Willow's Great Day (With Cyberbully)
Scooter: It’s strange the memories that return at odd times. I was just letting the music on my Mp3 player come up in any order and I remembered been a young teen singing
Ninjoy: Hey?? I'm over here?
Skyler: Um, guys, did you hear her.
Scooter: Uh, i do not know.
Skyler: She's hideous!
Tohru: This girl has no friends.
Clover: She's horrible!
Scooter: How can she move with those ridiculous breasts she has?
Clover: Uhh, Wow, good for you.
Scooter: akito from kodocha. hes always so emotionless and in a really bad mood all the time and at the beginning of season one he was like depressed and wanted to kill himself.
Skyler: Good Guy Homeless. We need more of him out there. EMILE it" ME!
Scooter: Last year, Totoro became homeless after an arsonist set fire to his residence, a wooden house that was built in Tokyo in 1929. Fast forward to present day and Totoro is once
Clover: demotivational poster OXYMORON AND PARANOIA
Willow: ~emilykeat Apr 11, 2013 Student Traditional Artist
Scooter: Fifteen years ago this month New Labour heralded their intent to tackle complex and intractable social problems by launching a dedicated social exclusion unit within government. Fifteen years on, the challenges facing
Ninjoy: Yeah, go Scooter, talk with your friend's loudspeaker.
Scooter: -on loudspeaker- Kate's pledge: Duchess will sleep rough with the homeless
Ninjoy: That's the spare..you got it right.
Scooter: Theres Barking on the right and oh yes theres Dagenham with Barking on the east side of London. Or are you going to tell me this is not a map of London.
Ninjoy: Yeah, go, you got it.
Scooter: - People in LA also have a treat coming April 21st. The Brothers Quay will talk about their films in a personal appearance. This is something of a rare event, and it’ll be from Rocky River Unitarian Universalist and Rocky River Presbyterian Churches huddle around an open fire to stay warm during the Homeless on
Ninjoy: Yahoo, Go, Scooter, Go.
Scooter: The Primm family is busily moving into their new house on East 88th Street, when suddenly they hear SWISH, SWASH, SPLASH, SWOOSH. A search reveals a crocodile in their bathtub! His name is Lyle, he only eats Turkish caviar, and he quickly becomes a treasured member of the family. Unfortunately, Mr. Grumps, their next door neighbor, is not so enthusiastic about having a crocodile on 88th Street.
Ninjoy: Yes, you got it right.
Scooter: Ok, well, i guess my luck here is back again.
Utah: Yeah, it is back.
Scooter: Until it's time.
Scooter: Calypso Awakenings What a pirate festival, and dancing alone to Calypso, can teach us about the here and now.
Utah: – Ira Sleeps Over was the second children’s book by Bernard Waber that we adapted. This is a very sweet story which involves a sibling rivalry; it focusses on a teddy bear and a sleep-over party. I pulled composer, William Finn, into the film and he wrote some great tunes for it. Prior to doing the script, I gave him the book and asked him to figure out where he would like the songs. In a week he had already written all the songs for the film, and they were brilliant. It turned out he used all the words of the book in his songs, and now I had to find a way of telling the same story using past, present and future tenses, as he did in the songs. It was a good challenge that worked out well and created a fabulous construction for the story.
(Utah turns the pages of the book)
Utah: The style in this book was, if anything, looser than in Lyle. Waber did a lot of his illustration featuring duplicating printing techniques. Lino cut enabled him to repeat decorations throughout the settings. Bridget played with the lino cuts and was able to succesffully duplicate the technique in the backgrounds. In this one bg, at the beginning of the film, the foliage is a good example of this technique, printed over watercolors. The characters are markered paper drawings cut out and pasted to the cel overlays.
(Utah turns the page of the book)
Utah: The book, like Lyle, featured a lot of white space, so we followed suit. When a book’s been in circulation for over 25 years, you have to realize there’s been a reason for it; find the reason and the heart, and take advantage of it. This use of white space made the actual backgrounds oftentimes little more than abstract shapes of color with a solid object on the screen. Here, for example, we see Ira and his friend, Reggie, playing against a blast of green and a bicycle.
(Utah turns the pages of the book)
Utah: – At the end of the film, Ira and Reggie talk in the dark at the sleep-over. To get the look of the dark Bridget had to come up with something clever. The book resorted to B&W washes of gray and wasn’t very helpful. She came up with some dyes that were used for photo retouching. By quickly painting these lightly onto cel levels with a wide brush, she was able to get translucent cels with the brush strokes imbedded in the color overlays. By placing these overlays over the characters and backgrounds, we got the desired effect that let it feel connected to the very loose style of the film.
Scooter: -Abel’s Island is one of the few films we did that I treasure for its artwork. Bridget’s work on the backgrounds was, to me, extraordinary. The looseness I love was developed into enormously lush backgrounds using shades of green that I didn’t know could be captured in the delicate watercolors.
Utah: This film was a complicated problem that seemed to resolve itself easily and flow onto the screen without much struggle. The book had won a Newberry Award as best children’s writing of its year. It was not a picture book but a novel. The more than 120 pages featured fewer than 20 B&W spot drawings by author/illustrator, William Steig. We were on our own with the color.
Scooter: However, we had adapted Doctor DeSoto and The Amazing Bone as shorter films and could use what we’d learned from Steig on Abel. Bridget topped herself.
Utah: Several of the animators gave us more than I could have expected. Doug Compton‘s animation of Abel sculpting his statuary and living in his log was heart rending; Lisa Craft‘s animation of the big pocket watch, the big book and the leaf flying sequences was nothing short of inspired; and John Dilworth‘s animation of the owl fight was harrowing. This was all set up and completed by Tissa David‘s brilliant animation of Abel in the real world with wife, Amanda. She established our character.
(Utah closes the book til' lunchtime)
Ninjoy: All right, and the winner is....Scooter & Utah?
Scooter & Utah: Yeah!!!
(Allan & Johnny looks for Scooter)
Scooter: You won't believe it, we've won.
(Allan & Johnny start tying her up with ropes)
Utah: Wha...What the...? Get That Away From Me??
(Allan ties Utah with tape)
Scooter: This looks really uncomfortable.