Showing posts with label Tarzan. Show all posts
Showing posts with label Tarzan. Show all posts

Wednesday, June 12, 2019

June 5 - Stephen J. Anderson

Image courtesy wikipedia.com
On this day, in 1970, Stephen John Anderson was born in Atlanta, Georgia. Stephen, like so many others in the animation industry, studied character animation at the CalArts School of Film and Video. When he graduated in 1991, he went to work for Hyperion Animation Company. Hyperion was founded by Thomas L. Wilhite, a former head of production at Disney, and is best known for the Brave Little Toaster series. Stephen was an animator on Rover Dangerfield (basically a vanity project written, produced and starring Rodney Dangerfield) and Bebe’s Kids (a box office flop based on the standup of the late Robin Harris). He was also able to cut his directing teeth at Hyperion on the USA Network series The Itsy Bitsy Spider.

In 1999, Stephen became part of the Walt Disney Company as a story artist on Tarzan. A story artist is not to be confused with a storyboard artist who is responsible for drawing the series of sketches that show what a scene might look like as the film develops. A story artist is a screenwriter who makes contributions to the script but not enough to share in a screenplay by or story by credit. By the very next year, Stephen had moved up to the Story Supervisor position for The Emperor’s New Groove. He then continued in that role for 2003’s Brother Bear.

Image copyright Disney
In 2007, Stephen got to step up to the plate and take another swing at directing for Disney's 47th animated feature, Meet the Robinsons. As has become de rigueur, he also provided the voices for several of the film's characters including the villain, Bowler Hat Guy, Grandpa Bud and Cousin Tallulah.  The film garnered mostly positive reviews, but failed to take in much more than its $159 million budget. Personally I think it's one of the vastly underrated Disney films of the modern era.

Image copyright Disney
Stephen followed Robinsons up by providing additional voices for Bolt and as an animator and additional story man on Tangled. He was tapped for a co-director, with Don Hall, for the 2011 Winnie the Pooh feature. The newest adventure in the Hundred Acre Wood was a critical success but not particularly a financial one. It wasn't a flop by any means, making $50 million on a $30 million budget, but opening the same weekend as the final Harry Potter movie didn't do it any favors. Stephen then added additional story elements to the juggernaut known as Frozen as well as voicing Kai, Anna and Elsa's loyal steward. His last feature credit was as an additional story artist on Zootopia. He is reportedly working on a new project as director, but there is no word on what that film might be. What ever it is, we look forward to seeing it and hope it becomes the box office success that Stephen deserves.

