Early View of Inside Out 2

 by Bruce Guthrie

I went to an advanced screening of "Inside Out 2" on Tuesday night. The film opens to the public on Friday.

The film's director is Kelsey Mann who was here in 2020 promoting the movie "Onward".  (And, yes, for those of you who wonder if Disney/Pixar is capable of making anything that does NOT include at least one sequel, "Onward: Return of the Ian" is due out this year.)

Most of the voice actors were back from before (including Frank Oz as one of the guards).  Fortunately, there's no Bing Bong in this one.  

I hadn't watched an animated movie on a large screen in years.  I have to say the animation technology through Disney/Pixar has reached amazing levels.  There were scenes that I initially thought were live action.  (A photo crew was credited at the end of the movie so they clearly were adhering as close as possible to live action when appropriate.)

Having said that, I had a couple of complaints about the animation.  I thought the mouth movements were sometimes a bit off from what the people were speaking -- this is easier to notice on a big screen.  And the light reflected in the characters' eyes was usually wrong -- the character's face would turn but the light reflected in the eye would stay in the same place relative to the pupil.

The story was wonderful as always.  Four new emotions (Anxiety, Envy, Ennui, and Embarrassment) debut as Riley hits puberty and is about to enter high school.  I liked how her parents and friends now had their own array of emotions.

Pixar movies tend to have Easter eggs that are usually missed until your second or third viewing.  The most obvious one this time is a scene where Joy (still voiced by Amy Poehler) finds a room of, well, basically trolls.  Anxiety is projected on a giant screen in the room directing them to generate images of new ways that Riley can fail.  Each of these new failure scenarios is displayed on the giant screen.  Joy rallies the trolls to cease obeying this remote controller.  She succeeds, at which point one of the trolls (might have been one of the emotions) throws something at the screen and destroys it.  This is a deliberate call-back to the famous 1984 (40 years ago!) Macintosh ad where the upstart dude throws the hammer at the controlling screen.  Unfortunately, now it will also remind us of the newer Apple AI-destroys-the-established-order ad which lots of creatives considered offensive.

Folks laughed and cried.  I was thinking though that people didn't laugh as much as I would have expected from a Pixar movie.

The denouement of the movie -- which I don't want to spoil -- is a message that I thought was empowering and obvious for human nature -- a philosophy in line with my news sources -- but I can imagine theocrats in red states condemning the movie for.

The movie ends with a big hockey scrimmage.  If folks are into yet another sequel, Pixar could easily keep adding emotions as Riley gets older but I suspect they'd run into issues because eventually lust would have to be one of the new emotions.

I sat through the credits which was lucky because at the very end, there's a short, final reveal.  Credits these days go on forever since so many people need to be acknowledged.  It seemed to me that about half of the lead staff was female.  (I'm thinking Riley's dad was the only talking "human" figure in the movie who was male.)  I also enjoyed that one section listed 20 "production babies".

A good time was had by all!

Meet an Icelandic cartoonist: A Chat with Animator Gísli Darri Halldórsson, part 2

by Alexandra Bowman

 (continued from part 1)

Alexandra Bowman: So what do you hope that people come away from this film thinking? How do you hope that their daily lives change?

Gísli Darri Halldórsson: I hope people will look at their own life and their daily life, you know? That's why I've made this film for myself. Somebody told me, and I really took that comment kindly, is that somebody said that the film had just felt like a hug.

Alexandra Bowman: I was looking at the comments on YouTube and   the comments are beautiful. You should read them, if you haven't already. Someone said, “This really hit me hard. I feel this is what life is. We're a bunch of lonely people who are just trying to get along together. And this film kind of shows that amidst all the sadness we're going to keep progressing.”

Gísli Darri Halldórsson: It's funny because it seems like nothing's going on, but somebody said there's a lot of movies about Marvel superheroes saving the world but it feels like this is the battle of the everyday people, just people, who have normal jobs. And this is the biggest thing, how do I make life a bit more meaningful?

Alexandra Bowman: Realistically, like these are the battles we’re all are going to be fighting. There's so many definitions and concepts of what it means to see yourself on screen, but this is very much a way for everyday people to see things that they might not expect to be cinema-worthy on screen, in terms of “Wow, this is something that other people are dealing with and these are interesting kind of conflicts all their own as well.” How did you develop the humor in this film? Because there are a couple moments that are pretty dang funny.

Gísli Darri Halldórsson:  I don't know how to answer that…

Alexandra Bowman: Did you get it instantly or did you have to like think it through?

