Vote now for PUPPET...

I need your help. "Puppet" my most recent film about masochism as a creative, is getting trounced by two super political films (puke!) in the Channel 13 "reel shorts" contest. Channel 13 used to air my short films all the time, but now I guess they are leaving it to the voting public to decide what is seen. that's good i guess. Anyway, I wish to totally undermine democracy and get all of you to vote me in! Vote before Saturday, or i won't be your friend anymore. Vote if not only for the brilliant musical score, a live performance conducted by Charles Fernandez with the 40 piece Trone Orchestra. good stuff.

Pratt Animation Show May 27th...

It's that time of year again, when my animation students at Pratt Institute showcase their films that they have been working on all year. This year you won't want to miss some of these talented students. Pratt Animation Show, Anthology Film Archives, 2nd Ave. and 2nd Street, New York City, Tuesday May 27th, 8pm
I think all the films came out quite well. My personal favorites are "Sea People" by animator Maya edelman. Maya depicts a beach scenario filled with distasteful freaks, and a lone, humble girl who tries to coexist in peace. Mayas style has been developing over the last few years, and she's really pulled it together for her thesis production.
Another worth noting is Isam Prados, "Fish Have No Feelings" (pictured above), a dark and disturbing tale about a young womans struggle as a captive in a marriage, and her actions to free herself. I'm sure you will see more of Isam's work in the coming years. Other's that catch the eye is the bizarre "Adventures in Broccoli" by Dan Mountain. Several other great films by the very talented Chris Ko and Jen Lee, both interns of mine from last semester. The very experimental work of Javen Ivey, who has been assisting the animator PES this semester, and his association with such a talented pro has really rubbed off on his own work. Also, the graphic flash animation of Nathan Gooden, and a dramatic folk tale by Andrew Iyageh are both worth noting. And Jonathan Denny offers the sole stop motion from my class, and there's many more! So please try to attend, and please let the students know what you think of their works.

Jonathan Royce Blog...

I first met Jonathan Royce when he hired me as a designer on "Doug" over 10 years ago (gasp!) at Jumbo Pictures, an old new york studio that at the time had just been bought out by Disney(it is now called "cartoon pizza" unfortunate new name, but still a great studio). It's the same studio that I started hanging out with my best bud and studiomate of seven years, Tony Curanaj. Jumbo Pictures put so many talented artists together in a soho loft, there was bound to be lasting friendships. Anyway, I've always respected Jonathan Royce's subtle storytelling, and versatility as a designer. There is so much care involved in every single one of his drawings. Flipping through his sketchbook can be a bit overwhelming, revealing the thought process that has created so many thought provoking adventures that dwell within his comics. "Keef and Bruno" has been a concept he's been doing for decades. His blog is mostly just posted images, and hopefully he will start to write out more of his thoughts, but enjoy!

Studio Visit with Patrick Smith...

This was part of the show "Art or Something Like It", a television series that focuses on NYC artists, filmmakers, actors, etc. I apoligize for saying "beat the crap" twice, in two different contexts. whatev's. This aired last fall. It's a cool show that also featured Lloyd Kaufman and Gregory Barsamian.

New Plympton Feature "Idiots and Angels"...

I'm not just talking smack when i say that this is the best plympton feature ever. actually, i believe he was chillin' at my pad in Montauk when he made the earliest sketches for this film. Bill was very insistent on sharing his storyboards with our nyc clique, welcoming comments early on (a great method that i have totally adopted. feedback in the early stages is key). "Idiots and Angels" will be premiering at the Tribeca Film Festival in New York City, a few blocks from my studio. it takes place April 23-May 4. Bill Plympton's "Idiots and Angels" is a dark comedy about a morally bankrupt man struggling to hide the good side of himself, which manifests itself in a pair of angel wings that just won't go away. If you can't see it in Tribeca, it's also in competition at Annecy this june in france.photo above, Bill Plympton, Patrick Smith, Sarah Phelps, PES, Amid Amidi, and CC Edwards, at my last gallery show in feb., bill had just finished his rough cut for "idiots and angels".