Friday, March 1, 2019

February 24 - Chris Buck

On this day, in 1958, Christopher James Buck was born in Wichita, Kansas. Like many an animator before him, Chris was lured into the art form by what he saw on the big screen as a child. His first movie going memory was to see the 1962 re-release of Pinocchio to theaters, and he’s been hooked ever since. Conveniently for his future plans, Chris’ family soon moved to Placentia, a quiet community in Orange County, California. After graduating from El Dorado High School, he spent two years studying character animation at CalArts, where he fell in with the likes of John Lasseter and Michael Giaimo. Then, in 1978, fresh out of room A113, Chris got a job with the Walt Disney Company.
Chris joined the company when it was in a dark period known as the Seventies. Walt had passed away over a decade before and the Disney Renaissance was still a decade away; not a great time to start a career. His first project was as an inbetweener (and later a full animator) for the modest 1981 hit, The Fox and the Hound.  He managed to almost completely avoid participating in the train wreck called The Black Cauldron, partly by doing some work on Mickey’s Christmas Carol instead, but mostly by leaving the company to freelance instead of becoming embroiled in the mess.
Image copyright Paramount
Chris began doing work in advertising, including television commercials for Keebler, while maintaining a working relationship with Disney. In between animating a short, Fun with Mr. Future, and supervising a featurette, Sport Goofy in Soccermania, for the company, Chris began working with another young animator, Tim Burton. He helped Tim storyboard his live action short, Frankenweenie, and later became a directing animator on a short-lived show Tim produced (and Brad Bird created) called Family Dog. During the same time frame, Chris was assisting the fledgling Hyperion Animation Studio with character designs for projects like The Brave Little Toaster and supervising animation for the feature Bebe’s Kids.
Image copyright Disney
As the Disney Renaissance began to appear on the horizon in the late Eighties, Chris was busier than ever and began doing more and more work for Disney (without, as he puts it, becoming an in-house employee). He was an animator on Oliver and Company, contributed to the experimental stuff happening in Who Framed Roger Rabbit, and designed characters for The Little Mermaid and The Rescuers Down Under. When Pocahontas rolled around in 1995, Chris signed on as supervising animator in charge of Percy, Wiggins and Grandmother Willow. He bumped up the food chain even further on his next picture, co-directing Tarzan with Kevin Lima.
Image copyright Disney
While Chris was able to remove himself from The Black Cauldron, he wasn’t as lucky when it came to the 2004 flop Home on the Range. All his supervising on the character of Maggie just couldn’t overcome Rosanne’s performance (or the rest of the film’s udder lack of creativity). Chris made a second break with Disney over the picture, moving over to Sony for his next project. As co-director of the 2007 mockumentary penguin hit Surf’s Up, Chris began to cement his value at the helm of animated features.
The mess surrounding Home on the Range, and the cantankerous departure of Michael Eisner as Disney’s CEO, basically put a lot of top positions at Disney, and in the film division especially, up for grabs. When the dust settled and John Lasseter had been named the chief creative officer of Animation, John sat down with his old classmate Chris for a heart-to-heart about coming back to work for Disney. One of the ideas they talked about was reviving an idea that had been kicking around the studio for years: a musical based on Hans Christian Anderson’s The Snow Queen.
Image copyright Disney
Chris teamed up with Jennifer Lee to co-direct Disney’s 53rd animated feature, Frozen. To say it worked out for everyone involved would be a gross understatement. Jennifer, already the first woman to helm an animated Disney movie, became the first woman to helm a $1 billion grossing film period. Chris had convinced another old college buddy, Michael Giaimo (who’d also had an on again off again relationship with Disney over the years), to be art director on the picture, nabbing him an Annie Award in the process. The Frozen juggernaut has earned its directors multiple awards and spawned sequel featurettes, theme park shows and rides, a Broadway musical and, later this year, a second animated feature, once again led by Chris and Jennifer. In the land of will he/won’t he, Chris is now firmly in the position of he will be spending many more years collecting a paycheck from the Walt Disney Company. And that’s a thought worth melting for.

Wednesday, February 6, 2019

January 30 - Phil Collins

On this day, in 1951, Philip David Charles Collins was born in Chiswick, Middlesex, England. Phil grew up in London, one of two sons (his brother Clive went on to become a well-known cartoonist and illustrator) of a pair of agents (his father was in insurance; his mother was theatrical). When he was five, he received a drum set as a Christmas present from an uncle and immediately took to it, as most five-year-olds do. The difference with Phil, of course, was that he stuck with it and became really, really good.

Music was clearly one of Phil's God given gifts. Supposedly as a young child, he entered a singing contest only to stop the orchestra halfway through his number to inform them they were playing in the wrong key. At the age of 14, Phil began attending the Barbara Speake Stage School for formal acting training. He also began studying drum rudiments under a Big Band style drummer, Lloyd Ryan. He found the rudiments extremely useful as they're used in every kind of music, but he never got the hang of notated music. He fell into the bad habit of using a system he devised himself (based mostly on the notion that if he could hum it, he could play it) and, to this day, is unable to read conventional notation.

Image courtesy of express.co.uk
Phil fell under the influence of everything from the Beatles to Motown to jazz and big bands as he developed his own voice as a musician. He formed his first band while at Chiswick County School for Boys called The Real Thing. When he had switched to a band known as The Freehold, he wrote his first song Lying Crying Dying. But Phil's professional career actually began as a child actor. His first major role was in the London production of Oliver! as the Artful Dodger. He can also be glimpsed as one of the screaming teens in a concert scene of the Beatle's A Hard Days Night. Phil starred in a short British children's film called Calamity the Cow in 1967, but was already deciding that acting wasn't really his thing. He wanted to be a musician.

In 1969, Phil became part of the group Flaming Youth. They released once concept album, Ark 2, that got some good critical attention but failed to make money. After touring for a year, Youth flamed out. Phil played percussion on a song for George Harrison's first post-Beatles album, then came the gig that would change everything.