Gísli Darri Halldórsson: Some of them, some of those things have happened. I've seen a moment. I've seen an old man break wind and his wife go “Eww.” I knew I definitely wanted to have it light because I knew it was a really dull subject matter and it was going to be not very exciting. I was trying to go for the silent film format where you don't cut a lot. You don't have that relief, because that didn't seem right with that subject matter. [The film has] one still camera and it doesn't move or anything. So I knew it needed to be light. In fact, during the writing process, my grandparents died and they came into the story. When people die, you just suddenly see the big picture of their life as well. That's kind of what really inspired me about their life - they were married for 65 years or so. I know they got on each other's nerves and stuff like that, but they just had this unbelievable way to turn something into a game, or just make a life out of things. I guess maybe that's what you learn over time, kind of rebelling against the mundaneness. I don't know…

Alexandra Bowman: Rebelling against it, but almost reveling in it and seeing the beauty in it at the same time, maybe rebelling against thinking about the mundane is mundane.

Gísli Darri Halldórsson: It's just like a twist in attitude. This person may annoy me, but we can have fun. I don't know, that's not the right way to say it.

Alexandra Bowman: This is in a way, even though it's so “every day,” and even though it seems boring and unexciting and regular at the time, there a beauty in it, and it probably is different, in terms of what that beauty is for everybody. But there is beauty there.

Gísli Darri Halldórsson: Yes, a little bit refusing to take part in this everyday-ness, you know, without having fun, your own fun, something like that. So I'm really happy because I did, even though the characters aren't really them, the energy between them is from my grandparents really.

Alexandra Bowman: So what will you be doing on Oscar night?

Gísli Darri Halldórsson: I'll be in LA. I'm going to LA soon and we'll be quarantining until the ceremony. So I'm looking forward to that. Obviously if I'm COVID positive, I won't be going. [laughs]

Alexandra Bowman: So you're going to be in the Oscar auditorium then. When your film gets nominated, what does that look like? Do you get an email or…

Gísli Darri Halldórsson: I just have to watch the live show and then you get an email later after that.

Alexandra Bowman: You don't get anything in advance?  You find out that your film got nominated at the same time as the rest of the world?

Gísli Darri Halldórsson: Yeah. Also when it was shortlisted, it was the same. I heard they I think I have Price Waterhouse Cooper to hold the envelope of the results, so nobody knows apparently who wins and stuff.

Alexandra Bowman: How do you submit a film to the Oscars?

Gísli Darri Halldórsson: Well, it has to be eligible, so they have a rigorous process. You have to go through to make it eligible. And to be honest, I have to say, I was just happy that it was eligible. That was my peak. And then I got nominated and I'm on cloud nine.

Alexandra Bowman: What makes a film eligible? Is it length requirements or what does that look like?

Gísli Darri Halldórsson: Yeah, a lot of requirements. It has to win in a certain film festival or be screened in a major city for a week in the cinema. Some other ones - obviously the year counts as well.

Alexandra Bowman: What do you hope wins the best animated feature Oscar? Do you have preference for those?

Gísli Darri Halldórsson: I've seen Soul. It's beautiful. I really like it. I have a three-year old, so I haven't been able to see a movie in a long time. I managed squeezing Soul there, but I'm hoping to use the time in quarantine to see them. Cartoon Saloon did WolfWalkers. I'm always a fan of them. I went to the same college as the founders of that studio.

Alexandra Bowman: Speaking of filmmaking, what is your next project?

Gísli Darri Halldórsson: Oh, I have a few. I'm not sure which one is next. I think after this Oscar discotheque I'll know better, but I have a book that I want to do that’s almost ready. And I have a TV series and a live-action film and an animated film.

Alexandra Bowman: Any sneak peaks or into what they're about?

Gísli Darri Halldórsson: No. I burned myself on this before, about revealing something too soon that takes a bit of the edge in your head about it. I've learned that hard lesson before, but believe me, I want to say it…

Alexandra Bowman: Do you have anything else that you want to say to the masses about filmmaking or inspiration or art, creativity, any of that?

Gísli Darri Halldórsson: I don't know. I don't think so. Probably when I'm in bed tonight, I’ll go “Aha! I have this golden nugget that I could have shared.”

[End part 2, as the conversation turns to Georgetown University and basketball…]

Meet an Icelandic cartoonist: A Chat with Animator Gísli Darri Halldórsson, part 1

 

By Alexandra Bowman

Georgetown University student Bowman interviewed the Icelandic cartoonist Gísli Darri Halldórsson as his short movie Yes-People is nominated for an Academy Award (it's online at the New Yorker's site). They spoke via Zoom for the Hilltop Show on April 12, 2021 (and the video will be appearing there soon) and the edited transcript follows the press release background information (so we don’t have to rephrase all of the information on Halldórsson’s career.)

