Here's a scene from Altruists that's just plain silly.
We originally planned to do this scene as a takeoff on Game shows, with the announcer yelling all the prizes to the widow. I was eating breakfast with Eric Bauza and Mike Kerr as we were coming up with gags, and all of a sudden after each time Eric yelled what the prize was, I whispered how much it cost. We died laughing. I don't know why. It makes no sense but we decided to put it in the cartoon, and the more I whispered the more perverted it started to sound.
Buy the DVD and enjoy all the weirdness in the privacy of your own home. Don't forget to close the curtains!
http://www.amazon.com/gp/product/B000F9T700/002-6127252-8652841?v=glance&n=130
I'm gonna post a few clips throughout the day, so keep coming back to check!
That clip is just a sample of the many character based scenes from the new Ren and Stimpys. I like to have scenes in my stories that just kind of invite you in to spy on Ren and Stimpy's private moments-to let you know what they are really like. A bit of voyeurism, you know?
Then when the gross, surreal or outrageous stuff happens, it has more effect because it seems like it's happening to real people - or beasts anyway.
Here's a tender scene just before Stimpy gives birth. BTW,Stimpy's Pregnant is another cartoon first-the first ever live birth in cartoons and the moment will be on screen too, but you'll have to wait till the DVD comes out to see that.
More to come...if you beg me.
INTERESTING MUSICAL FACT ABOUT SPUMCO: If you pay attention to these clips you might notice that the actions go to the music. I got that from Bob Clampett. He told me that since the beginning of sound cartoons, every animator timed everything to musical beats. That way the musician had an easy time scoring the cartoons afterwards.
Clampett though, always wanted to decide on the music BEFORE he started animating, so he would show his storyboards to Carl Stalling who would play the piano as Bob acted out the scenes and they would work out whatever music they both thought would put the gags and story over best.
Stalling wrote the music out on bar sheets, and under the notation Bob would write what actions were happening in the cartoon.
He would then take the timing notes and transfer them to animation exposure sheets, so the animators would animate the scenes to the music.
This makes Clampett's cartoons feel very diferent from the other directors' cartoons. Even his non-musicals are musical.Clampett's cartoons have a swinging upbeat feeling so even during what could merely be exposition scenes, you feel good and just enjoy the ride. Take a look at "Wabbit Twouble" as a great example.
All the other directors wrote their timing to beats, but unless they were actually doing a musical-like Rhapsody in Rivets (Freleng) or Rabbit Of Seville (Jones) they didn't usually know beforehand what the music would be.
Clampett (and this is what I love about him) used every creative tool at his disposal to make our cartoon viewing experience a richer pleasure.
All the new Ren and Stimpys and many of the originals are timed to music before they are ever animated. We pick the music that we think sets the mood and pace for the scenes and then cut our storyboards in an animatic to that music.
PRE-ORDER IT NOW and get this nifty card signed to you!
(well, signed to you after you sign it! It comes with the set)
http://www.amazon.com/gp/product/B000F9T700/002-6127252-8652841?v=glance&n=130
http://www.myspace.com/jkricfalusi
