopey appears to be the happiest worker at his job, and always smiling and doing his hokey-pokey stuff, like placing diamonds in his eyes - trying to entertain Doc. As Doc had no time for cracking jokes, he hits Dopey in the head, so the diamonds pop out of his eyes in time - and looks at him as a foolish character.

There are a few clever gags that are brought in this sequence. The first one, is in shots 7 and 8, when Sleepy finds a fly flying around and lands on a deer - and as he is a "sleepy" character, he has a stick in his hands and hits the deer's behind to try and catch the fly off. Much of the annoyance of the deer, he almost tries to buck Sleepy off the cart, which is a very funny gag. Shot 19 animated by Fred Moore, is masterfully done - and a lot of monument weight produced. Doc, as he's confident and aware of his abilities, throws the bag of diamonds in the vault successfully and walks off. Dopey, who is unaware of his ambitions and control, completely got out-of-hand while shaking his bag getting ready to throw the bag in the vault - and the force is so powerful, that it throws Dopey inside the vault. Dopey unlocks the key, and a great Moore part is when Dopey realises that he forgot to place the key by the hook, and then he catches up with the group singing Heigh-Ho.

There are a lot of dwarfs animators in this sequence, and there is some specific animator casting in there: Al Eugster animates the introduction shot of the dwarfs with their shovels and hitting the ground and getting on with their jobs happy. Bill Roberts animates scenes of Happy and Grumpy in single-shots digging for some diamonds. Marvin Woodward animates the scenes of the dwarfs, with their echo sounds responding back to the verse "In a mine." Les Clark takes in for animating the shots of Sleepy in the cart, and almost getting himself bucked off, with Eric Larson animating the deer carrying the loaded cart. Art Babbitt, appears to animate a shot of Doc testing the diamonds for approval and disapproval - Babbitt doesn't seem to animate much on the dwarfs, but the shot he animates on Doc has got some very good acting. Fred Moore gets the best scenes, and the juicy parts - with Dopey being a doofus and placing the diamonds on his eyes as a laugh, and including the bag throwing shots. There is one minor shot by Frank Thomas, and Shamus Culhane takes over the Heigh-Ho song - which he was long famous for. It's no surprise to see that Fred Moore supervised the dwarfs in this sequence.

Notice how that in Shot 14 that Fred Moore gives Dopey thick eyebrows for the close up shots, and a rather strong use of caricature there, compared to his other cute, appealing shots he worked on in this sequence.

This is Shamus Culhane's long famous animation in Snow White which is one of the most-famous scenes in the entire picture, and that the song is so recognizable that even the team in my Duke of Edinburgh expedition were singing the song during my travel - to tell you the truth, the song does get tiring to me - as I hear it too many times.

Shamus Culhane's animation in the film may not be very special or any personality scenes that he brings in - but it's a great way of putting the animation in the scenes with the beautiful layouts. I know that this may not have been the most interesting to animate, but at least Culhane put something good in his scenes, like the hitch-steps that Dopey does, that was suggested by Frank Thomas before. The final shot with the dwarfs walking into the distance is wonderful animation, and also the waterfall. Shot 1 with the dwarfs' overlayed shadows coming by is also a favourite of mine, and I assume that Culhane probably did the animation. It's a shame that Culhane doesn't get much footage in the rest of the film, but will we see him again?

In the draft, I noticed that there was a shot missing in the Heigh-Ho sequence, and that the shot was 28-feet long and also animated by Bill Tytla?? I wonder what Tytla was doing in this sequence, but unless he supervised Culhane's animation, and he spared a shot that was removed. It would also mean that a part of the song is also missing, which is really interesting - but I suppose that it's probably lost.

Friday, 8 July 2011

Cannon's Bugs

As I've started to become really interested in Warner Bros. animation as well as I'm interested in Disney animation, I've decided that I might want to start identifying some Warner animator's work, and here is my first attempt that I'm going to go through in analysis.