Gísli Darri Halldórsson’s animated short film YES-PEOPLE shares a story about an eclectic mix of people finding a way to cope with life’s daily struggles. After premiering at the Minimalen Short Film Festival in Norway, the film went on to win numerous awards and has just been Oscar® Nominated for the 93rd Academy Awards® in the Animated Short Film category. Icelandic Animator and storyteller Gísli Darri Halldórsson graduated with a BA (hons) from the Irish School of Animation (Dublin). He has been a professional animator since 2007. Notable films he worked on include the Oscar nominated short GRANNY O’GRIMM’S SLEEPING BEAUTY, the Oscar nominated short THE ROOM ON THE BROOM and Bafta award winning TV-series THE AMAZING WORLD OF GUMBALL.

Gísli has also worked in live-action doing storyboards for Nordic noir series TRAPPED (Series 1) and Icelandic feature films such as VULTURES and I REMEMBER YOU. His narrative music videos such as WHATEVER by Leaves, received a nomination for best music video at the EDDA Awards (The Icelandic Film & TV Academy) and THE GREAT UNREST by Mugison received best music video of the year at the Icelandic Music Awards.

Just some of the accolades YES-PEOPLE has received include the Best European Short Film at the Wierd International Animation Film Festival in Spain, the Children's Choice Award Nordic Youth Category at Nordisk Panorama in Sweden, the Best Nordic-Baltic Short Film at the Frederikstad Animation Festival in Norway, the Audience Award at Uppsala Short Film Festival in Sweden and many more.

YES-PEOPLE was written and directed by Gísli Darri Halldórsson produced by Arnar Gunnarsson as well as Halldórsson for the production companies CAOZ and Hólamói. Just some of Gunnarsson’s work includes the animated TV Series’ TREASURE TREKKERS, TALKING TOM AND FRIENDS, ELISA: RESCUE TEAM ADVENTURES, the animated feature LEGENDS OF VALHALLA and more. International sales are being handled by Magnetfilm. The film was supported by the Icelandic Film Centre.

Alexandra Bowman: I am sitting down today with filmmaker Gísli Darri Halldórsson, the director of the animated short film, Yes-People which has just been nominated for best animated short film at the Oscars, the 93rd Academy awards. Thank you so much for sitting down with me. I'm so excited to hear from you about how this film was made.

Gísli Darri Halldórsson: Yeah, thanks for having me.

Alexandra Bowman:  How did you develop the concept for this film - in which the idea is that people use one word, a minimum amount of communication to go about their daily lives, and express a whole range of emotions and feelings and situations to each other?

Gísli Darri Halldórsson: So a long time ago I was talking to my Irish friends and I was explaining to them this concept of the Icelandic “Yes” which is “Já,” and how it's ridiculous how often it’s used in Icelandic everyday speech to the point where our neighbors and Faroe islands call us the Yes people. They were just laughing at it, and it just got me thinking about a film with only one word. And then I started thinking about the semi-silent film format, which is I'm sure it has been done before, but I really wanted to pursue that. Animation is a performance that has a lot of gestures, and you control over every single pixel, so you can really be pretty polished with the performance. At the same time, I was also obsessed with routines and habits and I was sort of terrified about living my life in a loop and not growing at all. I kind of married those two ideas together. I thought it would help to have characters who are living their life in a loop and they can only say one word as well. So it was a marriage of the two ideas. I feel like the yes thing is like butter and the habit routine thing is like the bread underneath.

Alexandra Bowman: Did you start making this before or after March 20,20? When did you start making it?

Gísli Darri Halldórsson: The seed, the conversation with my friends was in 2012. So yeah, in2013 I started writing and designing the thing, but yeah, there was like a five-year period of just finding tiny pockets of time between freelance jobs to work on it. I got a production grant from the Icelandic film center and worked on it until the end of 2019. Yeah. So it was completely a coincidence that it kind of fits with the COVID situation. I think it  has another level maybe that was not planned.

Alexandra Bowman: It's interesting to hear you talk about it in terms of the loop, because for me, at least living at home has really showed me the little habits and ruts that I tend to get into. The pandemic emphasized all the little things in life that you might not notice when you're kind of stuck in your own world.  What have you been doing over the last year and how has it helped your creative process?

