“Watch out for each other. Love everyone and forgive everyone, including yourself. Forgive your anger. Forgive your guilt. Your shame. Your sadness. Embrace and open up your love, your joy, your truth, and most especially your heart” – Jim Henson
As I’ve mentioned in previous book reviews, biographies regarding creative people, have been hit-or-miss for me on quite a few occasions.
The last decade has brought forth biographies that seemed to delve incredibly deep into several lives moreso than those that I had read when growing up. In the last 9 years, I have managed to read Neal Gabler’s Walt Disney: The Triumph of the American Imagination, David Michaelis’ Schulz and Peanuts: A Biography, and Walter Isaacson’s Steve Jobs.
Of the three, Isaacson’s book was the one I couldn’t stop turning the pages on. His writing method allowed the reader to draw their own conclusions on just who Steve Jobs was.
Gabler and Michaelis’ books on the other hand, had decided to create an archetype around their historical figures. In their hands, Disney and Schulz were made out to be withdrawn geniuses, who seemed to shun the contact of family, and rarely seemed to care for anyone’s opinion beyond their own (these biographies would later be criticized by each family in how these men were portrayed).
These three books were on my mind when I finally picked up Brian Jay Jones’ biography on Jim Henson, a book I had heard about for a few years.
Probably not as high on my inspirational totem pole, Jim Henson is still a name that I could not forget from my youth. My early days were punctuated with viewings of Sesame Street, not to mention a rather tatty-looking Kermit puppet my parents had (see left).
Reruns of The Muppet Show I remember seeing on Nickelodeon, and when our family stayed at The Disneyland Hotel in the Summer of 1990, a complimentary copy of the Disney News magazine was on our bed, featuring both Jim and Kermit on the cover (though Jim had passed away that Spring).
I had always heard little bits and pieces of Jim’s career growing up. In the last 5 years, I was able to view some of his earlier works (courtesy of Youtube uploads), visit a traveling exhibit that brought a number of items of his to town, and even got to meet his son Brian Henson, at a New York performance of Henson Alternative’s over-21 puppet improv show: Stuffed and Unstrung.
Coming from a down-home background in which camaraderie and family were a key ingredient, Jim originally was entranced when television gained popularity in the 50’s (so much so that he bugged his parents to get one of the pricey sets!).
His original intent was to work in the television medium designing sets, but because he had no experience, noone would hire him. It was during a call for puppeteers, that he would get his foot in the door to television (though he had no prior experience at that time regarding puppets, either!).
Jim kept trying to go beyond puppetry, but he always ended up coming back to it. Upon further research, what he thought of more as a side-project, ended up soon entrancing him (along with the potential he saw with it, when he traveled over to Europe!).
He gained notoriety for a number of never-before-used techniques using television and his puppets, and he sought to find a way to extend the art form beyond the American thought that puppets (like animation and comic strips) were “just kids stuff.”
Jones’ book comprises over 495 pages about Jim’s life, and much like Neal Gabler’s book on Walt Disney, its early pages exploring Jim’s family tree had me a little wary that it would drag. However, Jones only goes back a few generations, formulating just where Jim got his artistic and curious traits from.
Jones also draws from previous interviews of Jim Henson, while also conducting new interviews with Jane Henson (Jim’s wife), his children (Lisa, Cheryl, Brian, John, and Heather), along with former Muppeteers like Frank Oz, Jerry Nelson, and many more.
Also of note, are a number of people in higher places, who would be just as important, given that they believed in (and at times protected) Jim’s vision. They include Bernie Brillstein (Henson’s manager for 30 years), David Lazer (a former IBM executive hired by Henson to be the studio’s main producer), and Lord Lew Grade (a British impresario who took a chance and made The Muppet Show TV series a reality, when all major networks balked at it).
Jones and his interviewees spotlight Jim in a very positive light…so positive, that one might think you’d soon go blind from all the positivity. But from all accounts, it seemed that was Jim’s modus operandi in life.
Many recount him seeming never to tire of work, and some would find him constantly writing, drawing, or plussing various puppetry works.
Jones almost makes this an underlying theme of the book, in that Jim may have been trying to “beat the clock,” in trying to do everything, but never finding enough time to do it all.
Even who Jim was based on his identity, could be tricky to decipher. Though tall in stature, he was often quiet in voice (and it would take some years before he’d even use his voice for some of his characters), and seemed unwilling to dive into conflict (usually preferring to walk away from it).
Though many would claim that Jim seemed to have plenty of wealth (he would refurbish new homes/apartments he purchased, and could often be seen in a fancy car or two), he never liked talking about having a lot of money, and often shirked away when interviews would broach the subject.
Several times, he mentioned that the money he made was usually then put into making other projects…which was a similar philosophy to how Walt Disney made films back in his day (usually the profits from one of Disney’s films, would then be rolled over into production on the next one).
Almost like The Muppets on TV, Henson often thought of the people working for him, as being part of a family, one that soon numbered around 150 employees. In those respects, Jim would often throw elaborate costume parties for his associates, or arrange for special retreats…sometimes, even going above-and-beyond in other ways.