Nearest I ever got to the legend....

From Left: Frank Thomas and Ollie Johnston at the Disney lot, and Patrick Smith with Randy Haycock same location, decades later. I'd say my hand is about the same place as Ollies. The official press release has been posted all over now.

Ollie Johnston 1912-2008

I'm speechless, and incredibly sad. The 9 old men are now gone, truly an end of an era. Ollie Johnston was a great man, an inspiration to me personally. This was sent via Cartoon Brew from Roy Disney....

“Ollie was part of an amazing generation of artists, one of the real pioneers of our art, one of the major participants in the blossoming of animation into the art form we know today. One of Ollie’s strongest beliefs was that his characters should think first, then act…and they all did. He brought warmth and wit and sly humor and a wonderful gentleness to every character he animated. He brought all those same qualities to his life, and to all of our lives who knew him. We will miss him greatly, but we were all enormously enriched by him.”

Ted Kierscey's pencils for "Firebird"...

I ripped this extra off of the Fantasia DVD anthology, a set that every animator should own (buy it! worth every penny). This is possibly the greatest extra on any DVD i know of (the glen keane stuff on tarzan comes close), it is simply stunning the amount of detail and dedication to timing and mood that Ted Kierscey was able to put into this sequence. It puzzles me that Ted Kierscey is not a household name, which he clearly should be. I show this sequence to my students every year, just to remind them(and myself) what this medium is capable of accomplishing. In particular, what the pencil on a piece of paper can accomplish; texture, tangibility, and an overall essence that only a hand carved line can create. I've watched this so many times, and it never fails to invigorate me to animate!

Rant: Escape the Echo Chamber...

I was reminded about this idea when "pierce sisters" wasn't nominated for an oscar. Everyone was so shocked, since it had won every major animation festival. A similar thing happened with Joanna quinns "dreams and desires" (another fav of mine) which wasn't even nominated! Instead of blaming the academy (which people LOVE to do), i think you need to realize that animation is often an echo chamber, and what you may think is common knowledge, happens to be only common to animation people (an incredibly small, often lame, bubble). I believe in the effectiveness of finding other crowds, and "crossing over" to them, diversitize. Most people, even artists, don't know what Aardman is, or Plympton, or glen keane. That's just a fact. and actually, there's even echo chambers within the industry, for example, i could not tell you a single creator of any cartoon network show, they don't cross over to my independent world. As an animator, most of us are qualified to dabble into many fields. ie, I'm not a huge fan of Gary Basemans art, but he excels at being diverse, working in many facets of the art world.

"Firebird" a Modern Disney Triumph.....

I have no idea why "Fantasia 2000" isn't heralded to be just as great as the original "Fantasia". and just like the original used "Night on Bald Mountain" as the grand, enormous finale, "Fantasia 2000" uses Stravinky's "Firebird". It's a reminder of what drawn animation can accomplish, especially when combined with truly great music, like Stravinsky.

New Commercial...

Take a look at a recent television spot i produced for a breakthrough hearing device. I've always enjoyed doing commercials, and have never considered producing them as "selling out", actually i think it's very legit, and can be really artistic and challenging. this spot was a record production time for me, we did the whole thing in under two weeks, including post. you'll probably recognize the similar look my Zoloft work, which was the clients specific request.

Andy London's "Letter to Colleen"

Andy and Carolyn Londons new film "Letter to Colleen". I'm not a huge fan of the roto-scoped style, so perhaps it's the honest and daring writing and overall feel that makes "Letter to Colleen" one of the strongest films I've seen in some time. It's a place that I wish more animators would travel to, deep into their own personal realities to share something that defines not only who they are, but the world and our society in general, what we hate as well as what we love. It's that special type of story that can only be drawn from personal experience, and when shared, enlightens us all. "Letter to Colleen" shows us a shred of what animation can accomplish when it leaves typical storytelling conventions behind. Here's a great article about the film, which premiered last year at the Hamptons film festival.