Gísli Darri Halldórsson: I was following the film and it did really well in film festivals. It’s gone into a lot of lovely festivals, but I didn't manage to see it at all with an audience except in Iceland, which was a lovely experience. And yeah, that's a lot of work. I think there's probably more work doing the online … the COVID festival work. I don't know. It seems like it seems like more work somehow. But, I was working also offsite for a London based animation studio called Blue Zoo on show called Paddington …

Alexandra Bowman: Paddington! Are you serious? Oh, I'm a big fan. Big fan. Big. I have a plush Paddington right here…

Gísli Darri Halldórsson: It’s a lovely show from Nickelodeon. They're doing a really good job. Now I'm on another show, but I guess that's, that's been the benefit for me in the COVID situation. Remote work has been more for me, because I live in Iceland and there's not a lot of animation work on offer. I was kind of living my life in a bubble, like in the COVID situation, because I was working a lot from home before, even as early as 2009. So maybe that's why I started thinking about this because there was a lot of just being in the house, working.

Alexandra Bowman: Because you have been doing this longer than any of us, you gave us a preview of what it would look like. How do you typically look for inspiration for your work? What gives you the creative spark?

Gísli Darri Halldórsson: I feel like inspiration just happens. Something comes in front of me and I go, “Wow.” I think for this film, it was a very long time project. You know, if you have an inspiration to do a film, you can you can lose momentum. And I think a lot of films end up that way; it becomes a chore. I think there's a lot of unfinished films and books and all that, but I think what helped me is obsession. Finding an obsession and an inspiration, because there you have a natural tendency of the brain to go somewhere and it seems unresolved. So far that's my wisdom.

Alexandra Bowman:  Because you're already thinking about something so much. You probably dwell on it a lot and explore it and think about the nooks and crannies and the ideas. So it would be easy to go and make a whole movie about it. What did you consider while designing the characters in this film? Because they have that kind of beautiful rubber-hose stylized look, but they're also in a hyper realistically-rendered world. And I always think that juxtaposition is really interesting.

Gísli Darri Halldórsson: So actually, the world is photographs. It's animated against photographs, but I know what you mean. It looks almost unreal because I took [out] all the color and I recolored them, which makes them slightly less like photographs. And there are some props in there that are 3D, but the reason I chose that style is that I wanted to have that feeling of…  there's something about those sort of caricatures that for me, they're like interpretations of a spirit as well. It’s almost like the spirit version of a person. And I just wanted to have that sort of characters that seem to have a lot of potential and they're stuck in this real world. So that was the idea - to emphasize their stuckness. They don't quite sit in their world.

Alexandra Bowman: Right, you want stylistic contrast between the people and then the world that they're living in? What did the process look like as you developed the characters from like beginning to end? Does it start with a sketch maybe?

Gísli Darri Halldórsson: Some of the characters that are based on people that I know. And I think a few of them have realized this, but they're not completely the character, sometimes it's just the look and the person[ality] might come from someone else. I tried to avoid arbitrary designing. I tried to have something as an anchor. So for instance, the bitter alcoholic lady, she has a huge hairstyle. I started off from, “Oh yeah, I want this person to be kind of like living in a dark cloud so big that, you know, nobody can approach her really, unless she has her hair in her curlers.” Then there was the music teacher who was based on a bird, like this idea of somebody who likes to sing naturally. Those sort of just little things. There was always one idea, just as a starting point.

Alexandra Bowman: How many drafts do you usually go through for one character?

Gísli Darri Halldórsson: I can't say. Some were really easy. The music teacher was really quick and really hit and there was one character, the old man, he was too similar to the fat person in the film. I didn't want people to go like, “Oh, who's this guy?” I also tried to make them a different color or different from each other, so you just immediately know, so I had to redesign him quite a bit. And so I can't really say how long it takes; it's such a hard thing to measure that nebulous five-year period where I was just working. Sometimes I was working for nine months and I couldn't do anything on the film, and then I'd get like a month to work on it, so it was hard to say.

Alexandra Bowman: My vantage point as a 21-year-old, currently taking some animation classes, might be hard for people like myself who are used to the social media model of “you produce something, you post it, you produce something, you post it” kind of like feeding the beast, feeding the algorithm. Do you have to fight that in yourself? I finished a little short film a while back, but it was tough for me to work on something for that several month-long period of time.

