Dave P just for fun

For no particular reason than that I hadn't checked his blog for a while and found this there when I did.

"Uncle Winky Hot Dogs"

Thanks to the prescience of Chris Ure (who saved a copy that he was actually able to find), a little film made at CalArts to be shown as a treat at the Producer's Show, circa 1988. Ultra rare!

Made on the side(meaning done with virtually no money, time or materials but much affection) by my talented classmates Chris Ure, Pete Docter, Mark Kennedy, Ashley Brannon, Van Cook, Tim Myers and Paul Rudish-all 1st years.

As must be plain to readers of this blog by now, we all loved Bob "Uncle Winky" Winquist, and here's but one more fun example of it. A trip down memory lane. Eat 'em with jelly!

"Bolt: One Ridonculous Adventure" by story artist Aurian Redson

Front and (below)back covers for Redson's book. Sorry about the glare-it certainly looks better in person


In my initial fizz over finally getting my copy of Joe Moshier's new Bolt Golden Book, I completely forgot to mention that I'm expecting yet another children's adaptation by an animation artist, Aurian Redson--a bright light in the story department.

He worked long and hard on "Bolt" the film, and he too has accomplished quite a lovely piece of publishing with "Bolt" One Ridonculous Adventure". A larger-format, longer picturebook than the Little Golden, it's also fascinating to see how Aurian has chosen to design his own version of the characters and settings. I've just seen a copy belonging to another story artist at work who's received his, and while I may sound like a shill for the publisher, I care not. This is a gorgeous and appealing book and a perfect compliment to your library.

a cropped photograph of one of the large (9x12)pages; these moving men look familiar...

"Bolt"-a Little Golden Book by Joe Moshier

This came in the mail yesterday from Amazon: ""Bolt", a Little Golden Book".

As most of you know, this film is coming soon to a theatre near you. But right now you can order the wonderful picture book by Disney designer/visdev artist Joe Moshier, which I recommmend doing stat.

I love the Golden Books done by Joe's former classmate Scott Tilley for such titles as "Finding Nemo" and this is just as appealing and beautifully done. I believe it's Joe's first book (his day job as a character designer at features is a busy one), but you'd never know it; the compositions, color, posing-all are completely assured and just so terrifically cute. There isn't a kid or artist alive that I can't imagine would love this eye candy. And by the way, "Bolt" is quite the same way in its other incarnation.

"The Art of Bolt" comes out soon as well-that I haven't seen, but have ordered. Believe me, the work by the directors(both of whom have drawn lovely storyboards), story, the incomparable art direction by Paul Felix as well as the work by everyone involved is beautiful. There are stunning displays in the animation building with all kinds of visdev and story work blown up lifesize and larger on the walls, and it not only holds together but is so solid that it makes one feel good just to walk by them. The film works that way too: it's one that reminds me of "Basil of Baker Street", which I loved and was a huge gift from the animation department to us--the audience. If you know what I mean. The early 80s were a nail-biting time for aspiring animation people.

I need to apologize to Joe for the rough iphone photos reproduced here, but I think as raw as they are you can tell what a swell little tome this book of his is.

Winquist '74

Here's a rarity: Bob Winquist shows off a little of his home and office design in 1974-and there's Bob himself, aged 49, in his then-living room. From Good Housekeeping's House Beautiful, Spring 1974.

Keep that date in mind: 1974. Bob's is the most appealing and well-designed space that's showcased in this high-end magazine by far. The other interiors featured would likely make you laugh, cry, or just cringe; the seventies were not generally an attractive time, to be charitable about it.
But Bob then as later had his own highly individual taste and loved mixing old and new in an eclectic fashion, which makes a lot of his choices timely even now. But who knows what he'd say looking at this spread in 2008? By the way, the article identifies the art hanging over the fireplace as done by his life partner Robert Hammer. When I originally got this of course I had no idea who he was. He must have been a very interesting man to be Bob's partner for 50 years.

As to that and all things Bob, this opening line of the accompanying text is so apt:

Designer Robert Winquist calls his private life his "most treasured possession".