Image courtesy of udiscovermusic.com
The rock band Genesis was looking for a new drummer and a new guitarist. Phil and his former Youth mate, Ronnie Caryl, managed to wrangle auditions. Ronnie's didn't go well, but, in August 1970, Phil became the new percussionist for Genesis. Over the next five years, he played the drums and sang backup to Peter Gabriel. In 1975, when Peter left the group, Phil again sang backup for the almost 400 auditions the band held looking for a new lead vocalist. The end result was that Phil would get the job. The groups first album with Phil on vocals, A Trick of the Tail, was a smashing success.

Over the next two decades, Phil would lead dual lives, both highly successful. On the one hand, he played hard with Genesis, releasing seven studio albums and four live albums. On the other, he played hard as a solo act, releasing five studio albums and one live album. And none of that includes the numerous times he sat in on friends' recordings and live sets. But all good things must come to an end. Phil and Genesis parted ways in March 1996 so Phil could focus on his solo career. But Genesis fans didn't have to suffer too much. He still joined the group occasionally over ensuing years for both concerts and recordings.

Image copyright Disney
Phil joined the Disney family in 1999 when he composed and performed the songs for the studio's 37th animated feature, Tarzan. While some tunes, like Trashin' the Camp, would reveal his jazz side, it was the lullaby I'll Be In Your Heart that really struck a chord with audiences. Not only did Heart spend a record 19 weeks at number one on the Adult Contemporary chart, it also won Phil a Golden Globe and an Oscar. He was invited to perform Heart live at both the Academy Awards and that year's Super Bowl Halftime show. Tarzan was translated into a record number of languages (well, record for a Disney movie) for the world markets and Phil recorded his songs in several of them including German, French, Italian and Spanish. He would return to the jungle a few years later to help turn Tarzan into a stage show.

Image copyright Disney
On the heels of his Tarzan success, Phil was asked to once again write songs for Disney's 44th animated feature, Brother Bear. This time around he also co-composed the score but he had to forgo most of the singing. Brother Bear, while notable for being the last film produced at the Florida branch of Disney animation, wasn't particularly noted for much else. The only Oscar nod it received was a nomination for Best Animated Feature (which it lost to Finding Nemo, no surprises there). While most of his songs were sung by others this time around (although you really can't complain if you're bumped by Tina Turner), Phil did reach number five on the Adult Contemporary chart with Look Through My Eyes.

In the years following his work with Disney, Phil played less and less and fans noticed he couldn't grip his drumsticks very well. Rumors circulated about sever arthritis attacking the world renowned drummer. The truth is actually worse. During a reunion tour with Genesis in 2009, Phil somehow dislocated a couple of vertebrae in his neck. This affected his hands to the point that he couldn't play the drums anymore. He had surgery on his neck in early 2010, which fixed the vertebrae problem but not his hands. Around this time, Phil announced he was retiring, ostensibly to focus on his family. When he still couldn't play in 2014, he underwent more back surgery. His right hand got better but not the left. The surgery also affected how he walks. Phil has come out of retirement in recent years and has been performing a Not Dead Yet Tour, which is also the tongue-in-cheek name of his 2016 autobiography. While his voice is undiminished, his body is not. He sometimes does concerts from a seated position, is frequently seen walking with a cane and has been known to tape drumsticks to his hands in order to play percussion.

Image courtesy of consequenceofsound.net
None of which should be taken as a sign he's throwing in the towel. Over his decades long career, Phil has won a slew of awards. In addition to his Golden Globe and Oscar, he's won eight Grammy Awards, three American Music Awards, six BRIT Awards and four Billboard Music Awards. He received a star on the Hollywood Walk of Fame in 1999 and was inducted to the Songwriters Hall of Fame in 2003. A year earlier, Phil had been named an official Disney Legend, at the time enjoying the shortest amount of years between his first contribution to the company and Legend status being bestowed after just six years. And, like his latest tour says, he is far from done. He can still croon a mean tune, can still write a hit song, and will probably be getting a call any day now asking if he'd like to join Genesis for one more world tour, you know, for old times sake.