One notable time mentioned in the book, involved Muppet performer Jerry Nelson, and his daughter Christine (who had been diagnosed with Cystic Fibrosis at an early age). Jerry was not given as much work as the other performers (his main role was as The Count on Sesame Street), so he could also be given time to care for his daughter. However, in the late 1970’s, the company’s insurance provider claimed they would no longer be covering Christine’s medical expenses.
Jim’s solution? Instead of telling Jerry his family was out-of-luck, he had his company change insurance providers, to one who would cover the expenses! (sadly, Christine passed away in 1982, but during her final year, Jim gave her and her Dad Jerry a small cameo in The Great Muppet Caper, as seen on the right).
If there may be one thing that may make some readers a little disappointed in reading this biography, it’s how Jones doesn’t really give anything super-juicy, like perusing through the skeletons in Henson’s closet.
Jones also has a habit of bringing his inner-fanboy out a bit too often. In the early chapters, as he describes new concepts and ideas that Jim concocts, we find him adding a few words on the end of some sentences, eagerly assisting the reader to know that it would eventually evolve into finished form some years later.
Notable is the grey area the book covers regarding Jane and Jim’s relationship. Though they were married, it never really seemed that it was anything beyond a ‘business relationship’ (she was there with him at the beginning, as well as at the end). They eventually separated (though never divorced), and it was during this time that some noted how Jim tended to try and woo a few women. Jones never gets too far into this area, except in regards to one woman named Mary Ann Cleary, who shares a few remembrances.
Much like how Jim seemed to believe that optimism could be a very powerful thing, Jones seems to adopt that same feeling here.
I have often felt I teeter right at the apex of optimism and pessimism in life, but in this case, much like how the Muppets would largely look through a prism of positivity in dour times, the book seemed to do the same for me. In fact, it was so intriguing, I ended up finishing it in a week’s time!
The book mentions that Jim was incredibly giving towards his children, and throughout its pages, all five of them share stories about their time with their Dad. A few would go on to work in show business (as well as manage the company after Jim’s passing), but during their years growing up, Jim would guide and learn from them.
A few examples include Jim’s daughter Cheryl, who helped inspire several stories the studio put into production. When Jim was looking for who to play Jareth (the Goblin King) in Labyrinth, his sons Brian and John recommended he cast David Bowie, instead of Sting (who was Jim’s first choice).
Jim Henson – The Biography is definitely a wonderful composition of a man who has inspired and entertained millions in the short time he was with us, but also believed in trying to unite the world through humor, and love. Though he didn’t like to be called “the next Walt Disney,” there are certainly traits of forward-thinking in what he did, let alone his drive to keep pushing technology forward, and find new ways that puppeteering could grow and thrive.
Book Review: Back to the Future – The Ultimate Visual History (by Michael Klastorin, with Randal Atamaniuk)
Throughout the years, my fascination with the making of films and animation, has led me to seek out some large and thorough tomes.
In the summer of 1995, one making-of book that I never knew existed, caught my eye when my family visited Universal Studios Hollywood.
This was the first time we’d been back since Universal had opened Back to the Future: The Ride. Our family rode it 3 times over the course of the trip, I geeked out over the Time Machine displayed next to the ride, and of course, we made a stop at The Time Traveler’s Depot, a short walk away.
I recall products from a miniature diecast toy of the Time Machine, to notebooks with the Gray’s Sports Almanac cover on them…but there was one item that made me take notice.
It was a book, titled Back to the Future: The Official Book of the Complete Movie Trilogy. Though only 80 pages, the book instantly caught my interest, with the myriad behind-the-scenes pictures inside. Once I started reading it, it also provided commentary, and revealed to me information on how the film series got started.
Over the years, larger and more thorough making-of books would catch my eye. They included J.W. Rinzler’s The Making of Star Wars, as well as The Complete Making of Indiana Jones (also by Rinzler).
But I and many fans of Back to the Future wondered, if such a 100+ page book could ever be in our future. Many of us had seen and heard numerous making-of materials on DVD, and seen countless interviews in various media, and knew this information could fill more than just the 80 pages of the official book. It also turns out, someone who worked on the trilogy, thought the same.
That person was Michael Klastorin. Not only was he a unit publicist on Back to the Future Parts II & III, but he had also wrote the included information for the Official Book I had picked up at Universal, in 1995.
Michael’s attempts to have a thorough making-of book didn’t catch much attention when he pitched it around the time of the first film’s 25th anniversary, but as the 30th anniversary approached, the publishing house was intrigued, and told him to go for it!
With help from Randal Atamaniak, and the blessing of the series’ co-creator/co-writer Bob Gale, Michael combed through his collection of information, scoured the Universal archives, and conducted new interviews with many of the cast and crew.
The result, is the 224-page Ultimate Visual History…and it is one of those books that will provide you with Back to the Future trilogy information, the likes of which you never dreamed of!