Indeed!

Click the lower image to see it in a larger size.

Me on Miyazaki

This is the auction catalog of the recent benefit show held at Pixar-a beautiful book in its own right.

There's simply too much any one artist could find to write on the subject of Hayao Miyazaki, but having recently stumbled once again upon this email of mine on Michael Barrier's site (included in his "Feedback" section, where some great exchanges make it a must visit) I thought I'd use my email to Mike here. I wrote it 18 months ago but the subject isn't dated and I state pretty well what I think of my favorite Japanese animated feature.

Barrier invites and facilitates discussion of his views and will often reconsider a position he takes based on the feedback he receives, even if it's only to clarify or amend his original thoughts. That's a rare virtue in my book--one I hope I can cultivate better myself.
So here's my email excerpted. Do go and peruse the page it's taken from.

Dear Mike,

I thought I'd offer a few thoughts about Miyazaki's films, as mine differ from yours—most drastically as regards Totoro.

I'd never heard of Miyazaki or seen anything of his until Glen Keane (then teaching the upperclassmen at CalArts—I was a first year, but he made his lectures open ones) brought a clip from Totoro to screen. It was the scene of the girls waiting for their father; it grows dark, and begins to rain. First Totoro, then the catbus shows up. He showed this, saying that it had affected him profoundly (as I recall, the film had been screened for the Disney animation dept. the week before; I don't know if Miyazaki was there also, but I doubt it). It affected all of us profoundly, too. I was blown away by it. Me—hardly a fan of the anime I'd seen up to that point. A wordless but beautifully constructed encounter, with all facets working perfectly. I'd gather that you'd disagree, from your remark that Totoro "suffers for the opposite reason, an almost total sacrifice of action for atmosphere."

Every reaction to film is personal and often unique, of course, and I've come to various impasses with friends I respect: where one finds something sublime, the other sees kitsch, or worse, in the same thing. That's human. But I'm surprised to find you so (apparently) bored and unsatisfied by Totoro; to me, the atmosphere, the attention to detail of setting and mood, brilliantly supports and gets over the story, which admittedly isn't a "big" one: two sisters adapting to and solaced by nature, real and (possibly) imaginary. I see no lack of action—both physical and emotional. The film's full of scenes where the action and cutting are far from slow: running around exploring the empty, strange new house in the country; flying across the countryside with Totoro; riding the catbus; searching frantically for the possibly drowned Mei…and all these are interwoven with and spring from the story—not, to touch on your other recent discussion, "set pieces." Truly, what Totoro has that makes it work so well is what so few of any sort of American films—animated or not—often lack, to their detriment: carefully planned, wordless places to breathe and to really be visually hypnotized to believe in the story-world in the way film can do—better than any other art form.

As for the character animation—well, there's no question that it is coming from a very different esthetic from our American model. Yet the rough sketches Miyazaki does of all his characters (published in the "Art Of" books available for his films) are as well-realized and expressively gorgeous as anything any animator would have done at Disney's in the fifties; I can easily imagine [Marc] Davis and even [Milt] Kahl giving him his due as a sensitive draughtsman of people as well as things. I'd think he could master what we call "full" animation if he chose, but that's not his style. Yes, the lack of expressive distortion (or lack of a better word—and I'm sure there are better words!) in his characters' faces is obvious; but I've never not known what they are thinking. How that works, I think, is precisely by the cumulative effect of everything from his framing, to his cutting to the characters' silhouettes. All adds up—even if "we" would never do it that way, or try to.

I'd agree that there are definite "stock" figures in his oeuvre, but I don't agree that every heroine is the same. Perhaps as to that, though, there is something symbolic there for Miyazaki in these young girls particularly (I believe he's written on this subject, actually)—and certainly in Japan children and in particular young women hold a special place in anime and culture. I'm not qualified to comment too much on that. But just as a bystander, watching the films as pure entertainment, I've been totally satisfied by Totoro, Kiki's Delivery Service, Spirited Away, and to a somewhat lesser extent ("lesser" where his studio is concerned still indicating a high level of interest) the rest of his projects.