A scene I'm going to go through with some poses is a scene by Robert "Bobe" Cannon in the short Hold the Lion, Please  which is an early Bugs Bunny Chuck Jones short. Ken Harris is the only animator credited on that short and he animated the animals earlier in the short and other scenes, inc. the shot with the Lion on the phone to his wife.

The shot I'm referring to is when Bugs Bunny has already encountered the Lion, who is apparently the "King of the Jungle", and he tries to prove to his kingdom that he's King and able to kill a rabbit. Bugs Bunny pretends that he's scared and acts as though he's having a panic attack. It's one of my favourite bits of animation in Warner animation so far, and I like the animation style of Bobe Cannon. A very funny animator, and very expressive, who seems to move everything around on animation. He's really had some career at MGM, UPA, and Disney. An overlooked animator.

Here is the first bits of Bugs Bunny talking to the Lion, and trying to explain that he would run away if he was hunting a rabbit, before realizing that he's being hunted:

I really like the quick speed lines that Cannon provides in the animation of Bugs' hands that he uses to demonstrate. It's very flexible, and it really reminds me of Cannon's style, as he often made his animated characters move fast. I also like on how he prods at the lion's nose, and pokes his nose like a cushion.

Notice that in that pose, that while Bugs is still talking, Cannon widens Bugs' pupils to express fear, and the sarcasm Bugs was going to prepare.

This is my favourite facial expression in this shot where Cannon puts in a lot of expression with the mouth and the eyes widening. It's very powerfully expressed here, where Bugs says the line, "I am scared", the timing of the mouth and the eyes widening is just pure gold.

I like how Cannon lowers the ears, everytime Bugs says a verse on how terrified he REALLY is when the meek lion says he's trying to kill him. The way that the ears lower and the music timing is excellent, and I've got to praise Cannon here.

Another example which shows that Cannon's expressive animations, with the pupils moving sideways, and the facial expressions showing him with the scared look on his face is just priceless.

Wonderful Bugs Bunny facial expression here, this makes myself aware of Cannon's crazy animation style. I like how he seems to put bags under Bugs's eyelids, and the hair sticking out in the neck, and also the stretched mouth while he screams. The shot reminds me a lot of John Lounsbery's work on Jaq in Cinderella where the mice try to steal the beads and sash while Lucifer the cat is guarding.

I like here on how Cannon moved Bugs well on paper, from the first few feet of  that scene, Bugs is very close to the screen and then he runs further away, and then back into a good close up. This is a good achievement back in 1942.

 Bugs finds his way back onto the camera close-ups.

I love the looks on Bugs' face (above the writing), with the goofy look.

"Shriek, shriek - scream, scream..." Bugs being sarcastic as he pantomines.
Wonderful Bugs Bunny facial expression here, this makes myself aware of Cannon's crazy animation style. I like how he seems to put bags under Bugs's eyelids, and the hair sticking out in the neck, and also the stretched mouth while he screams.

This here shows a crazy cycle where Bugs Bunny hops away pretending to panic as the Lion is just standing there, baffled. Bugs was rather astute in that scene, because he knew how meek the Lion was, and that he was powerless, and Bugs pretending to be scared meant that Leo would not do anything. I also love the voice of Tedd Pierce who provided the voice of the lion, and Tedd is also another great Warner story guy (along with guys like Michael Maltese, Warren Foster, Dave Monahan, etc.).

With this shot, I've actually always been curious with the lines placed by the lion's face. Are they reaction shots of the lion, or is it film scratches?

I remember when I first saw the cartoon Hold the Lion, Please when I was about 8 years old and there used to be an old VHS copy I had on Tom and Jerry and there were clips for a Looney Tunes clip, and they showed about two minutes of Hold the Lion, Please. I must say, I've always thought that the shots with Bugs pretending to be scared were the ending shots because of the "fade to black" shots, and the fact that the clips in the VHS copy went straight to the That's All, Folks! title cards.