Help Emru Townsend!

Animation writer and critic Emru Townsend was recently diagnosed with Leukemia and needs to find a matching donor for a bone marrow transplant. His best chance to find a match comes from a donor who shares his ethnic background, he's the Son of two African Caribbean parents, a further challenge is the fact that blacks are underrepresented in Bone marrow registries worldwide. There is info about Emru and how to register to become a donor at Healemru.com. a site his folks set up. Please pass this call for help to your friends, maybe there is somebody that can help. Emru is pictured above, at the Ottawa Animation festival, hanging out with Ward Jenkins and myself.

Rant: Persepolis should have won the Oscar...

Was I the only one that was disappointed about Ratatouille winning over Persepolis? Persepolis is a ground breaking film, the subject matter is serious and educational (it's practically a doc for those of us who don't know anything about the fascinating history of Iran) and is delivered in a heartfelt and entertaining way. The film is also incredibly timely, in a day where tensions are so high due to a clash of civilizations. It really proves that a medium that is too often dismissed as "for kids" can carry a mature theme, even with a limited style. btw, there's some great animation in this film, it's basic, but nicely timed. If you haven't seen it, I highly recommend checking it out. Oh, and totally not related, but the director Marjane Satrapi is a total babe.

South Dakota State University Retrospective...

Imagine "Fargo", but filled with really cool people, amazing food(best burgers ever), and a curious lack of cold weather. That's what South Dakota was like. I had a great time at SDSU! it's a random place to travel for a screening, but ended up being one of my best attended shows ever. I had a blast hanging out with the SDSU faculty, who were just the best hosts a new yorker could ever ask for! Professor Cable Harding showed me around, and hung out with dept. head Dr. Norman Gambill, who makes the best martini ever. Images above: me talking too much to the crowd, I probably just should have shut up and showed the dang films.

Closer Look: Night on Bald Mountain...

Have you sat and watched "Night on Bald Mountain" recently? It is a sobering experience to be reminded what fine, truthful, and master-crafted animation can accomplish. This segment of "Fantasia" encompasses so many elements of quality film making, that I'm finding it hard to even discuss, you may try reading this article by Michael Koresky. I'm simply in awe of this segment of Fantasia and it's accomplishments. I can't possibly begin to point out all the great aspects of this animation.Above, It begins with an incredible opening, the image of Chernabog coming to life on the precipice of a steep rocky mountain. The simple but dramatic and raw power in the drawings of Bill Tytla is enough to give you the chills.Turning into a multimedia technique(which happens throughout), we see ghosts and spirits, brilliantly rendered in pastel, or by using camera effects, rising from the ground, and riding up toward the mountain. There are moments of true brilliance through horrific imagery of demons, spirits, and lost souls. One of my favorites is the realistically rendered dancing female figures in flames. Most of the demon characters end up be morphed into sacrificial beasts, or simply cast down into flames after a playful exchange within hands of Chernabog. "If it’s the enormousness of Fantasia that still reverberates to this day, then it’s the film’s beatific final statement that still manages to surprise" That quote sums up the ending of "Night on Bald Mountain", as well as the ending of the feature itself. the animated rendition of "Ave Maria" is an incredible victory over the evil imagery that came before it. So, in closing, next time you get into a discussion of "Sponge Bob", or "Family Guy" (and yes, you CAN compare them, one is crap, one is brilliant), remember what has truly had an impact within art history, and re-discover what powerful, quality animated content can be. Cease this artform!!!!

A Rant: "Story" isn't all that....