-Jenny Lerew

the book of Miyazaki's storyboards for Totoro

More on Winquist-pictures from the past

Ready for his closeup: Bob standing in the doorway of what was then our 2nd year students' room-now The Palace, in 1989

Steve Anderson, who started at Cal Arts in 1988, found these wonderful photos he'd taken. His generosity in allowing me to post them here is much appreciated. These are just priceless.

 

Here's Bob with his major domo/computer guru/all-around department glue Dale McBeath and Disney veteran/animation teacher Dave Michener, all snapped by Steve's camera while preparing the 1989 Producer's Show. Thank goodness he got this picture as these three were cogitating in the hallway...talk about serendipity. Bob: different day,different striped shirt. Dale: ebullient! And I can't get over how young Dave Michener looks to me...now. He was a great guy.

Thanks again, Steve.

The Los Angeles Times On Bob Winquist

Published on 9/17/08:.


Bob Winquist dies at 85; influential animation teacher at CalArts
By Valerie J. Nelson
Los Angeles Times Staff Writer

September 17, 2008

Bob Winquist, a former director of the character animation program at California Institute of the Arts who greatly influenced a number of animators now working in Hollywood, has died. He was 85.

Winquist died Sept. 10 of complications related to old age at an assisted-living facility in Simi Valley, said his niece, Joyce Snyder.

He was the kind of inspirational teacher that movies are made about, said his former students, who went on to make films that reflected lessons learned in his Valencia classroom between 1983 and 1991.

Ralph Eggleston, who won an Academy Award in 2001 for his animated short "For the Birds," credits Winquist with pushing students to think more broadly about what they could accomplish.

"When Bob came in, animators primarily left the school and became animators. Suddenly, they started becoming art directors and storyboard artists. He made us think of ourselves as filmmakers, not just animators," Eggleston told The Times.

The dapper Winquist might stroll into class, announce the lesson by saying "develop the character of the letter 'A' " and then walk out, leaving the young animators to puzzle out the assignment.

Pete Docter, a former student who wrote the story for the film "WALL-E" (2008) and directed "Monsters Inc." (2001), considers Winquist "a seminal person in my development as an artist and a person."

"He had a gentle and inviting way -- you felt intrigued. It was like he was saying, 'You go discover it yourself,' and it made things stick," Docter said.

A world-class raconteur, Winquist often captivated his classes with hard-to-verify recollections that often placed him Zelig-like at memorable moments in Hollywood history. Witnessing the burning of "The Gone With the Wind" set, designing a suit for Elvis Presley, "baby-sitting" Marilyn Monroe on the set of "Some Like It Hot" -- these were all first-person stories that could be woven into a lecture.

"In the end, it didn't really matter if he were there because his amazing stories made me think . . . I can go out and do anything," Docter said.

Winquist often eschewed credit for his work because he valued his privacy, his family said.

Trained as a designer, he studied at Cambridge University and ran a design firm with Robert Hammer, an artist who was also his life partner. They spent about 50 years together, living in Manhattan Beach and Valencia, before Hammer died about four years ago. Winquist has no immediate survivors.

According to a 1971 Times article, Winquist designed "everything from movie sets to diapers."

His family has photographs of him working on Main Street and plans he drew of Disneyland's main thoroughfare.

Winquist was known for his intricate paper sculptures and exhibited in France, Britain and the U.S., The Times reported in 1960.

As an interior designer, his work was featured in The Times in the 1950s and 1960s, and his celebrity clients included Gene Hackman.

Robert Amos Winquist was born Aug. 15, 1923, in Kansas City, Kan., one of six children of Adolph and Margaret Winquist. His father was a mortician.

Raised mainly in California, Winquist served in the Army Air Forces as a ball-turret gunner during World War II.

He also relied on his artistic talent to paint the noses of B-17 bombers, his family said.

He taught for 15 years at the Chouinard Art Institute, which merged with the Los Angeles Music Conservatory to become CalArts in 1961.

At CalArts, he taught color and design before heading the character animation program from 1989 to 1991.