Gísli Darri Halldórsson: Absolutely. It is tough. I'd say I came from the blog generation, so I was posting drawings and stuff on my blog, and there was no “likes” or stuff like that. It wasn't as addictive in terms of, “Oh, how are people liking this one?” Right. But still you check the weekly hits and stuff, so I definitely know exactly what you're talking about. I really thought, “I really enjoy doing this blog. It's great for my visual development and my thinking, but I'd really like to do a long-term [piece]. All the work that's gone into this blog could have been a film as well.” I think really the key was finding the inspiration in the obsession. I just remember thinking, “I know it's going to take a long time to make the film. I really need to find something or work with something that I know is going to have the oil to last.” And it was hard. It was a hard film to finish, but I think the key for me was I always had a sense of meaning, because I was working on something that was quite close to me and something that I was concerned with, and interested in.

Alexandra Bowman: What would be your words of advice to a college student or recent graduate who has always been interested in filmmaking, but hasn't quite gotten the boost to go make their own film? What would you say to them to help get them off the couch and into their little studio?

Gísli Darri Halldórsson: First of all, I would say not everybody needs to make a film. I think it's also finding your voice. What do you really want to do? I think a lot of artists, really talented artists, they think about their ideal self and think, “Oh, I should do a film,” but try first, listen to your real self. What do you really want? It's really hard, because our environment is constantly telling us what we should do. There's so many little systems that are tricking us and seducing us into this. But a part of, you know, the subject matter of the film is talking about what do you do with your every day? It's like looking at a huge painting that's either beautiful or sad or horrific, but if you go zoom in on a tiny square, it's completely meaningless and it's ugly, or it's dull and it doesn't have any meaning. But if you know the big picture, it is actually a really important part of that picture obviously, and that's how I think I view habits and routines. T might be helpful for younger people or anybody actually, who wants to do something over a long period. I read a book, I I'm sorry, I can't remember the name, but it was some reporter or journalist who had gathered all these habits and routines of politicians and scientists and artists. It was just like a little book like that. And it was super interesting to see their day-to-day life. It was really dull, but the work that these people produced! It was all the big artists such as Picasso and all these people had some really funny routines. Gertrude Stein apparently liked to go every morning with her girlfriends to the countryside to sit in front of a cow and write.

Alexandra Bowman: (laughing) They're serene. They are inspirational. I aspire to that level of peace.

Gísli Darri Halldórsson: I know it's cliché, but if you write for 10 minutes every day for a week, suddenly in a week, you're so invigorated and your day has meaning. If you do that in a year, suddenly the year doesn't seem like a blur anymore. I think it's like the first thing people should think about. Figure out what they want to say, who they are, who the real them is -  the ideal version, and just kind of chip away every day and in a year, maybe they'll that at least they'll be happy with what they put their mind to. I also experienced it first hand because I was really not good at drawing. And there was that same thing, my drawing teachers saying, “Oh, if you draw out 15 minutes a day, you'll be amazed in a month.” Obviously you do [better] under the direction of a teacher of course, but yeah, it's unbelievable.

Alexandra Bowman: Last year at the start of quarantine, I challenged myself to draw one cat every day in April. And just because I would feel bad for skipping a year, I'm doing that again this year. Even after a week, I feel like I've improved and I already draw most days. But for some reason, focusing deeply on something over the long term or doing something little every day helps add up.

Gísli Darri Halldórsson:  Your mental health is just also for your happiness, to have meaning in your life. There's nothing sadder than just thinking, “What did I do last week? Like what was I doing?” and there's nothing, you know?

Alexandra Bowman: Yeah. I kind of enjoy looking back at my Instagram and what I've drawn and thought, “This is evidence that I existed, just to myself. Maybe it probably won't be remembered in 50 years or whatever, but at least I know that I was alive and I was thinking and creative and used this time.” I think that's really interesting.

(continued in part 2)

Of Trees and Beasts

by Steve Loya

Yesterday, Kris and I went to see the movie A Monster Calls in the theaters. Words can't really describe this sad and beautiful film, but I felt a real connection to it, as did Kris. It might have had to do with the monster and trees - two things I love, especially when combined, as well as the story, not to mention the strong emphasis on the power of art and imagination. The acting and the visuals were incredible as well, and I'm hoping for a Blu-Ray release of this gem, if not on DVD at least. I dug into my Splotch Monster archives for two (of many) Splotch Monster/tree mash-ups from recent years, that reminded of the wonderful giant tree beast in the movie. Below is a trailer for the film. A Monster Calls is one of those truly special works of cinematic art that only come around every once in a while, and I recommend seeing it to anyone who appreciates good film.   -Steve

DC (Comics, that is) fan films

Chris Cowan must have noted my "Films and TV Adaptations" book and sent in the following note the other day. I've got to say that I'm a big proponent of the idea of fan films. I've seen some really good ones. In Japan, this type of fan participation with fans writing comic books and having whole conventions devoted to them has been popular for years. And I really loved What If (Marvel) and Elseworlds (DC) before both companies went for that extra dollar and published too many to keep track of. Anyway, here's the note:

I'm a filmmaker who loves making films dealing with SciFi and Comicbook Universes. Lex Randleman (a long time friend of mine and aspiring comicbook writer) and I are creating a new webseries for DC Fans called "Elseworlds". Its based upon the DC Comics Elseworlds series where heroes are taken from their usual settings and put into alternate realities. (All done just for fun out of the love for the DC universe - No Budget). They will be a series of five 2-8 minute original story webisodes dealing with some of the famous characters in the DC Universe (Different groups of characters but following one linear story arc overall). Part 4 should be up in the next week and a half. Please take a look for yourself. We're trying to do something really different. Its not your average fanfilm.

A little bit of info:

Chris Cowan (24 yrs old - The Ohio State University Graduate: Film Production Focus) - Director/Editor/Camera/Cyborg
Lex Randleman (24 yrs old - The Ohio State University Graduate: Creative Writing Focus) - Writer/Concept/Costume/Mister Terrific

DC Elseworlds Part One - "Fair Play" : http://www.youtube.com/watch?v=sseVgcEmx1A

DC Elseworlds Part Two - "Titans" : http://www.youtube.com/watch?v=aFQ3UjeLcRE

DC Elseworlds Part Three - "What's in a name?" : http://www.youtube.com/watch?v=iguQCdU1K_o

OT: Film & TV Adaptations of Comics - SOURCES & BIBLIOGRAPHY

SOURCES & BIBLIOGRAPHY: (Additional article and movie review citations can be found in the Comics Research Bibliography (CRB) at http://www.rpi.edu/~bulloj/search/FILM.html)

With the current (2003) profusion of comic book movies and tv shows, this area has not been updated as well as I would like. At the end are appended some notes about other material that exists. A search of the CRB would also reveal post-2000 articles and books.

a. Main sources:

Castelli, Alfredo. Here we are again, the first 25 years of American Comics. forthcoming.
Crafton, Donald. 1993. Before Mickey: The Animated Film 1898-1928. Chicago: University of Chicago Press.
The Internet Movie Data Base (http://www.imdb.com/)
Worley, Rob. Comics2Film website, http://www.comics2film.com

b. Other publications:

*Alaniz, Jose. 2006. "Petr Khazizov: Manga (2005)" [review]. KinoKultura: New Russian Cinema (July):
http://www.kinokultura.com/2006/13r-manga.shtml
Albuzzi, Oreste and Francesco Moriconi. 2000. Cinema and Comics.
http://www.mix.it/utopia/nuvole/downd.htm.
Andrews, Wendy & David Odell. 1984. The Supergirl Storybook. New York: Putnam
Armour, Robert A. 1987. "Comic strips, theatre, and early narrative films: 1895-1904." Studies in Popular
Culture 10(1):14-26.
Ashman, Howard. 1979. Mandrake The Magician [novelization]. New York: Ace.
Associated Press. 1999. Disney Must Pay $9.3M Judgment [for failing to use Franquin's Marsupilami].
Associated Press (March 26).
Atkinson, Mike. 1995. "Delirious inventions - Why have comics and cartoons from Popeye onwards so
often been translated into live action movies?" Sight and Sound 5(7):12.
Bails, Jerry. 1996-8. Who's Who 0f American Comics Books, 2nd ed.
(http://www.nostromo.no/whoswho/download.html)
Baiss, Bridget. 2000. The Crow: The Story Behind The Film. Oliver Books
Barnes-Svarney, Patricia L. 1998. Sabrina the Teenage Witch Salem's Tails #2: Teacher's Pet [children's
novelization]. Minstrel Books.
Barnes-Svarney, Patricia L. 1998. Sabrina the Teenage Witch: Magic Handbook. New York: Archway.
Barrett, Neil Jr. 1995. Judge Dredd [novelization]. New York: St. Martin's.
Batrae, Margot. 1999. Sabrina the Teenage Witch #25: While the Cat's Away. New York: Archway
Batrae, Margot. 2000. Sabrina the Teenage Witch #30: Switcheroo. New York: Archway
Baumann, Marty. 1996. The Astounding B Monster #20. (http://www.bmonster.com/profile.html)
Bergen, Lara Rice. 1999. Mystery Men [juvenile movie novelization]. New York: Dell.
Bifulco, Michael. 1989. Heroes and Villains: Movie Serial Classics. Woodland Hills, CA: Bifulco Books.
Bifulco, Michael. 1988. Superman on Television: a comprehensive viewer's guide to the daring exploits of
Superman as presented in the TV series. Canoga Park, CA: Bifulco Books.
Bonifer, Mike. 1990. Dick Tracy: The Making of the Movie . New York: Bantam Books
Booker. M. Keith. 2007. 'May Contain Graphic Material': Comic Books, Graphic Novels, and Film. Praeger
Brady, Matt. 1998. "Mass O' Media." Comics Buyer's Guide #1284 (June 26)
Bullough, John & Michael Rhode. 1998-2003. Comics Research Bibliography.
http://www.rpi.edu/~bulloj/comxbib.html
Canemaker, John. 1987. Winsor McKay: His Life and Art. New York: Abbeville Press
Canning, Shelagh. 1998. Sabrina the Teenage Witch: Becoming a Witch [novelization]. Simon Spotlight.
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Other material: Mark Evanier's article on Li'l Abner movie from the Kitchen Sink reprint book; novelizations including Howard the Duck, X-Men and X-Men 2, Mystery Men, League of Extra-Ordinary Gentlement, Smallville and JLA (children's novels); comic books like Mutant X, Batman: The Official Comic of the Movie (1989), The Mask: Official Movie Adaptation (1994), The Rocketeer: The Official Movie Adaptation, Supergirl Movie Special, and two Dick Tracy movie comic adaptions by Disney - one is by Kyle Baker.