The shooting schedule for the films? It’s laid out for us to know what went on, and when. Abandoned concept art? We get plenty of that. Summaries of the early drafts of the screenplays? It’s there for you to see how the stories evolved!…and, a whole lot more!
Over the years, one bit of lore regarding the first film, has fascinated many fans: the original casting of Eric Stoltz as Marty McFly, when Michael J Fox was unavailable. Imagery of Stoltz has often been hard to come by, but here, Klastorin provides plenty of pictures, not to mention information on the first 6 weeks of shooting with Eric on the set.
One of the fun things I like about the book, has been seeing some art and information, that I’ve come to wonder about as the years have gone by.
In one interview on the Blu-Ray release 5 years ago, concept designer Michael Scheffe made mention that he was tasked with coming up with a futuristic, amphibious flying vehicle for Doc Brown in the year 2015. Those words intrigued me, and in Klastorin’s book, Scheffe’s concept (as well as many more for the trilogy), are on display for all to see!
Of course, Michael also goes a little into the future, beyond the three films. The final pages tell about the development of Back to the Future: The Ride, and the Saturday Morning Cartoon, Back to the Future: The Animated Series.
You’ll learn more about what the first iteration of the ride was to be, as well as some strange changes some at CBS wanted to include in the animated series’ second season (fortunately, Bob Gale didn’t take their advice).
But, that’s not all!
Much like hardcover books in recent years that have included goodies and reproductions of props or related material, The Ultimate Visual History provides Back to the Future fans with quite a few items!
A few of these items, include Doc’s drawing of the Flux Capacitor, a lenticular picture that shows Marty and his siblings disappearing (similar to the effect in the first film), and even a fold-out poster for Jaws 19 (pulled from the same art that was used on the posters outside the Holomax theater in Hill Valley, in 2015).
If there’s a downside to the book, it’s that some of these items are glued onto some pages, and may require some extra care to remove. Personally, I think it would have been more interesting to include them in a large envelope at the back (maybe with a note from Doc Brown telling how these valuable items could disrupt the space-time continuum, if they fall into the wrong hands!).
Despite being a popular film, Back to the Future has not garnered as huge a fanbase as the likes of Star Wars or Marvel’s films have. In the 25 years since the trilogy was released, we saw the animated series only last two seasons, and the iconic rides at the Universal theme parks be replaced by other rides (the last one still functioning is in Universal Studios Japan, and word right now, is that it will have its final ride in February of 2016).
Even so, Back to the Future still has a pretty dedicated fanbase, and oftentimes, when something big is coming down the pike, it is usually at the behest of co-writer Bob Gale, to ensure that what is being done, isn’t going to turn the dedicated fanbase upside-down.
In a Q&A at the We’re Going Back fan event during the second-to-last week in October of 2015, Michael Klastorin mentioned how when the Official Book came out almost 25 years ago, he was stuck with a locked-in page count and imagery, and was just allowed to put words to the pictures. With his latest work, Michael gets to create a through line through the timeline of the trilogy, along with a small bit of information about the Ride and Animated Series.
As much as I’d love a book twice as thick as what we have here, Michael Klastorin has fulfilled my wish and that of many other fans of the trilogy, by giving us an educational history lesson, in the evolution of a film that noone in Hollywood wanted to make (other than Steven Spielberg), into a series that is still finding fans almost 30 years later!
As mentioned above, Michael Klastorin attended the We’re Going Back fan event in October of 2015. This event celebrated 30 years of the film trilogy, as well as brought many fans (including myself) out from all around the world. We got to walk on Courthouse Square at Universal, visit actual locations from the films, and even get the chance to meet various people who had worked on the trilogy.
Michael was in attendance with his latest book release, and I knew for sure I’d be going home with a copy of The Ultimate Visual History, to read on the plane home.
When I got the chance to speak to Michael, he thanked me for my kind words regarding the Official Companion book that had intrigued me as a 15-year-old from Iowa.
He did get a chuckle when he found out what my name was (seriously, there seem to be a lot of Michael’s connected around the film Back to the Future, as well as the 1980’s time period!), and added a little note to me in the front of the copy that I purchased from him.
After all is said and done, I can’t help but wonder what-if…what if in 1995, my 15-year-old self had come across the Ultimate Visual History?…if only I had a time machine…
Sometimes, I pine for the olden days of making-of stories in books. It used to be that a couple hundred pages would be devoted to telling us about behind-the-scenes material in some of the hardcover tomes I’d come across.
Sadly, in this day and age, much of that material is truncated to make it seem that everything during the production went smoothly. In place of large quantities of descriptive dialogue and cast/crew quotes, we’re left with little info “nuggets,” and lots of color imagery.
Growing up, I became enamored with behind-the-scenes material, which made me want to move either into the world of special effects, or animation (I chose animation, receiving my BFA in 2003). I often think my interest in these materials, stems from my Dad. He was an engineer, and was also fascinated by how things worked.
Back to the Future was one of those films we often connected over when I was growing up. I recall wondering about the 50’s, and we’d go down to the library, looking through microfiche of old newspapers from that era. My parents had fond memories of those times, when department stores would take up whole city blocks, street cars ran through downtown, and a world where my Dad and his friends would wander for miles without parental concern.