Nobody ever challenges the idea that if you don't have a good story, you can't make a good film. This is not true. There are elements just as important, and in my opinion, even more important than story. I'm talking about CHARACTER, CONCEPT, and IMAGERY. I love a good story as much as anyone else, but it's simply not the only key ingredient. Perhaps this is yet another influence from me getting into fine art; painters do not use story, they use mostly concept and imagery. And i've found that my favorite films and animation are of this same spirit.
Above, an image from one of my favorite films of all time, Ron Frick's "Baraka", a film that has no story, just beautiful mind blowing IMAGERY of our world and it's people. Pictured above is the memorable "Kecak" Balinese dance sequence. haven't seen this film? run to netflix.
Above is a still from Richard Linklater's "Dazed and Confused" a great movie that has no real story whatsoever, yet you just don't want it to end, you're attached to the CHARACTERS, you can just keep watching them, doesn't matter what their doing. it's the type of film like "Trees Lounge" where you feel like the movie is still going, playing out right along with the lives of the characters.
And of course, a still from Fantasia, several individual sections of this masterpiece have strong story (sorcerers apprentice, night on bald mt), but the element that makes Fantasia epic is it's connection to the music, and the CONCEPT of great classical music guiding the IMAGERY as a whole. I'm thinking about this stuff a lot lately, because i'm neck deep in a film that is dependent on imagery and music (Masks), and ironically, i think people will probably say it has the best "story" of any of my films. It's an easy mistake to confuse "Story" with "Concept". more on that another time.

School me: Hedgehog in the fog....

I will be the first to admit that I don't understand why the acclaimed work of Yuri Norstein "Hedgehog in the Fog" is an important film, it's OK, i like it, but for so long I heralded it as a masterpiece, not knowing why. I spoke of it because as an animator you're SUPPOSED to admire that film. But I just don't see it anymore. Maybe I'm stupid, and I don't get it, maybe I don't fully appreciate stop motion, maybe i'm too stuck on drawn animation(admitting biased). But I suspect, it's another piece of the brainwashing that goes on in art school, and I still have traces of it. At the same time, you will rarely hear about how brilliant the "rite of spring" is in fantasia. which, in art school, is quickly classified at disney stuff. There are several films like this that, after animating now for over a decade (i'm a friggin' child to this art form), i'm beginning to see an overstated value. again, nothing wrong with these films, they are quite good, but i don't get the pedestal they are placed on. Someone school me!

Overlooked: Flowers from "The Wall"...

This sexually charged flower scene from the wall is one fine piece of animation. I really think that a good piece of animation has more to do with the overall IDEA than it does with STORY. Story is nice if you're telling a long tale to kids, but expressing an IDEA is acting more of a painter, and less of an entertainer. Leave character antics aside, leave jokes, gags, all that crap. it's the concept that has the punch. It's also the visual display that works here. People have asked me where I got the idea for "DRINK", and honestly, although this may be a let down, I simply wanted to draw something cool, something that would express a simple idea and would look rad. This piece from "The Wall" is interesting to me personally because i usually shy away from overtly sexual content, i think it's easy. But this goes beyond simple sex content, and really explores the STRUGGLE that is always inherently present during a sexual relationship.

Saturday Screening of "PUPPET", NYC...

Come out and see my last film "Puppet" screening at the New York Downtown Film Festival this Saturday, Feb. 16th, 8pm. DUO Theatre 62 East 4th St., East Village. Should be a good show. See you there!

Photos from Riot Opening...

The show was packed, despite the insane snow. Riot is an incredible space, and really knows how to throw a party. The biggest thank you of the night goes out to Riot's event coordinator Dean Mathiesen.
So, pictured above is me (name in way too large lettering) with rocking animators from Pratt, from left, Lee Rubinstein, Katie Cropper, Manny Rodriguez, Maya Edelman, Isam Prado, and Anthony Lamberti.
Above is me, Noelle Vaccese, and animator Arthur Metcalf. Big thanks to Noelle, my fab assistant, who saved my life this past week.
Here is a photo of animator Bill Plympton, me, Sarah Phelps, animator PES, writer Amid Amidi, and leaning into the show is no other than writer/artist CC Edwards.
Patrick Smith and Barbara Kearney. Barbara was my first ever (totally over-qualified) assistant, back in 2004, and now she has gone to become a big shot at Technicolor, I was stoked she made it to the opening. The show will be up through March, Please let Dean Mathiesen, or Noelle Vaccese know if you want to come by and view the paintings.

