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Page "Ralph Bakshi" ¶ 22
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Bakshi and wanted
Although the series ' first two seasons were successful, Bakshi wanted to leave Terrytoons to form his own company.
Bakshi was uninterested in the kind of animation the studio was turning out, and wanted to produce something personal.
Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could " coexist with neither excuse nor apology ".
After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact.
Down the hall from Medavoy was Metro-Goldwyn-Mayer president Dan Melnick, who interrupted a meeting with Peter Bogdanovich when he learned that Bakshi wanted to discuss acquiring the rights to The Lord of the Rings.
Bakshi wanted to produce a film in which songs would be given a new context in juxtaposition to the visuals.
By 1982, fantasy films such as The Beastmaster and Conan the Barbarian had proven successful at the box office, and Bakshi wanted to work with his long-time friend, the fantasy illustrator Frank Frazetta.
" In 1985, he received a phone call from The Rolling Stones ' manager, Tony King, who told Bakshi that the band had recorded a cover of Bob & Earl's " Harlem Shuffle ", and wanted Bakshi to direct the music video.
Bakshi recognized Kricfalusi's talent, and wanted to put him in charge of a project that would showcase the young animator's skills.
Bakshi wanted to produce an entirely faithful adaptation, and Geisel — who agreed to storyboard the special himself — was pleased with the final product.
The live-action footage was intended to look like " a living, walk-through painting ", a visual concept Bakshi had long wanted to achieve.
However, Bakshi was uninterested in the kind of animation he was producing, and wanted to produce something personal.
" Bakshi had developed the film as a mix of comedy and horror that he described as " a hard R-rated story " but Paramount wanted a PG-13 film, one of the reasons for the doomed and angry relationship between filmmaker and studio.
The visual design of the live-action footage was intended to look like " a living, walk-through painting ", a visual concept Bakshi had long wanted to achieve.
" Bakshi had wanted a female narrator for his film, and he loved Susan Tyrrell's acting.
" In his audio commentary for the film's DVD release, Bakshi states that " There's no question that it was an easier way to get these gigantic scenes that I wanted.
However, Bakshi was uninterested in the kind of animation he was producing, and wanted to produce something personal.
Bakshi wanted to use pinball as a metaphor to examine the ways of the world.
Because Bakshi wanted the voices to sound organic, he experimented with improvisation, allowing his actors to ad lib during the recording sessions.
Bakshi wanted to produce a film with an extensive soundtrack of songs which would be given an entirely new context in juxtaposition to the visuals in a film.
At a production meeting, the representative proposed a title change, which Bakshi was in favor of the decision because he wanted the film to be reverted back to its original title ; however, Ruddy insisted on his preferred title and told the representative to get out of his office.
" James ' book also states that Bakshi wanted to work with Pryor on a live-action / animated film based on Pryor's stand-up comedy.
After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact.

Bakshi and voices
Welles, Romanus and Proval had previously worked with Bakshi on Hey Good Lookin ', where Romanus and Proval provided the voices of Vinnie and Crazy Shapiro, respectively.
Other animated films with Candido voices: Chuck Jones ' adaptation of The Phantom Tollbooth, and the Ralph Bakshi movies Hey Good Lookin ' and Heavy Traffic.

Bakshi and so
Despite receiving financing from other sources, including Saul Zaentz ( who agreed to distribute the soundtrack album on his Fantasy Records label ), the budget was tight enough to exclude pencil tests, so Bakshi had to test the animation by flipping an animator's drawings in his hand before they were inked and painted.
Bakshi did not have a lawyer, so he sought advice from fellow directors with whom he had become friendly, including Martin Scorsese, Francis Ford Coppola and Steven Spielberg.
Bakshi and Lucas had negotiated contracts entitling them to franchise ownership, merchandising and back-end payment, so Ladd suggested that they fund the completion of their films themselves.
Bakshi did not want to produce a broad cartoon version of the tale, so he planned to shoot the entire film in live action and animate the footage with rotoscoping.
He did not want to repeat the process that had been used on Wizards, which was unsuitable for the level of detail he intended for The Lord of the Rings, so Bakshi and camera technician Ted Bemiller created their own photographic enlarger to process the footage cheaply.
Animator Carl Bell loved drawing Aragorn so much that Bakshi gave Bell the live-action costume, which he wore while animating.
According to Bakshi, " Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones.
Fire and Ice was the most action-oriented story Bakshi had directed, so he again used rotoscoping ; the realism of the design and rotoscoped animation replicated Frazetta's artwork.
According to Bakshi, " I sold them a show they already owned, so they just gave me the rights for nothin '!
According to Bakshi, " I sold them a show they already owned, so they just gave me the rights for nothin '!
According to Bakshi, " Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones.
According to Bakshi, the scene " is based on personal experiences of black men I knew who couldn't afford to feed their families, so they left because they couldn't stand to see them suffer.
The New York Times called it a " zany, lively, uninhibited, sexual odyssey that manages to mix a bit of Walter Mitty and a touch of Woody Allen with some of the innocence of Walt Disney the urban smarts of Ralph Bakshi ," while Charles Solomon of The Los Angeles Times called it " a sprawling undisciplined piece of sniggering vulgarity that resembles nothing so much as animated bathroom graffiti.
However, the camera man was not around to capture these events, so Bakshi filmed them himself.

Bakshi and with
Bakshi returned to television with the live-action film Cool and the Crazy ( 1994 ) and the anthology series Spicy City ( 1997 ).
The family lived in a low-rent apartment, where Bakshi became fascinated with the urban milieu.
Bakshi recalled, " All my friends were black, everyone we did business with was black, the school across the street was black.
The racial segregation of local schools meant that the nearest white school was several miles away ; Bakshi obtained his mother's permission to attend the nearby black school with his friends.
In June 1956, Bakshi graduated from the school with an award in cartooning.
In response to the period's political climate and as a form of therapy, Bakshi drew the comic strips Bonefoot and Fudge, which satirized " idiots with an agenda ", and Junktown, which focused on " misfit technology and discarded ideals ".
Bakshi was dissatisfied with the traditional role of a Terrytoons director: " We didn't really ' direct ' like you'd think.
In 1966, Bill Weiss asked Bakshi to help him carry presentation boards to Manhattan for a meeting with CBS.
Bakshi received a pay raise, but was not as satisfied with his career advancement as he had anticipated ; Rasinski had died in 1965, Bakshi did not have creative control over The Mighty Heroes, and he was unhappy with the quality of the animation, writing, timing and voice acting.
Bakshi met with Burt Hampft, a lawyer for the studio, and was hired to replace Culhane.
Hampft suggested that Bakshi work with producer Steve Krantz, who had recently fired Culhane as supervising director on the Canadian science fiction series Rocket Robin Hood.
Bakshi and background artist Johnnie Vita soon headed to Toronto, planning to commute between Canada and New York, with artists such as Morrow and Wood working from the United States.
Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series ' model sheets and return to the United States.
Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation.
Artist Vaughn Bodé warned Bakshi against working with Crumb, describing him as " slick ".
Bakshi later agreed with Bodé's assessment, calling Crumb " one of the slickest hustlers you'll ever see in your life ".
Krantz sent Bakshi to San Francisco, where he stayed with Crumb and his wife, Dana, in an attempt to persuade Crumb to sign the contract.
Bakshi hired animators he had worked with in the past, including Vita, Tyer, Anzilotti and Nick Tafuri, and began the layouts and animation.
Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate.

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