CONTRIBUTORS:
Rodrigo Baeza, Bart Beaty, Robert Beerbohm, Steve Bergson, Stephen Bourne, Robert Boyd, Matt Brady, Paul Braidford, J.K. Carrier, Alfredo Castelli, Michael A. Chary, Danielle Cauzzi, Reinder Dijkhuis, Lionel English, Ron Evry, Balazs Fejes, Tom Furtwangler, Tom Galloway, David Gerstein (and Mark Johnson at King Features), Denis Giguere, Gianfranco Goria of the Centro Nazionale del Fumetto - Anonima Fumetti, Paul Gravett of the Cartoon Art Trust (UK), R.C. Harvey, Charles Hatfield, Bill Hayes, Gene Kannenberg, Mike Kidson, James Kosmicki, Chris Lanier, John Lent, Jeffrey Lindenblatt, Darko Macan, Frank Madsen, Kevin P.Maguire, Andrea Materia, Kevin J. Maroney, Mark Mayerson, Mikel Midnight, Jeffrey Miller, Mark Nevins, Rich Pettus, Chris Pyle, Julien Quint, Tony Rose, Steve Rowe, Antonello Sammito, Jenni Scott, Randy Scott of the Michigan State University Library's Comic Art Collection, Larry Shell, Norman D.W. Shetler, Keith Swearingen, Eric Theriault, Mark Warby, John Weeks, Jim Wheelock, Steve Whitaker, Joseph Witek, Rob Worley

