Tuesday, April 26, 2011
Petkeeping with Marc Morrone - Video | Hallmark Channel
Petkeeping with Marc Morrone - About the Show | Hallmark Channel
Wednesday, April 20, 2011
Below are a collection of sketchbook pages drawn by Guillermo Del Toro, and it is easy to see that the brilliance of the film is fueled by the director's ability to express himself with image as well as word.
About the story of Guillermo Del Toro's film, Pan's Labyrinth. This film is about young Ofelia (Ivana Baquero), who finds a gateway to a fantastic world of gods and monsters, pleasures and perils; a fairly standard set up. She's her mother's best friend, especially now that her mother has married her wicked step-father. But Ofelia's new father isn't merely wicked; he's a Captain in Franco's army after the right-wing has seized Spain, and this is where you get a sense of the customary flair and shading Del Toro's putting on traditional fantasy ideas.
Good fantasy takes place in a world full of conflicts -- between good and evil, desire and sacrifice, cruelty and mercy, freedom and slavery. Or, put more succinctly, good fantasy can often be appreciated in terms of how much it resembles the real world, not by how much it departs from it. When Ofelia finds a fantastic kingdom in the labyrinth garden near her new home, it's a bizarre place full of visions and ccreatures and a smiling-scary satyr (actor Doug Jones, performing in thick layers of extraordinarily well-done practical effects). As odd and frightening as that world seems, it's just as odd and frightening as the world she lives in normally -- where her new father, Captain Vidal (Sergi López) is dedicated to wiping out the republican holdouts and local partisans by any bloody means necessary. The satyr explains to Ophelia that she is not who she thinks she is; she is a lost princess, and she can return to where she belongs if she carries out the three tasks he gives her, without fail and without question.There has been rumors of new Pinocchio film coming - it will probally be very interesting.
Thursday, April 14, 2011
Unfortunately, due to restrictions on the importation of mythical processed meatstuff, we are unable to bring you Canned Unicorn Meat in the way the Sisters of Radiant Farms intended. When you open your can, you will find one tiny unicorn which has been appropriately sliced into its main cuts of meat. Simply use your Growth Ray to re-embiggen the unicorn before skinning it and processing its flesh. Or if you're lazy, just bring it to your local Mad Scientist-Butcher. He'll know what to do.
Radiant Farms Canned Unicorn Meat Specifications
- 14 ounces of delicious unicorn meat, canned for your convenience
- Imported from a small independent cannery in County Meath, Ireland
- Crunchy horn bits in every bite - an excellent source of Calcium
- Tastes like rotisserie chicken but with a hint of marshmallow sweetness
- Easily spreadable for sandwiches, hors d'oeuvres, and more
- Sparkly meat lends the unmistakable air of class and sophistication to your parties
- Unlike other meats, unicorn fat is polyunsaturated and lowers your LDL cholesterol
- Not yet approved by the USDA or FDA, but the nuns have eaten it for centuries and they're healthy as horses
- Okay, for real: you can't eat this. It's a dismembered stuffed unicorn in a can.
- The bottom of the tin is easily removable to gain access to the mini dead unicorn inside. No can opener needed!
The U.S. pork board has released its legal team on the creators of Radiant Farm Canned Unicorn Meat, claiming the fictitious awesome product infringed on the board’s slogan: “The Other White Meat.”
The unicorn meat, which claims to be an excellent source of sparkles with magic in every bite because the unicorns are fed a strict diet of candy corn, uses the slogan, “Pate is passe. Unicorn — the new white meat.” ThinkGeek.com, which launched the gag for April Fool’s Day, has been handed a 12-page cease and desist order by the U.S. pork board because of the trademarked 23-year-old slogan, which it is thinking of replacing anyway, the website claims.
From ThinkGeek’s press release:
“It was never our intention to cause a national crisis and misguide American citizens regarding the differences between the pig and the unicorn,” said Scott Kauffman, president and CEO of Geeknet. “In fact, ThinkGeek’s canned unicorn meat is sparkly, a bit red, and not approved by any government entity.”
Tuesday, April 12, 2011
LOS ANGELES — Sixteen years ago Tom Klein was staring at a Woody Woodpecker cartoon, “The Loose Nut,” when he started seeing things.
Specifically, Mr. Klein watched that maniacal red-topped bird smash a steamroller through the door of a shed. The screen then exploded into images that looked less like the stuff of a Walter Lantz cartoon than like something Willem de Kooning might have hung on a wall.
