#famous animator
4 messages in this thread
In the news today, a person described as the creator, originator, or original
animator of Bugs Bunny and other famous personalities has died. I am sure that
others know much more about this person than I do. So let all the animated
heads bow for a moment of non-animation.
Whoa… I just took a look over in the AP Wire to see who you were talking
about.
That was Isadore (Friz) Freleng… one of the greatest animation directors (and
animators) who ever lived. Friz (nicknamed for his friez of red hair) was
responsible for Yosemite Sam, a lot of Bugs, and many of those little old
ladies, bamboozled cats, and hungry mice in the Warner Bros cartoons of the
'40s. Here's an example of how respected Friz was… When Chuck Jones was
asked to describe Tex Avery's timing, he said that "it was as perfect as Friz
Freleng's". Friz and Tex were Chuck's original directors, and became Chuck's
peers pretty quickly (as Jones moved up to full directing).
In honor of the moment, I'd like to quote from Jones's book "Chuck Amok" about
some of his feelings about Friz:
"Animation as Friz Freleng directs it demonstrates the peculiar and
little-understood anatomy of motion pictures in general. Many people working
in the field of animation think of themselves as graphic artists, which is like
a motion-picture photographer mistakenly comparing himself to a still
photographer. Actually, shooting motion pictures, including animation, and
performing music are very similar indeed — one, impinging a successive series
of varied sounds on the ear; the other, impinging a successive series of varied
sights on the eyes. It is no coincidence then (it is just plain good sense)
that Friz Freleng set down the timing of his films on musical bar sheets.
Friz is a musician as well as an excellent draftsman, and it is not
surprising that many of his films are a disarming and intricate web of music (a
flurry of sounds) and animation (a flurry of drawings). No student of
animation can safely ignore the wizardry of these cartoons — if he can stop
laughing long enough to seriously study their beauty.
To live twenty-five years with a man who could direct such pictures was not
easy, because at first I hadn't the remotest idea how he did those great
musicals. I know now; all you have to be is Friz Freleng."
May 26, 1995… Friz will live forever in our hearts.
– G
<< No student of animation can safely ignore the wizardry of these cartoons
Friz lives in my heart for sure as do Bill Tytla and others. Its the difference
between animation you watch once and get it, and animation that can be watched
again and again forever.
I remember watching a very stiff and boring computer animation at Siggraph
many years ago in S.F. of a jumping skeleton and thinking how much better
Skeleton Dance by Ub Iwerks was. When folks on the forum complain about
competition from "whining college kids" ( by the way they really do whine, I
know ) I think that the study of the things that the great animators knew in
the thirties and forties will give those who understand an advantage that no
feature list can provide.
Ed
Amen.
-Alan