OT: Film & TV Adaptations of Comics - DOCUMENTARIES & PROMOTIONS

III. DOCUMENTARIES & PROMOTIONS:

1000 Ways of Getting Drunk in England (UK 2001, BBC documentary about George Cruikshank)
A&E Biography: Batman (USA 2003; documentary about tv series)
A&E Biography: Stan Lee (USA 19??; documentary tv series episode)
A&E Biography: Lee Falk (USA 1996; documentary tv series episode)
Akira Production Report (Japan 1988; DTV documentary)
Animation Legend: Winsor McCay (USA 199?; DTV documentary)
Anti-German comic books (Canada: Samisdat Publishers 199?; pro-Nazi propaganda as "documentary")
The Bat, The Cat And The Penguin (USA 1992; tv documentary/promotion on Batman Returns)
Batmania From Comics To Screen (USA 1989; DTV documentary)
Before Mickey: An Animated Anthology (USA 1993; DTV documentary accompanying Crafton's book)
Carl Barks: The Duck Maestro (Finland; Good Fellows Ky limited to 1000 copies)
*Cartoonist on the Front Lines (BBC 200?)
Charlie Brown and Charles Schulz (1969)
A Charlie Brown Celebration
Comic Book Confidential (1988)
Comic Book: The Movie (USA 2004; mocumentary DTV features Stan Lee)
The Comic Book Greats (USA 1991-1992; 13 DTV documentaries from Stabur. Hosted by Stan Lee)
Vol 1: Todd McFarlane (1991)
Vol 2: Rob Liefeld (1991)
Vol 3: Sergio Aragones (1991)
Vol 4: Overkill (1991; Todd McFarlane & Rob Liefeld create a new character)
Vol 5: Harvey Kurtzman & Jack Davis (1992)
Vol 6: How to Create by Rob Liefeld (1992)
Vol 7: Chris Claremont (1992)
Vol 8: The Romitas (1992)
Vol 9: Bob Kane (1992)
Vol 10: Jim Lee (1992)
Vol 11: Will Eisner (1992)
Vol 12: Whilce Portacio (1992)
Vol 13: Compendium: the Best of Comic Book Greats (1992)
Comic Book Superheroes Unmasked (USA: History Channel, 2003)
*The Comics Show (New Zealand: TVNZ, Shirley Horrocks, 2007; documentary )
Crumb (USA 199?)
The Duck Man: Interview with Carl Barks (Another Rainbow)
*Ducktators (1997; on WW2 animation)
Freedom Speaks: Comic Books and the First Amendment (1996; tv series episode)
*Funny Ladies: A Portrait of Women Cartoonists (Pamela Briggs, 1988; Cathy Guisewite, Nicole Hollander, Lynda Barry and Dale Messick)
Happy Birthday Carl! Barks (USA: Nineteenth Star, 1997; DTV)
Here's to You, Charlie Brown: 50 Great Years! (USA 2000; documentary)
H.G.O. (Héctor Germán Oesterheld) (Argentina 1998, Víctor Bailo / Daniel Stefanello; documentary - see
www.geocities.com/hollywood/agency/1430)
Hooked On Comix (USA 1989); Peter Bagge, Chester Brown, Daniel Clowes, Julie Doucet, Gilbert & Jaime
Hernandez, Jim Woodring)
I, Tintin (France 19??, documentary video; Herge)
In the Life: Men in Tights (USA 2003, segment on gay comic book characters, originally aired July 7th)
The Incredible Life & Times of Robert Ripley: Believe It or Not! (USA 1999; tv documentary)
Life & Times: Lynn Johnston (Canada: CBC, 1998; tv documentary)
The Line King: Al Hirschfeld (1996)
*Manga (Russia 2005; Petr Khazizov)
The Masters Of Comic Book Art (USA 1987, Mike Mann; Rhino. Documentary includes Neal Adams, Steve
Ditko, Jack Kirby, Harvey Kurtzman, Frank Miller, Moebius, Dave Sim, Art Spiegelman, Berni Wrightson)
Masters of Fantasy: The Anime Makers (USA: Sci-Fi Channel 1998; episode of tv series)
*Najl-Al-Ali: An Artist with Vision (Kasim Abid, 1999)
Neil Gaiman: Notes from the Underground (USA 1998; dtv)
Ooh La La: [gay cartoonists] (Canada 1998; episode of tv show includes Howard Cruse, Joan Hilty (filmed at the
offices of DC), Ivan Velez, and Robert Kirby)
*The Political Dr. Suess (USA: 1999)
Portraits D'auteurs (France: Centre National de la Bande Dessinée et de l'Image; documentaries. See
http://www.cnbdi.fr/BD/edition/portraits.htm)
A la recherche de William Vance (1996)
Jean-Michel Charlier (1996)
Morris (1996)
Alberto Breccia (1992)
Albert Uderzo (1998)
Alex Barbier (1994)
SexTV: Erotic Comics (Canada 2000; tv documentary includes Trina Robbins)
Signe Juillard: Naissance d'une bande dessinee (France 1997)
Super Heroes (USA 1999; tv documentary includes Mike Carlin, Paul Dini, Stan Lee, Todd McFarlane, Dennis
O'Neill, Trina Robbins, Kevin Smith with narration by Adam West).
Superman's 50th Anniversary: A Celebration of the Man of Steel (USA: CBS, 1988, Robert Boyd; tv
documentary)
*Terry Moore: Paradise Found (USA 2005; DTV documentary)
*Tintin and I (Denmark 2003; documentary video)
Todd McFarlane Creates Lotus (USA 1992; DTV documentary from Stabur)
Todd McFarlane's Comic Book "Facts & Illusions" (USA 1992; DTV documentary from Stabur)
Turning Point - Broadway's New Annie: Search For A Star (USA 1997; tv documentary/promotion)
Where Are They Now?: TV Heroes & Villains (USA: VH1 2003; tv documentary)
*Will Eisner, Profession, Cartoonist (Marisa Furtado, Brazil 2001)
X-Men: The Mutant Watch (USA 2000; tv documentary/promotion on movie)
Yours Truly, TH: Nast (1983)

OT: Film & TV Adaptations of Comics - CARTOONIST'S APPEARANCES & WORK IN MOVIES AND TELEVISION M-Z

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