Over the years, those of us who know Back to the Future, have often stored away in our heads, some of the big stories on the making of the film. There have been several documentaries made for the DVD/Blu-Ray releases, and a movie tie-in book released in 1990 (see left) was one of the first items I recall picking up and reading that had additional insight. But to some out there, it felt like there was still more material to be revealed.
That was what Caseen Gaines felt. Though far removed from the the glitz and glamour of Hollywood, the English teacher from New Jersey, parlayed his love of popular culture into several books on the topics of Pee-Wee Herman, and the 1983 film, A Christmas Story. Though like myself and thousands more, he harbors an affinity towards one of the 1980’s most-remembered films.
We Don’t Need Roads – The Making of the Back to the Future Trilogy could easily have been an 800 page “brick” of a book, but Gaines’ final page count keeps it “light” at 268 pages. There is plenty of rehashed material that could have been thrown in, but much of that is kept to a minimum. Instead, Caseen’s goal was to find information, that hadn’t been brought to light in the 25-30 years of the trilogy’s existence.
Over the course of several years, Gaines was able to interview dozens of people who had worked on the Back to the Future trilogy, including its director Robert Zemeckis, co-creator/writer Bob Gale, and even actors like Christopher Lloyd (Doc Brown), and Lea Thompson (Lorraine Baines McFly).
Much like how I like to structure my blog posts, Caseen has a way of giving you a story that sounds like you’re in the moment he’s describing. One that he focuses on in the first chapters, involves a moment where Robert Zemeckis, and editors Arthur Schmidt and Harry Keramidas, reviewed some of the first footage shot with Eric Stoltz as Marty McFly. It’s meant to be a pivotal moment in the film’s history, and not one that I’ve heard recounted before now.
Stoltz’s involvement in the first Back to the Future has often been part of its lore. When first-pick Michael J Fox was unavailable (due to his commitment with the TV show Family Ties), Eric was recommended by the head of Universal Pictures to fill Marty’s Nikes. However, after several weeks, it was decided that Eric’s characterization wasn’t working, and the filmmakers were able to get Michael, letting Eric go on his way.
Though the book doesn’t get candid interviews with Stoltz, there’s plenty of material that seems to suggest that his method acting may have been a little too serious for the film. One example is that Eric insisted that everyone call him Marty on set. This type of method acting worked so well, that Christopher Lloyd didn’t know Eric’s real name until word came that he had been dropped from the picture.
This material is one of several stories that Caseen delves into, but he also gives some additional insight into 2 incidents from Part II’s filming that weren’t widely known:
– The story of how Crispin Glover sued Universal for using his likeness in the sequel, as well as the casting of Jeffrey Weissman to “stand-in” for Crispin’s 1955 scenes in Part II.
– Stunt woman Cheryl Weaver’s near-death experience when a stunt went horribly wrong, and her subsequent lawsuit for compensation.
These stories along with Stoltz’s termination, feel like the major tent poles of the book, but he also peppers the book with plenty of material from his interviews, to keep you turning pages.
One that was particularly interesting, was some backstory on Harry Waters, Jr, who played Marvin Berry, the lead crooner of The Enchantment Under The Sea dance’s live band (and cousin to a Mr Chuck Berry, in the film’s universe). Waters explains about his casting process, as well as his surprise when he was asked to actually record/perform the vocal tracks for the big Earth Angel dance number for the film.
My original thought regarding the book when I first heard about it, was that it was only going to cover the first film, but I was surprised to read that It also covers topics from the film’s sequels, let alone provides information beyond 1990, sharing stories of others who took their love of the film,and turned it into something more.
Those who come to the book expecting lots of dirty laundry and mud-slinging, may not be the appropriate readers for Mr Gaines’ book. We Don’t Need Roads reads like a book written by a fan, who knows that there are others out there like him, who always want a little more. As well, it won’t leave newcomers to the Back to the Future behind-the-scenes world in the dust. They’ll be just as entertained by what they find, and it may open them up to explore the myriad other behind-the-scenes materials that many of us fans have known about for years.
As a self-proclaimed Entertainment Nut, I am often incensed and a little sad that most of the cool stuff that I’d love to see, rarely ever makes its way to my neck of the woods. However, I jumped into action when I found out Caseen Gaines would be talking about, and signing his new book at Quimby’s Bookstore nearby.
Caseen had visited here before, and told us that when coming, he liked to bring “toys” to the event. This time, his items included a replica of Marty Jr’s hat from Back to the Future Pt II, as well as a costume-pair of Marty’s 2015 Nike shoes.
Hearing him express his candid thoughts on what he experienced, as well as his recollections about writing his other books, I quickly found myself being put at ease with his stories. I think it helps that Caseen is a theatrical person as well (he also works for a theatre company in New Jersey), and therefore, has a penchant for storytelling to groups of people.