RIOT PSmith Gallery Show...

Photo: from my show last sept., standing in front of Colossus! If you're in New York, please come by RIOT Tuesday night to view over 10 new paintings, and drink the night away! (well, kind of, it ends at 10) I'll be showing several large canvas's as well as plywood "street art" cut outs. I just got back from the space, and it's looking pretty dang nice! So I hope to see some of you bloggers there, and def say hi, I have a special gift for anyone who tells me they came because of this blog! ciao- patrick.

NYC Performer Reggie Watts....

I saw this dude in a variety show here in Tribeca last month, and it was insane. He's a brilliant experimental musician, and his stuff just pulls you in. it's totally addictive. I'll try to describe his stuff... it's a mixture of human beat box, pop culture movie references, comedy and improv, with some kind of sampler machine. I was blown away to learn that he does most of his stuff add lib. and most importantly, it's just some groovin' home grown beats. really, check this dude out. In addition, I was walking down Rivington st the other night with Amid Amidi and we bumped into him and his buddies, i told him his stuff was nuts, and he seemed like a legit fella. i'd kill to collaborate with this dude. I'm borderline obsessed with experimental music like this, partly due to my collaboration with Karl vonKries for "Masks", which is going well. ciao

FANTASIA thoughts....

Above is the mushroom dance, part of the Nutcracker suite by by Pyotr Ilyich Tchaikovsky. If you don't own the two volume Fantasia set, go now and buy it(jeez!) . Everyone should own this, the extras alone are worth the cost.

I believe that Fantasia is the most innovative, experimental, groundbreaking, quality, thought provoking, amazing animated feature of all time. It must kill "disney haters" and avant-guard gurus that one of the most experimental and revolutionary pieces of film came from Disney, and furthermore, they actually used Mickey Mouse(the symbol for hollywood and capitalist evil worldwide) in one of the best segments! I friggin' love it. I can hear hundreds of annoyingly artsy animators groaning at the thought. Also, I have to point out how amazing Fantasia 2000 was. I think they did a great job extending the concept into this millennium, it surprises me how little you hear about Fantasia 2000, perhaps, like it's predecessor, it will take a while for it to be truly appreciated.

Great "Star Wars" post by Mark Kennedy...

Mark Kennedy nails it once again, with possibly the best crit of this 70's masterpiece I've ever read. Star Wars is just such a brilliant film in so many ways, and Mark points several things that will really get you thinking about the elements that make quality visual storytelling. "Star Wars" is one of those movies that I think every filmmaker should watch every year. right along with pulp fiction, ET, and the shawshank redemption:)... maybe american history x for the curb stomping scene.

"Most people think a flowery exchange of dialogue between two characters or a long monologue from an actor to the audience is what "great writing" is but I totally disagree. Ninety-five percent of writing is structuring the events of the story correctly so that they are in the right order, build properly and resolve themselves in a satisfying (and hopefully surprising) way" -Mark Kennedy

Bozzeto's Ravel-Bolero....

My favorite segment of Bruno Bozzeto's Allegro Non Troppo has to be the coke bottle piece done to Maurice Ravel's Bolero. It's one of my favorite pieces of classical music of all time, and it works with Bruno's storytelling perfectly. To those of you who have not seen this piece, relax and enjoy, it's a bit long but totally worth it. The DVD is available on Bruno's site. On a personal note, I was able to spend some time with Bruno two years ago while he was visiting New York, and he's truly an amazing guy, filled with laughs and knows how to "arrive" at a party, although his gaggle of stunningly beautiful italian daughters may have helped a bit.