To view the video go to - http://video.nytimes.com/video/2011/04/10/arts/design/100000000767947/woodpecker.html?ref=design
“What was that?” Mr. Klein, now an animation professor at Loyola Marymount University, recalled thinking. Only later, after years of scholarly detective work, did he decide that he had been looking at genuine art that was cleverly concealed by an ambitious and slightly frustrated animation director named Shamus Culhane. Mr. Culhane died in 1996, a pioneer whose six decades in animation included the sequence of the dwarfs marching and singing “Heigh Ho” in the 1937 film “Snow White and the Seven Dwarfs.”
In the March issue of Animation: An Interdisciplinary Journal, Mr. Klein relates an intriguing theory. He says that Mr. Culhane broke the boundaries of his craft when he worked on the Woody Woodpecker cartoons in the 1940s, going well beyond the kind of commonplace puckishness that supposedly led later animators to stitch frames of a panty-less diva into “Who Framed Roger Rabbit.” Mr. Culhane’s stunts, Mr. Klein posits, were of a higher order. He worked ultra-brief experimental art films into a handful of Woody Woodpecker cartoons.
“Culhane essentially ‘hid’ his artful excursions in plain sight, letting them rush past too rapidly for the notice of most of his audience,” Mr. Klein writes in the 15-page article, titled “Woody Abstracted: Film Experiments in the Cartoons of Shamus Culhane.”
In the article Mr. Klein describes Mr. Culhane, who was credited in his work then as James Culhane, as a devotee of the avant-garde. He was influenced by the writings of Russian theorists like Sergei Eisenstein and Vsevolod Pudovkin, Mr. Klein writes, and spent evenings at the American Contemporary Gallery in Hollywood. There, he watched films by Fritz Lang and Jean Renoir, might have seen paintings by Oskar Fischinger and definitely “was inclined to wear a beret.”
In an interview in his office at Loyola’s School of Film and Television, Mr. Klein described Mr. Culhane as having had art training but no college degree; as being a sophisticated reader who painted in his off hours. He said the experimental minifilms “were really a journey of the man” who directed them.
Mr. Klein writes that one of those experiments was a two-second piece of an explosion in “Woody Dines Out,” from 1945. He finds the frames “improvised like visual music” in what Mr. Culhane acknowledged in his autobiography, “Talking Animals and Other People,” was an Eisenstein-inspired moment.
The longest such experimental sequence was in the seven-second steamroller smash-up in “The Loose Nut,” also from 1945. And, later in that cartoon, Woody is blown into an abstract configuration that Mr. Klein, in his article, calls “the convergence of animation and Soviet montage.”
According to the obituary of Mr. Culhane in The New York Times, Mr. Culhane’s family moved to Manhattan from Massachusetts when he was a small child, and later a trip to the Metropolitan Museum of Art inspired his career as an artist. He first worked with Mr. Lantz when Mr. Lantz got him a job as an office boy at the studio of J. R. Bray, where Mr. Lantz was head of animation. Mr. Culhane animated his first scene there in 1925. It was of a monkey with a hot towel.
Throughout the mid-1940s Mr. Culhane made cartoons, briefly at Warner Brothers, then at Mr. Lantz’s studio, where he was a director of some shorts that are remembered for more than their surface humor. In 1944 he collaborated with the layout artist Art Heinemann on “The Greatest Man in Siam.” In it the king of Siam bolts past doorways that are distinctly phallic in shape and peers at another that mimics a vagina.
“We were just trying to put one over on them,” Mr. Culhane years later told Mr. Klein, who had asked him about the bawdy imagery in the course of a visit and correspondence shortly before Mr. Culhane died.
Visual pranks have been common in the animation world, where artists often find ways — occasionally, in frames that pass without actually being seen — to plant jokes on bosses and a largely unsuspecting audience. A favorite trick has been to hide caricatures of real people in crowd scenes, like those in the Walt Disney films “Aladdin” and “The Princess and the Frog,” which contain images of their directors, John Musker and Ron Clements, according to Charles Solomon, an animation critic and historian.
“Even I appear in a crowd,” said Mr. Solomon, whose hidden image, he said, is tucked in the “Rhapsody in Blue” sequence of “Fantasia/2000.”
It was clues in “Talking Animals and Other People” and in letters Mr. Culhane wrote to Mr. Klein — who had become a Woody Woodpecker expert through his archival work for Universal Studios, which distributed the cartoons — that pointed Mr. Klein toward something more. In one letter Mr. Culhane, talking of his fascination with Russian film theory, said nothing he picked up from his studies ever caused trouble with Mr. Lantz, who was known for giving his directors a free hand.
As for much of the contemporary audience, Mr. Klein said, “Maybe they were seeing their first glimpse of modern art.”