Though it was a small crowd that showed up for his appearance, he definitely kept our attention, and at one point, pulled me out of the audience to help explain something that happened during filming of some scenes (probably helped that I was dressed as Doc Brown, though circa 2015).
Since its first film Toy Story was released in theaters over 20 years ago, PIXAR Animation Studios has almost always had book releases, chronicling the making of their films (the exception was Toy Story 2, given that film’s last-minute reshuffling).
Chronicle Books continues the tradition with the recently-released The Art of Inside Out. However, what is most surprising, is how the book is presented.
Though the dust jacket and main titles page tells of a foreword by Amy Poehler (the voice of the character named Joy), and an introduction by director Pete Doctor, the book contains a first-time change for this particular item…the book, has no author!
Instead, Pixar has chosen to give us a book in which the pictures and the artwork speak for themselves…well, along with a few choice comments here and there regarding various pieces of art.
This is both fascinating, but a little disappointing. While I am not disappointed in the lack of art, I was personally hoping the book might have gone into the more in-depth behind-the-scenes format I’m used to. With so many emotions, I likened the film’s “casting process” to being almost like Walt Disney and his guys, picking out the 7 Dwarves for Snow White. There are a few designs for a character named Gloom, but other than that, the book sticks squarely to the main five: Joy, Sadness, Disgust, Fear, and Anger.
As well, there are so many ways the story could have gone, in what the film did and didn’t do. I can only hope that somewhere down the line, maybe we’ll get something a little more in-depth regarding the formulating of the film’s story.
I always welcome the chance to see pen and ink, along with pencil in concept art. In the last 5-8 years, the majority of concept art seemed to be all done in digital (which was a little sad to me when looking through The Art of Toy Story 3 five years ago). With this production, it seemed that all manner of medium was used. As well, the book also showcases some of the first collage concept art I’ve seen done by the studio, since the making of The Incredibles.
Oftentimes, the characters are some of the most important pieces of the puzzle, and here, we see a number of them going through different iterations. Much like Honey Lemon in Disney’s Big Hero 6, PIXAR had a tough time trying to crack the nut in designing one of the characters in this film, and that happened to be Disgust. A 2-page spread shows several dozen different iterations, of which 5 can be seen below. I think it’s safe to say that throughout the entire process, it seems that broccoli was the main inspiration for quite a few.
One interesting use of the art, is in how the artists would ‘plus’ the digital models. In one, small post-its have been placed over portions of the poses for Fear. Oftentimes, computer models can have the problem of needing to be pushed further, to make the character more expressive. The few images below, show that with just the slightest of tweaks, the added changes make the character seem much more expressive, and feel like a proper extension. There’s 3 full-page examples in the book, and seeing what was done here, I almost want to see some more “plussing” on what was done.
Though characters do play a big part in the story, the artists also had to figure out how to construct the two worlds of an 11-year-old girl named Riley. On one hand, they had to figure out her exterior surroundings, but the real challenge, was just what the world inside her mind looked like. Numerous pages are filled with concepts, showing just how certain thinking facets could be visualized, let alone the look of the iconic “Headquarters,” where Riley’s emotions live.
Most notable about the look of these worlds, is how simple a lot of the art pieces are. Several of them reminded me a little of the simplicity of the artwork, of former Disney artist, Mary Blair, who is often cited as an inspiration by many artists.
Probably not since The Art of Big Hero 6, have I been a little let-down regarding what one of these “Art-Of” books has contained.
Though The Art of Inside Out showcases much of the great behind-the-scenes art the studio is known for, I also come to these books, wanting to read some interesting stories about the production.
I guess I was spoiled by The Art of Toy Story 3, in which author Charles Solomon got down-and-dirty, in talking about the facets of the story the filmmakers were trying to tell. Then again, Solomon is an animation historian who just pushes my buttons.
The Art of Inside Out’s “show-don’t-tell” approach isn’t a bad thing, but it’s just not what I was expecting, from something that could very well have had plenty of paragraphs,explaining how the filmmakers came to some of their conclusions. When I looked over the book, its format reminded me of the exhibition catalog I bought, for the PIXAR: 25 Years of Animation exhibit that appeared in Oakland, CA, in 2010.
Given the overly-positive vibe many have gotten from the film, I still hope that maybe there’ll be a properly-published work on the exploration and story meetings regarding Inside Out. The concept of bringing emotions and the human mind onto the screen is just too fascinating for me to let go, and I’m sure many other PIXAR and animation fans, will definitely hope something will be released, in which we pick the filmmaker’s brains for more behind-the-scenes material.
“…This is me…I think it’s apparent that I need to rethink my life a little bit.”
Those were the first major narrative words that hit my eardrums, as I watched the first teaser trailer for PIXAR’s film Ratatouille, in 2006. After that teaser, I began to wonder just who uttered those words for the studio’s latest animated lead. The voice sounded familiar, but I couldn’t place it. It was shortly after that I learned the name, Patton Oswalt.