Students "flocked to him like gremlins," said John Bache, an associate provost at CalArts.

"His low-key approach to teaching, plus the personal contact, made him a great teacher," he said.

The dark sunglasses he invariably wore only added to his mystique as he held court on must-see films or tossed off references to classical art.

Jenny Lerew, a former student and story artist at Disney, wrote in an e-mail: "He made us all believe every good thing could happen to us -- if we put ourselves 'in harm's way' first. . . . "

He was a "cheerleader for their futures," Eggleston said, one who came to campus in his butter-yellow Mercedes-Benz with the license plate frame that read: "I'd rather be flying."

Robert A. Winquist, "Bob" 1923-2008

Wearing a typically bemused expression. This is the only picture I have of Bob that I took myself, circa 1990. Proof he didn't always wear the shades!

I've just had the news that Bob Winquist, mentor to many, many artists and friend to all, a gentleman, teacher and brilliantly talented artist, has died.

I don't know why this is such a shock, given his age. Perhaps it's because if anyone could figure out the secret to immortality, it'd be Bob(or he'd know someone who could).

His niece and great-nephew sent this message to share wth you:

Dear Jenny;

By way of introduction, my name is Joyce Snyder, the niece of Robert A. Winquist, and it is with a heavy and saddened heart that I am writing to you. Our family wishes to inform you of the passing of Robert this afternoon, September 10, 2008. He passed away peacefully today as his body simply said, “Bob it is time to go home.”

Uncle Bob so often spoke of the multitudes of people that were part of his life, the fellow artists, imaginers, designers, students, etc. There were no classifications or hierarchies when it came to Bob’s acquaintances, just friends. From Chouinard’s to CalArts, Disney to Pixar; even a quick search on the Internet reveals the many artists that give claim to the influence that Bob had upon their artistic development.

Although Uncle Bob has left us this day, he will always be with us as his love of the arts, willingness, and dedication to teach, has embedded a piece of “Bob” into each and every one of his students. It is these same students who are now creating and passing along the ingenious insight and creativity that Uncle Bob so loved and dedicated his life to.

At this time the family wishes to thank you for being an important part of Robert’s life experience.


They're hoping to compile a list of those who should know, and obtain contact details for them, I'd imagine a memorial will be planned but have no idea what shape it would take. If anyone would like their information passed along to his family, please send if to me here: jlerew@earthlink.net.

And please, share any memories or thoughts on Bob here if you like. I know there are a lot of people who'd enjoy reading them.

Bob's influence was prodigious and spread ahead of him into the world, and his roots ran deep. It's impossible for me to do him justice on the fly having just heard this news.

He'll be so missed. How lucky we all were to have been able to know him a little, enjoy his company and glean his hard won and always joyfully shared wisdom.

Fare well, Bob.

Portrait by Tom McGrath

EDITED TO ADD: The Los Angeles Times ran an article on Bob in the paper on Wednesday, September 17th (it's also online).

Blast from the past-Richard Williams

Edited to add:  here's the annotated photograph-notes by Steve Hickner.
To view larger, click the image.

 

It's 2008-do you know where you were 19 years ago?
Thanks to Steve Hickner for the photo from his distant past(for those that don't know him, that's Steve with his hands clasped in front of him).

This was taken after Dick Williams had been given a few Oscars for "Roger Rabbit"-a film Steve was doing various things on which in turn led to his relocating to London and setting up Amblimation. What a byzantine business we work in.

See how many faces you can place(Steve looks the same now as he did then-he's a cinch). I'll come back with the IDs later.

Happy Labor Day! Disney Counter Service-menu #3

Here's the last-so far as I'm aware-of the circa 1940 Disney studio commissary menus.
Inside the contents are the same as the table menu(including the illustrations) so I won't scan the interior, but the back cover is special, featuring the offerings of the soda fountain:


Lime freeze for 15 cents, anyone?
I'd want these even if if they didn't have such wonderful illustrations on their covers, but luckily for us they do.

The other menus, for regular table service and a special one for breakfast, are in my earlier posts here and here.