Influence: Animator and Muralist "Blu"

(image: left is a detail from a Blu mural, right is a psmith painting)I have just recently come upon the work of Blu. It's one of those rare circumstances where another artist is creating very similar images to your own, but neither of you are in contact or even know of each others work (albeit, Blu is certainly more widely known). The obvious thing i'm drawn to about his work is the way he builds larger configurations out of smaller, individual figures, and then puts these pieces in the public view, murals in his case(read importance of scale entry). But I also love the somewhat awkward rendering of his characters, it gives his pieces a level of uncertainty that suggests the outcome of his images are not clear, a brilliant way to be an observationalist (not a word, but you get my jist). after all, what is an observation other than a snippet of time, the result of which is unknown (perhaps predictable, but unknown). furthermore, his animation has that element of "people coming out of people" similar to what I explore in several of my films, especially my film "Drink"(image on right: Drink and a still from Blu's wall mural animation). Another aspect of Blu's work, outside of his murals, is his animation. He is constantly engaged in morphing and breaking apart his characters in a very unschooled(therefore untimed, but it works), raw, smooth, and playful way. Check out his work, most people only know this famous experimental piece of wall painted animation below.

A Rant: The Value of Art....

photo: Michelangelo's Pieta, Leonardo self portrait, Jackson Pollock, John Singer Sargent, Sponge Bob, and Glen Keane's immortalized Beast.
If you stumbled on a material piece of art on the street would you stop to admire it or maybe pick it up? does it provoke serious and quality thought? Is it beautiful (even in a horrific or disturbing sense) Is it made to stand the test of time, will it last? are the materials valuable? is the content timeless, or will it only be understood within the context of what is currently in fashion? Is it created with expert craftsmanship by an artist that knows and has studied the medium? In this way, do we admire the craftsmanship of this piece? Does it add or build upon to a rich tradition of thoughtfulness and quality?
Or, is it pretentious, meaningless, self-indulgent crap that has been deemed important by a cadre of "experts" or critics that obviously know way more than you, setting the importance and price. Or, does it exploit human tendencies to be drawn toward the overtly sexual, controversial, outrageous, or the "candylike shinyness" of new technologies (that often don't look all the great after a while). Is it purely entertainment, meant to be consumed, chewed up and spewed out in a fit of laughter? the only resemblance of aesthetic being it's ability to entertain and charm (has it's place perhaps, but can hardly be viewed as a lofty achievement)

Musician: Karl von Kries and "MASKS"

(photo on left: Karl von Kries and Pat Smith during a visit to Karls studio in Pismo Beach, CA.) Three months ago "Masks" was nearing completion, and then COMPLETELY TRASHED, we can thank Karl von Kries for this. Karl wrote a piece of music which was compelling enough for me to ditch the "man on the street" interview-based concept in favor of an abstract, bizarre, symbolic story. So over a year of hard work and a ton of money wasted. thanks Karl.

Karl von Kries music style is a bit like The Shins getting beaten up by the Afghan Whigs while Radiohead and Jeff Buckley sulk in the shadows. Our first collaboration was on my first film "Drink", and I think the music got more attention than the animation! (photo on right: Karl and Pat recording the sound effects for "Drink" back in 1999) What stands out with Karl is his willingness to experiment and record things that nobody else would, creating atmospheres that match. ie, the music for Drink was fully comprised of sound effects, from yelling to smashing and cracking vegetables. The next film he scored was my 2003 short "Delivery", which was a heck of a lot more traditional in the music sense, but Karl still maintained the bizarre, thoughtful, and perhaps disturbing vibe that was so vital for the context of the film.

For Masks, Karl is at the helm in terms of deciding the pace and timing of the story. The original point of this particular collaboration is that the music will dictate the action. Karl has posted a preview of what to expect on his blog. The story is a tale of exploitation of the weak and the consequences of that ferocious exploitation. In addition, Karl is giving away his 2005 album "Secret Service", check it out at instarmusic.com

Charles Bargue...insane.

