Pop culture can be a funny thing. I don’t mean “Ha ha” funny, although that is also sometimes true. I mean funny as in a head-shaking “Ain’t that a bitch,” kind of way.
For example, yesterday I went to see Ted. I didn’t want to, but it was the Number One box office hit this weekend and my son, the genius, is doing a blog on the subject, and he was in town for the Del Close Marathon. It’s not a very good movie, in my opinion, but I’m not a huge fan of Seth McFarlane. He’s okay, and I will always support him because his work points out the blistering hypocrisy of our shared alma mater . And I like fart jokes more than the average little old Jewish lady.
Still, I found myself tearing up. Did the film have unexpected emotional depth? No.
For example, yesterday I went to see Ted. I didn’t want to, but it was the Number One box office hit this weekend and my son, the genius, is doing a blog on the subject, and he was in town for the Del Close Marathon. It’s not a very good movie, in my opinion, but I’m not a huge fan of Seth McFarlane. He’s okay, and I will always support him because his work points out the blistering hypocrisy of our shared alma mater . And I like fart jokes more than the average little old Jewish lady.
Still, I found myself tearing up. Did the film have unexpected emotional depth? No.
- 7/6/2012
- by Martha Thomases
- Comicmix.com
As a child growing up, I loved cartoons. At that time (the 1950s and early 1960s), that’s a bit like saying that I loved breathing. There were cartoons on Saturday morning, and cartoons every afternoon. The movie theater near my Grandmother’s house had Saturday matinees that were three hours of cartoons.
But I loved comic books more.
My husband, John Tebbel, was the first animation maven I ever met. He not only knew the difference between Disney and Warner Brothers, but he knew the individual directors, and quickly taught me how to spot Tex Avery, Chuck Jones, Frank Thomas and Ollie Johnson. He explained who the Fleischer Studio was and why I should care.
We went to animation festivals in Ottawa, Canada and Annecy, France. I saw films by George Dunning that weren’t Yellow Submarine. I met Bill Scott and June Foray. We would go to the...
But I loved comic books more.
My husband, John Tebbel, was the first animation maven I ever met. He not only knew the difference between Disney and Warner Brothers, but he knew the individual directors, and quickly taught me how to spot Tex Avery, Chuck Jones, Frank Thomas and Ollie Johnson. He explained who the Fleischer Studio was and why I should care.
We went to animation festivals in Ottawa, Canada and Annecy, France. I saw films by George Dunning that weren’t Yellow Submarine. I met Bill Scott and June Foray. We would go to the...
- 4/27/2012
- by Martha Thomases
- Comicmix.com
John Lasseter (left) and Joe RanftYou probably don't know the name Joe Ranft. If you do, you're likely not as familiar with him as you are with John Lasseter, Disney/Pixar head honcho and director of Pixar's first three films as well as their latest, Cars 2, which hits theaters this weekend.
I'm sure other Pixar greats such as Andrew Stanton (Wall-e), Pete Doctor (Up), Lee Unkrich (Finding Nemo) and Brad Bird (Ratatouille) are also more familiar to you than Ranft. Even Steve Jobs, who bought Pixar from George Lucas back in 1986 and then kept the lights on when things looked bleak in the late eighties and early nineties is likely to perk your ears sooner. And as Jobs kept Pixar open for business, it was Lasseter's unflagging belief in the future of computer animation combined with his talent and drive that brought the studio to where it is today.
I'm sure other Pixar greats such as Andrew Stanton (Wall-e), Pete Doctor (Up), Lee Unkrich (Finding Nemo) and Brad Bird (Ratatouille) are also more familiar to you than Ranft. Even Steve Jobs, who bought Pixar from George Lucas back in 1986 and then kept the lights on when things looked bleak in the late eighties and early nineties is likely to perk your ears sooner. And as Jobs kept Pixar open for business, it was Lasseter's unflagging belief in the future of computer animation combined with his talent and drive that brought the studio to where it is today.
- 6/22/2011
- by Bill Cody
- Rope of Silicon
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