It was a few years later when I finally got to see a good look at the cartoon, and I didn't realize that there was still a good chunk in there that wasn't included in the VHS tape. I missed out the Mrs. Bugs Bunny part - where Bugs claims that "he wears the pants in his family".

It's one of my favourite Warner cartoons because it was one I've always been familiar with for a long time, and I always liked the personality of the lion, as he's the king of the jungle and very powerless, thanks to Tedd's story genius. What I find funny is that they say that lions are the "King of the Jungle", when lions don't even live in jungles - they live in the Savannah - so they could be called "King of the Savannah".

I hope to do more analysis on particular scenes of well known shots by the Warner animators, and take a look and learn. I hope you have enjoyed this post.

Sunday, 3 July 2011

Snow White Mosaic: Part 6

As tomorrow will be Independence Day for the United States, and that I'm away during the week. Here is the mosaic for the Whistle While You Work sequence, like I promised. I know that my postings may be goofed - and that I'm unavailable, but that doesn't mean I'm gone.

The sequence immediately starts as soon as the song starts, which is appropriate - as soon as the birds chirp and start the chorus, with Eric Larson starting the song. The working sequence is a very illustrious sequence in Snow White, and notice that in the shots - a lot of it focuses on the animals cleaning up, and that Snow White doesn't appear in very many shots. Although, it's safe to say that Grim Natwick animates the bulk of Snow White in this sequence, with one shot interrupted by Jack Campbell.

What I like about this sequence is that the animals get their responsibility for their rise to shine. I like the gags that are involved in the animals, because it shows that the animals would be capable at cleaning the house and certain struggles that are part of the gag. There are anatomies of the animals are are part of the gags, like the squirrel in shot 9 has a larger tail to dust away the cobwebs in the ceiling, while the chipmunk in shot 10 has a smaller tail, and couldn't be able to do pull away the cobweb very easily and slips and happy landing, lands into a sock.

I must say the song written by Frank Churchill and Larry Morey, was a very well-known that it has been spoofed several times on television and films. The sequence has been parodied in Enchanted where the Princess and the animals clean up in the awful song Happy Working Song. Even the popular British comedy series Dad's Army had spoofed the song into a very funny verse: Whistle while you work - Hitler is a twerp - he's so barny, so's his army - and whistle while you work.

The animals cleaning up the house really shows what character animation really is, and it shows a clear explanation that the animals have personality, and that they can help out Snow White with the chores, in order to please the dwarfs. There are numerous gags here in what the animals do, and some of the gags are pretty clever, like the squirrels using their tails to clean the plates like a dishwater - is a very clever gag. Shot 6, with the squirrels dusting the dust into the mouse hole gives a clear explanation of laziness,  - while trying to sweep it under the rug, but told off by Snow White for doing do, they thought they were cunning enough to sweep it into the mouse hole, and not realising that there is a mouse living under there.

The main animal animators that are animating in this sequence are Eric Larson, Milt Kahl and Jim Algar. Bernard Garbutt has no involvement here, but we do see two uncredited animators working here which are Louie Schmitt and Cornett Wood. I have no idea why Wood is working in this sequence, I thought he was doing effects of the cobwebs, but he did the squirrel, also. I suppose that Cornett was doing character animator before moving onto effects, and later becoming a Warner layout man for Bob McKimson.

Milt Kahl appears to be the animator who animates most of the gags for the animals in this sequence. Shot 15, is a favourite of mine by Kahl - and I've done from framegrabs of that shot, pose-to-pose.

Shot 15 is just perfect animation with some very neat timing. In frames 1 to 8, there is a gag where the chipmunk is scrubbing a piece of clothing with the tortoise being the washboard, the tortoise appears to be making facial expressions of the tortoise giggling, and rather ticklish. The birds, then appear to be taking the piece of clothing away to dry it off, and as the chipmunk wasn't finished, they have a tug of war completion fighting over the sleeve (with the tortoise supporting the chipmunk's strength). Frames 12 to 14, show a clear example of squash and stretch. Frame 15 shows the chipmunk being forced into the turtle's shell  - and that shows excellent timing. In roughly 3 frames shown of the chipmunk with the force to throw him into the turtle shell, is one of Kahl's best scenes - and excellent comedy work that he does.