A few years later, I got to see some of Patton’s genius onstage when I was able to get into a sold-out show (after the cashier took pity on me) at the now-closed Lake Shore Theater near my dwelling. It was the first actual stand-up I had heard/seen Patton do, and I think I came close to choking when he did his sketch on the song Christmas Shoes (which has become an audio-listening Holiday tradition some 5 years and running now!).
To me, Patton almost seems like a pop-culture ambassador. I’ve seen him preside over hosting duties at many a Comic-Con panel. He can also deliver ‘it’s funny because its true’ comedy (the stuff I like), and manages to whirl in enough popular culture without feeling like it’s clogging my arteries. Pretty much anytime tickets go on sale for one of his shows in town, I’m there.
I threw that line from Ratatouille in at the top, because it also seems to tie into Patton’s new book, Siver Screen Fiend. The bulk of the 192 page book chronicles a 4-year period (1995-1999), in which Patton found himself becoming a “sprocket fiend.” What soon started as a way to catch up on some important pieces of celluloid, soon ‘devolved’ into a manic-obsession, that caused him to get a little too deep into film-watching.
Fiend also seeks to illustrate a man looking back on his world many years later. Introspection is given to the folly of being in your 20’s, ready to take the world by the horns, and maybe shake things up in your own way…before the world doesn’t fully cooperate, and you attempt to find a happy medium. In between his manic retreats into the flickering darkness, Patton found time to write for MadTV, appear in Down Periscope, as well as found his groove on how to best hone his particular brand of comedy.
The book’s chapters also play out like one of Patton’s stand-up routines on CD. Some are a few pages, while others go on for quite a bit. But like his comedy albums, there’s several stories that just pop, and I’ve found myself reading several of the chapters over and over again.
One chapter that is rather intriguing (though a little messed up), is when an East Coast comedian Patton knew back in the day, shows up in Los Angeles. This fellow meets Patton with one goal in mind: Have Patton help him get onstage at The Largo Comedy Club, which will immediately net him a TV show. The chapter is like watching a car wreck, but you just can’t look away.
It sounds ridiculous to say ‘he writes the way he talks,’ but in reading Fiend, it’s so easy to hear Patton’s voice. In the chapter regarding his first night at The Holy City Zoo in San Francisco, Patton gives the view of a cocky Eastern comedy transplant ready to blow the doors off California’s comedy scene…only for him to learn a valuable life-lesson, narrated in a breathless page-and-a-half memory-gasm of his self-confidence crashing to the floor (I may have to pick up the audiobook just to hear how Patton narrates this part).
In reading Silver Screen Fiend, one can’t help but feel there’s truth to be gleaned from Oswalt’s latest book. Much like the ‘it’s funny because it’s true’ nature of his stand-up, there’s introspection amid the memories, that we could very well apply to our own daily lives.
A few weeks ago, I attended a book-signing luncheon at Chicago’s The Standard Club. Following the lunch, the few dozen of us who were there, watched as Patton and Chicago Tribune critic Michael Philips, talked over Patton’s new book, as well as several of the different films he’d been in.
Even in these smaller moments, Patton can still be a great storyteller. One tale he told at the lunch, was in regards to a 2007 film he starred in, called Big Fan. A lot of people were impressed with Patton’s role as a sports-obsessed parking attendant, but the distributor of the film didn’t seem at all interested in doing anything more than just releasing the film, and putting it out on the home video market…even going so far as putting a football field on the DVD cover, even though the characters never went to a game. As well, when it seemed people wanted to nominate the film for awards, the distributor saw no joy in it.
Also of interest was a side-note regarding how he came to be involved in Ratatouille. Director Brad Bird actually had heard some of Oswalt’s stand-up routines, and that was what got him considered for the role. As well, to test how the voice synched up with a character, the studio’s animators did an animation of Remy the rat, dubbed to Patton’s sketch about Black Angus Steakhouse (oh, how I wish I could see that test footage!). What also stood out in his talks of working with the studio, was that Patton admitted that while he did the voice, much of the credit for Remy’s performance was to the people at PIXAR, in making the character come to life.
This book is considered a memoir of Patton’s life, along with his previous book, Zombie Spaceship Wasteland. One has to wonder if one day, after a few more of these books, we’ll be able to stitch them together like Frankenstein’s monster, and have the whole story.
Btw Patton, in regards to your autograph (see above), I did. Thank you very much.
Two decades after The Lion King pushed Walt Disney Feature Animation to new heights of popularity, the studio has found itself in a similar state in recent years.
The studio’s last three films have proven to be a wonderful grab bag of choices, that shows the new culture at the studio is not willing to just do the same thing for each film. Wreck-it-Ralph sought to bring us into a world of video games in a way that many would probably never have attempted, and Frozen enveloped a sisterly tale amidst the rosemaling and historical architecture of the Norwegian culture.
With the recent release of Big Hero 6, the studio found itself tackling a new frontier: a futuristic meld of two different cultures, AND a story that straddled the lines between Marvel Comics, and Disney‘s animation heritage.
Much like The Art of Wreck-it-Ralph, this book reaches into Disney’s production staff to find its author. In this case, it is Jessica Julius, who has worked on several productions as a creative executive, and story production supervisor.