Charles Bargue (1826-1883) created what is probably the most influential and famous series of drawing classes in history. The legendary coursework was created in collaboration with his teacher and mentor, Jean-Léon Gérôme. The book "Charles Bargue, Drawing Course" is probably the best investment a student or pro alike could make, right next to "Illusion of Life". The artwork contained within the book can only be described as stunning and awakening!! it will remind you of the rich history we artists must face if we have the slightest desire to contribute. we truly are tiny specks standing on the shoulder of Colossus! I especially like the ref. to greek art, it's amazing that this type of perfection and craftsmanship was accomplished thousands of years ago. furthermore, the bulk of the book is made up of line studies of figures, especially useful to an animator.

Scene from "Notting Hill" is rad...

Ok, don't laugh at me, or lose respect. I call it like I see it despite what pretentious film snobs say. so open your mind a sec and look at this scene from Notting Hill. It's well shot, well timed, fg and bg used well, also very emotional, and effective for the story. I'm actually a big Hugh Grant fan, as well as a sucker for cheezy chic flicks. The passage of time is always a fun thing to deal with in a film, my favorite part of this clip isn't necessarily the technical part of the changing seasons, but the sense that the characters are moving in time (ie, the pregnant lady in the start is with a new born at the end, and the couple in the start are breaking up at the end) also, you just gotta love that Bill Withers song, a classic.

Solid Drawing is the difference....

Arthur Metcalf, Pat Smith, Amid Amidi, and Noelle Vaccese at Kodak. I had an interesting conversation with Amid over drinks last night. We were talking about the difference between works of art that are generally (and unfortunately) clumped together. I pointed out the difference between Jamie Hewlett and Craig Mccracken (see image below). Craigs work will most likely be dropped by art history, but Jamies will continue because his art is solid and not dependent solely on stylistic principles or trends. I love Warhol, but you can't categorize him with a master painter, just like you can't categorize Hisko Hulsing or Borge Ring with Don Hertzfelt (although, i think don can draw way better than he gives himself credit). This all came up after we attended the Kodak screening put on by Signe Baumane, there were such different films all being appreciated on the same level, which is strange, being that some films are crappy gag driven entertainment(produced in a matter of days), and some are highly crafted art. The highlight of the night was all the ooing and ahhing about how difficult and time consuming rotoscoping in flash is. As my traditional animation buddy Guy Barely would say, "wtf man".

New Neighborhood...

Animators Bill Plympton, Signe Baumane, and Patrick Smith enjoy the smallest house warming party of all time. After over six years of living in Soho, I now call the Lower East Side home! I actually lived on the LES back in 2000, but just for a year. It's changed so much I can't even believe it. So far, the most bizarre thing about the new hood is the uncanny amount of times I bump into people I know. other than that I'm really digging the walk to the tribeca studio every morning through the crowded small streets of China town. This city and it's neighborhoods continue to be a never ending source of inspiration and energy for me.

This poster bothers me....

I don't get offended. being offended is for the weak and unsure. but there's something basically wrong with the movie posters covering nyc right now, for the film "Cloverfield". I love disaster flicks as much as the next fella, but this imagery is too reminiscent(and exploitive) of that sept. day that still looms in my, and every other new yorkers mind. those of us who stood on rooftops and witnessed the unthinkable. unclaimed cars and airplane parts, there is still plaster debris wedged into the corners of the studios fire escape. so why does a filmmaker feel the need to depict ground zero in ashes again? this blog says it better than i can. and also, a great article in the New York Times. I don't mind movies that depict the destruction of NYC, it's just that this one happens to use the exact location of the attacks. or maybe i should just chill out and realize that it's only entertainment. The Boston Globe said it best:

“The best thing for New York might be the sight of King Kong tramping through the streets of Manhattan on his way to a fateful appointment at the top of the Empire State Building,” Mr. Page wrote. “For if there is one thing that symbolizes New York’s pre-eminence, it is that so many still want to imagine the city’s end.”