The sequence ends with Snow White dusting outside the house with the multiplane shot trucking back with a view of the animals cleaning the house and Snow White continuing her song, and enjoying the fun while cleaning the house. As the song in the lyrics, explain how cleaning can be fun and they are happily tidying up the cottage.

This is all for my commentary, the next sequence is the first appearance of the seven dwarfs, and Heigh-Ho. I won't be probably posting (again) until July 15th because I have to stay a school weekend (again), it's not my fault - because my parents are going to Denmark for a week, and I  can't stay at home on my own otherwise it's against the law.

Friday, 1 July 2011

New "T&J" Golden Collection DVD

While I had been away for two weeks, I took a look at Cartoon Brew's site - and noticed that on one of their posts - that there was going to be an upcoming DVD collection called the Tom & Jerry Golden Collection and from what I heard, I feel that it's going to be bigger and better. From the older DVD collections there used to be like the Spotlight Collections or the Classic Collection. I remember that they would leave out a few shorts in the original series, and that had always used to really tick me off - when cartoons like Mouse Cleaning or The Million Dollar Cat were excluded, and I used to think - why? Now, those cartoons will be included in the Golden Collection - and Mouse Cleaning will be hopefully be restored for the second Golden Collection set.

Here is the cover, for the new set - and I really like this. It sticks to the original Tom and Jerry animation from the early 1940's, and I feel that this cover explains that the original Bob Allen designs of Tom and Jerry show that this IS the 1st edition - while in the next one, it'll show the designs that we know T&J today. The designs here is basically a take from The Midnight Snack which is probably the first "official" Tom and Jerry short - where they are named, designed, and with producer Fred Quimby.

Here is the episode list of what is going to be at the new box set:

  1. Puss Gets the Boot
  2. The Midnight Snack
  3. The Night Before Christmas
  4. Fraidy Cat
  5. Dog Trouble
  6. Puss n' Toots
  7. The Bowling Alley Cat
  8. Fine Feathered Friend
  9. Sufferin' Cats!
  10. The Lonesome Mouse
  11. The Yankee Doodle Mouse
  12. Baby Puss
  13. The Zoot Cat
  14. The Million Dollar Cat
  15. The Bodyguard
  16. Puttin' on the Dog
  17. Mouse Trouble
  18. The Mouse Comes to Dinner
  19. Mouse in Manhattan
  20. Tee for Two
  21. Flirty Birdy
  22. Quiet Please!
  23. Springtime for Thomas
  24. The Milky Waif
  25. Trap Happy
  26. Solid Serenade
  27. Cat Fishin'
  28. Part Time Pal
  29. The Cat Concerto
  30. Dr. Jekyll and Mr. Mouse
  31. Salt Water Tabby
  32. A Mouse in the House
  33. The Invisible Mouse
  34. Kitty Foiled
  35. The Truce Hurts
  36. Old Rockin' Chair Tom
  37. Professor Tom
This should sound exciting for me, but I do feel that Mouse Cleaning could be at least included in the box set, but I'll just have to wait and see. I've heard that in the DVD set, that they are going to be shown in their original 1.33:1 aspect ratio from their theatrical releases, well at least according to Jerry Beck. It would mean that probably the original title cards will be shown - probably. It means that the original Lillian Randolph dialogue for Mammy Two-Shoes will be included, apart from modernized African-American actresses that were called in to make the voices more appropriate, and even excluding the re-animated scenes with a white woman involved. I've always thought that Mammy Two-Shoes was a fun character to me, it's the dialogue that she says that makes me laugh - but that's another story.

Anyways, I'll be looking forward to the DVD coming out with some documentaries with one called Vaudeville, Slapstick and Tom and Jerry - and I'm wondering - when does this reach overseas at the United Kingdom?