Every making-of book contains several revelations I didn’t expect, and this one is no exception. Dealing in a world of superheroes and Tokyo-world aesthetics, the filmmakers reached out to both of these worlds, recruiting artists John Romita Jr (a comic artist from Marvel), and Tadahiro Uesugi, an artist from the land of the rising sun.
The majority of of the book is taken up with designing the world and environments of the film’s main location: San Fransokyo. It was a given that the studio would send out a fact-finding crew to study both Tokyo and San Francisco. And out of that seemingly non-mixable combination, emerged quite an astonishing amalgamation.
As well, there had to be some form of logic behind why this American city had been so overtaken by another culture. Scott Watanabe, the film’s environmental art director, is quoted as follows:
“Don (Hall, the director) wanted to figure out a logical explanation for how a mash-up city like this could exist. I came up with the idea that, after the 1906 earthquake in San Francisco, Japanese immigrants rebult the place using techniques that allow movement and flexibility in a seismic event.”
When it comes to character designs in the last few Chronicle Books releases, there are a select few artists that are mainly utilized. For this book, there are three key creative persons Julius focuses on: Jin Kim, Shiyoon Kim (no relation), and Lorelay Bove.
Of the three, it is Jin Kim’s designs that I find myself gravitating towards the most. His line work has such an appealing look to it, that it looks like the character could start moving at any moment. Jin studied at the hand of animator Glen Keane, and it definitely shows in his work!
It is notable to also see the evolution of several different characters as well.
Baymax’s designs are simple and intriguing. Some show him with projected facial features, as well as samurai-influenced armor for his supersuit designs. I did chuckle at one image, in which Tadahiro did an early concept of Baymax, in a design that seemed influenced by the robots in Hayao Miyazaki’s Laputa: Castle in the Sky (as seen a few paragraphs below). There’s also a great breakdown image by artist Kevin Nelson, as to Baymax’s inner workings and design.
While several pages are given to each member of the Big Hero 6 team, it was the development of Honey Lemon that is most intriguing. Her character evolution (some examples on the left) put me in mind of the development of Vanellope Von Schweetz: the concept kept going in one direction, but once the designers veered away, they came up with something that worked better. Honey’s early concepts were more of a girly-girl with a love of making things blow up, with everything from chibi-exploding devices, to outfits that one would find in Tokyo’s Harajuku district.
The book also includes some abandoned concepts, including several where a giant monster attacks San Fransokyo, and numerous, additional (unused) villains. One that has a nice concept of kooky-uneasiness, is Mr Sparkles, who was based on some of the wackier personalities one sees on Japanese television.
The final 12 pages of the book, are focused on the film’s cinematography, the studio’s new Hyperion Rendering platform, as well as a color script of the film. Color scripts have been a staple of PIXAR’s Art Of books, and they have been added to Disney’s Art Of books ever since The Art of Bolt in 2008. The set included here is rather intriguing, as the first few images, differ greatly from the actual opening of the film, making me wonder if the book may have gone to press while they were working on redoing the film’s opening.
Much like my feelings regarding the film Big Hero 6, its Art of book feels like it doesn’t spend as much time on the characters beyond Hiro and Baymax. A couple characters I was hoping for a little more background on, were Aunt Cass (Hiro and Tadashi’s surrogate), and Alistair Krei (the head of tech-firm, Krei Industries). However, Aunt Cass is relegated to just two pages, and Krei is simply included in a small character lineup on page 145. As well, even some extra backstory on Hiro’s friends would have been most welcome.
I think it’s because of Charles Solomon, that I’m a sucker for wanting to read plenty of paragraphs in an Art of book. While Solomon is a professor of animation history (and it shows in his writings), Julius is one who is moreso like a professor living amongst the subjects she is studying. Given the penchant for creativity in her world, she has chosen to let the achievements of the studio’s artists speak for themselves. Also keeping with the theme of the film being based on a comic book, much of the text is cut into small blurbs within exposition boxes.
The Art of Big Hero 6 succeeds in showcasing a number of great art pieces, but the final product feels like it could have been tightened and loosened in certain areas. There feels like an imbalance in the way the three areas of concentration are sectioned off. The Cinematography section feels more like a miscellaneous area, that could definitely have been fleshed out with some more space and information. As well, there’s some valuable image space taken up by final/promotional renders
Even still, The book manages to carry on a wonderful tradition of giving us behind-the-scenes material and information, and if you’re interested in the concepts that lead to your favorite film(s), it’s definitely another to add to your collection.
“I thought they needed a pet in this movie. So I just kept drawing a cat in my storyboards. Then Shiyoon did some designs. Which went into modeling, and the cat just kept going through the pipeline! Mochi (the cat) became real. – Kendelle Hoyer, Story Artist“
When it comes to the company PIXAR Animation Studios, it is often the names of two of its three founders who spring readily to mind. There’s Steve Jobs, who chose to purchase the company from Lucasfilm in the mid-80’s. There’s John Lasseter, a former Disney animator who saw potential in using the computer for animation.