A version of this article appeared in print on April 11, 2011, on page C1 of the New York edition.
Shamus Culhane in a photograph from about 1932.
The following is from - Shamus Culhane, a Pioneer In Film Animation, Dies at 87 By LAWRENCE VAN GELDER for the New York TimesPublished: February 4, 1996
Mr. Culhane's career in animation, which began before movies could talk and was accelerated in the sound era by his talent for synchronizing facial movements with dialogue, spanned more than 60 years beginning in 1925.
Mr. Culhane was born in Ware, Mass., on Nov. 12, 1908. When he was a small child, the family moved to Manhattan. His father, James, worked for the Interborough Rapid Transit Company. His mother, the former Alma LaPierre, was a housewife. When Mr. Culhane was 6, his father took him to a vaudeville house where the boy saw Winsor McCay, one of the earliest film cartoonists, show his animated film "Gertie the Dinosaur."
Mr. Culhane began drawing as a child, winning medals for his work while a student at Public School 82 in Yorkville and at Boy's High School in Harlem, then the only city high school to offer commercial art courses. After a trip to the Metropolitan Museum of Art, he decided to become an artist.
When his father abandoned the family, the 16-year old Mr. Culhane, the eldest of three children, quit school to support them. Walter Lantz, his best friend's brother, was then the head of animation for J. R. Bray, the first person to make theatrically distributed cartoons, and Mr. Lantz got Mr. Culhane a job as office boy.
In 1925, covering for a drunken animator, Mr. Culhane animated his first scene -- a monkey with a hot towel. In the next 62 years, working for 18 different cartoon studios, including his own, Shamus Culhane would become one of the world's foremost character animators.
He was the only animator who worked on all of the first four animated feature cartoons -- Disney's "Snow White" (1937) and "Pinocchio" (1940), for which Mr. Culhane animated the fox and cat selling Pinocchio to the Pleasure Island coachman; Max Fleischer's "Gulliver's Travels" (1939) and Dave Fleischer's "Mr. Bug Goes to Town" (1941), with its Hoagy Carmichael-Frank Loesser score.
Mr. Culhane also animated such characters as Krazy Kat, Betty Boop, Popeye, Pluto ("the essence of dog," Mr. Culhane called him), and Woody Woodpecker, whose surreal personality Mr. Culhane helped develop in a series of shorts he directed for Mr. Lantz in the 1940's.
In "The 50 Greatest Cartoons as Selected by 1,000 Animation Professionals," a book published in 1994 by Turner Broadcasting, Mr. Culhane was represented as the director of "The Barber of Seville" (1944), in which Woody shaves a construction worker while singing "Largo al factotum" from Rossini's "Barber of Seville," matching the language's large proportion of vowels to consonants with an agility of movement possible only in animation.
In the realm of commercials, Mr. Culhane produced, directed, wrote and often animated commercials, including the Ajax cleanser elves moving to music and the words, "Use Ajax -- boom boom -- the foaming cleanser"; and the classic Muriel cigar spot, with Edie Adams delivering its Mae West parody line, "Why don't you come up and smoke me some time?"
Mr. Culhane tended to view the world through an animator's eyes. As he once watched another significant world figure, Richard M. Nixon, during the Watergate scandal, he said, "Nixon always moves as if he's three frames out of sync."
At Expo 67, the 1967 World's Fair in Montreal, the Buckminster Fuller geodesic dome that was the site of the American pavilion contained artifacts of two great American achievements: the space program and film.
The film retrospective included excerpts from movie classics like "Mr. Smith Goes to Washington," "On the Waterfront" and "Gone With the Wind," but the sole example of animation in the film retrospective was Mr. Culhane's sequence of the Seven Dwarfs marching and singing "Heigh Ho."
The "Heigh Ho" sequence was also part of Mr. Culhane's first retrospective, "The Golden Jubilee of a Master Animator" at the Kennedy Center for the Performing Arts in Washington in 1974; "The Golden Age of Animation," the Whitney Museum's show of Disney films, drawings and backgrounds in 1981, and Mr. Culhane's 83d birthday retrospective at the Museum of Modern Art in New York in 1991.
As the head of the Paramount cartoon studio in 1966 and 1967, Mr. Culhane produced the Mighty Thor cartoons for television. In the late 1970's, he ran against the cost-cutting style of so-called limited animation by producing, directing and co-writing (with a cousin, John Culhane) a series of fully animated ABC prime-time television specials: "Noah's Animals" (1976), the story of Noah from the animals' point of view; and two sequels, "King of the Beasts" and "Last of the Red-Hot Dragons."