And then, there’s Ed Catmull.
To many of us out there, Ed is the quiet enigma. More studious, and only willing to talk if he has something to say. Until the release of 2008’s The PIXAR Story, I had never really heard much of Ed’s philosophy on things, and even given his position in life, I was perplexed. How did this quiet man who dreamed big with computers, end up becoming the President of PIXAR Animation Studios, and in 2006, President of Walt Disney Feature Animation?
Like John Lasseter, Ed was also inspired by Disney. He claimed that he drew a lot, but felt he wouldn’t be able to reach the technical level needed to become a member of the company’s animation staff. Instead, he turned his attention to Computer Sciences at the University of Utah. Back in the day, there was a great deal of experimentation going on, and Ed saw something that many in the mid-70’s could probably never envision: use the computer in regards to animation. In fact, it was this idea that would become Ed’s lifelong goal: to some day create the first computer-generated feature film.
Of course, almost 20 years later, Ed would be part of that team that made history, when PIXAR released Toy Story. Since then, the company has become one of the most successful in history, relying less on executive decisions, and moreso on those of its creative staff.
After spending almost 3 decades being the President of PIXAR Animation Studios (and 8 at Disney), Ed has taken the time to put down most of his musings about running a company into Creativity, Inc, with the help of Amy Wallace. From the start, it becomes readily apparent that Ed is not here to egocentrically tell about his climb to greatness. Instead, he uses his life and memories to explain why many of the ideals and business practices he uses, are worth noting and sharing with his readers. Ed’s book is meant to prove that the business models he knows and has seen implemented at Pixar (and in the last decade, at Disney Feature Animation), can apply to other businesses out there.
Creativity, Inc strives to convince us that there is no sure way to avoid failure in a business, or to be pitch-perfect…and we should be okay with that. Given the company he’s worked for, we’ve heard numerous media personalities gush over every PIXAR success like the team just spent 3-4 years having fun after coming up with their film ideas one afternoon. But as Ed and several of the PIXAR staff have often repeated, “Every single film we’ve made has at one time or another, been the worst film we’ve ever made.”
Ed even gives examples of this, when he describes the original outlines for Monsters Inc, and Up. What he describes are story ideas significantly different from the final product, and would have sent the production off on many different tangents. I’m sure there are dozens of readers who went “…huh!?” after reading the original draft of Up that Ed describes.
Throughout the book, Ed recounts his time working on various productions at PIXAR, providing some great insight. He discusses why the company cancelled a film titled Newt, as well as giving a peek into the group of persons dubbed, “The Brain Trust.” Ed also pulls insight from each of the myriad people he works with at PIXAR and Disney, regarding how they respond to challenges and fears in their own ways. Oftentimes, others will take the same concept, but have their own metaphorical structure for it in their heads.
Of all the chapters included, the one that had me at the first word was Chapter 12: A New Challenge. This chapter chronicles a series of events that have been at the forefront of my wonderings since the fall of 2005: when Disney acquired PIXAR in a $7.4 billion acquisition, and brought Ed and John to Walt Disney Feature Animation, in hopes they could fix the struggling studio. It strays a ways outside of Ed’s more precise layouts in other chapters, but to hear his point-of-view from how those at PIXAR first reacted to the news, to what he and John found when they started trying to restructure Disney, is pure gold. The chapter also serves the duel purpose of informing us of a major event in Ed’s life, and seeing if the principles and examples he discussed in previous chapters, could be applied to Disney Feature Animation.
The chapter even addresses why the studios were not merged (or share technology, or personnel). There is some talk about the previous version of the film Bolt (when it was titled American Dog), and also what had seemingly stymied the creative process that had turned the studio into a second-guesser, far from the innovative powerhouse it had long been known for.
The book’s release also comes at an interesting time. 2013 was quite a shocker for you if you were a fan of Disney and/or PIXAR. Many were surprised when Monsters University was shut out of the Academy Award nominees for Best Animated Feature, but the most shocking thing that has come about, has been the runaway success of Frozen. To the general public, the film seemed to come out of nowhere, and took on a life of its own, unseen since the release of The Lion King almost 2 decades before. Even after 5 months, it has made over $1 billion worldwide, and its soundtrack has sold over 2 million albums since its release. To many, the film has become a symbol that Disney Feature Animation has found its footing again.
However, it should be advised that Creativity, Inc is not some sort of get-rick-quick book. Ed is not going to give you the secret formula for making billion-dollar movies (sorry, you idiotic executives). It will be interesting to see or hear if any companies out there take Creativity, Inc to heart enough to make major changes in their corporate structure. Much of what Ed proposes is much like a New Year’s Resolution in regards to company betterment: you can talk about it all you want, but you have to work to make sure that the guiding principles in place are actually helping, and not hindering.
In the end, Creativity, Inc proves to be a much different book associated with the legacy of PIXAR Animation Studios. It’s a once-in-a-lifetime mixture of observations both managerially and creatively. Just seeing those two words mixed together should not be compatible, but Ed Catmull and Amy Wallace manage to find a way.