Mr. Culhane was the author of an autobiography, "Talking Animals and Other People," published by St. Martin's Press in 1986, and "Animation From Script to Screen," an explanation of animation technique published by St. Martin's in 1988.
He concluded "Talking Animals" by writing: "I was a link with the primitive past, before sound, color or tape. I had been permitted to live long enough to see and use the greatest tools for artists that were ever invented. I am convinced that computer animation will produce beautiful works of art -- beautiful beyond our most fantastic dreams."
Mr. Culhane lived to see the beginning of the realization of that dream when hand-drawn animation of his early career was combined with computer animation in Disney films like "Aladdin," "The Lion King" and "Pocahontas."
With his beret, goatee and horn-rimmed eyeglasses, Mr. Culhane looked more like a 1950's be-bop musician than what he was: an Irish-American high school dropout from an impoverished background who made himself an artist.
Friday, April 1, 2011
I have also been thinking about some of the distracting myth and fairy tail research I have been mucking around with and the half human, part wild creature that I like so much - the deer woman, the wolf/dog man and now bigfoot.
What I think I like about the Michigan Bigfoot is that we - meaning he and I - like Buffalo Wild Wings. I like the hot and medium traditional sauces - I'm thinking he would favor one of the asian style sauces. Maybe the Central Michigan bigfoot research team should conduct an experiment the next time they film for PBS. My mother texted that the research team on the show was from Central Michigan University - mind you this is here say so I can not be certain her facts are spot on but who really cares. It's pretty fun.
This isn't an April fools prank - although I wish I had thought of it - I am only relaying information based on a true text - but I'm just not this good. I have said it before "I can't make this shit up!"
via: Glossynews.com - Posted on December 08, 2009 -
Mt. Clemens, MI – With the cold weather approaching, there have been quite a few Bigfoot sightings in the Mt. Clemens area, the most recent occurring last Sunday behind the local Buffalo Wild Wings Grill and Bar out on 15 Mile Road in Clinton Township. Officer Stan Down was called to the scene by BWW employee, Lou Klively, who was visibly shaken by what he saw.
“Yeah, I was goin’ out there to throw out the trash like I always do, and about this time I seen this big hairy thing not more’n 10 feet from me take off into the woods right over there,” he said pointing to a thicket of bushes and trees that line a creek area just west of the strip mall.
While it was hard for Klively to give a complete description of the person or thing that he saw, he is almost 100% positive it was one sort of Bigfoot or another. Said Klively, “now I know it weren’t no Yeti cause they live up in the mountains or something, and I can’t say for sure if it was a Sasquatch or a Skunk Ape, cause although it did smell a bit out here, that coulda been the rancid butter sauce I threw out earlier. So I’m gonna go with saying I’m 99% sure it was just your average run-of-the-mill Bigfoot.”
Officer Down, during his investigation, found what he first thought might be human finger bones, cracked at the knuckles, but upon closer examination, he determined they were, in fact, chicken bones. Bigfoot creatures are known to like marrow and, during the colder months especially, it is an essential part of their diet. However, over on the other side of the dumpster there appeared to be half of a larger than human footprint in a puddle of bleu cheese dressing, obviously spilled by the creature when he was startled by Klively. “Yeah, he was out here having himself a meal alright,” said Officer Down. “The only thing missing was the crudité platter.”
Willow Creek, CA Bigfoot expert, Homer Dickson III, son of Dick Dickson, one of the most famous Bigfoot hunters in the country, is flying out next week to investigate the sighting and see if he can locate any more information about this particular band of Bigfeet that seem to be living very close to the BWW. According to Dickson, sightings of Bigfoot creatures are up all over the country.
“When times are lean for America, that means, they are lean for all creatures. With fewer Americans having the time or the money to camp out in the woods, these creatures are being forced to forage for food where they would not normally do so, i.e. in dumpsters behind strip malls. There have been a rash of sightings over in Kings Mill out behind the Walmart over there and we’re gonna investigate those sightings as well while we’re in Michigan,” he said.
The mayor of Mt. Clemens, Barb D. Empsey, welcomes the Dicksons with open arms. “Folks around here have been on edge, claiming they’re seeing things and wondering if they’ll be next to run into one of these Bigfeet creatures. Although, we can’t be sure they exist, it can’t hurt to have these guys come out here with their chrome magnonmeters and their electronosphincters to test the area for possible infestation. Until they give the all clear, I’m urging all Mt. Clemens citizens to stay in their homes and only go out at night if absolutely necessary.”Links about bigfoot