Summer Podding

Thirsty for some podcasts? Then boy howdy have you come to the right place. Here are two new episodes of the Skwigly Animation Podcast for your suckling lips to latch on to. In episode 84 we’re thrilled to speak to one of modern animated television’s most respected writer/producers Josh Weinstein. As a writer Josh has been involved in The Simpsons (alongside partner Bill Oakley), Gravity Falls, Futurama, Strange Hill High and Danger Mouse. Most recently Josh has developed the new Netflix series Disenchantment – which dropped last month – alongside creator Matt Groening.
Direct download link here if you're not in a streamy mood.

In episode 85 we welcome Ben Steer, director of the multi-award-winning Mamoon, released online this week. Developed as part of Blue Zoo’s long-running animated short films programme, the film is an expertly-crafted visualisation of the emotional toll of the Syrian Civil War in which a mother and child find themselves in peril.
What, you want another direct download link? Here, bloody well take it why doncha?

Shiny Metal 'Cast

♫ New podcast day, new podcast day, ♫
♫ Life's a bit less crap because new podcast day! ♫

Another good'un, alongside myself and Steve's riveting discussions of crucial industry developments like the Postman Pat movie and a possible Shrek 5, we have two fabulous guests, John DiMaggio (who was Bender off Futurama, currently Jake in Adventure Time) and Laura-Beth chats to "tiny director/animator" Kirsten Lepore. Kirsten directed the fabulous short film Bottle as well as her more recent Move Mountain which was recently released online:

On top of his voice work, John recently produced a documentary on, fittingly, animation voiceover artists. It's called I Know That Voice and looks pretty damn decent, so keep your eyes peeled for it:
The podcast, as always, can be downloaded, streamed and subscribed to and is still cheap as free, so go get it:
This episode is dedicated to Harold Ramis, a fine chap who, along with the likes of James Gandolfini, Patrice o'Neal and Philip Seymour Hoffman, has joined the ranks of too-soon-departed men I never met but admired hugely.

RIP sir.

"Good news, everyone!"

Episode 3 of the Skwigly Animation Podcast is now up, and I have absolutely no qualms about unabashedly confessing that I think it turned out great. This edition includes a chat with Nancy Beiman - Disney veteran, Sheridan lecturer and author of some essential animation texts, such as "Animated Performance", a fantastic guide to advanced character animation you should all check out.
We also discuss the impending new animated series of "Ninja Turtles", the rules (yes, it turns out there are rules) of Road Runner and the approaching new season of "Futurama". The latter is especially timely as, in defiance of my expectations at such an early stage of the podcast's run, I was able to chat with one of my generation's most prolific and versatile voice-over actors, Billy West!

I'm sure most of you will be aware of his characters from "Futurama" (such as Fry, Farnsworth, Zoidberg and Zapp Brannigan) as it's been the main vehicle and longest-running showcase for his talents as a performer. On top of this, to me he will always be an essential component of "Ren and Stimpy", the show I've frequently cited as the main reason I pursued a career in animation. Whatever your take on the politics of the show's behind-the-scenes turmoil (mine being that it's not really any of my business) I'm a staunch defender of both the show's pre and post-John K vitality and ballsiness. Going by the paraphrased expression that animation is 90% sound, Billy West's voice work as Stimpy - and later Ren - as well as a host of supporting characters was an essential ingredient for the show's overall success.

Just some of the iconic characters Billy West has voiced over the years

Of course it was the chemistry between him and other players like Gary Owens, Cheryl Chase, Alan Young, Harris Peet, Jack Carter and, of course, Kricfalusi himself in the early years that guaranteed the flow, as it is now with his current "Futurama" co-stars Katey Sagal, Maurice LaMarche, John DiMaggio, Phil LaMarr et al.
So, as you can imagine, this particular interview was a little more daunting and saw me less grounded than I am with most others, but he was tremendously cool, open and honest to talk to, bearing with me when my jerry-rigged Skype alternative shit the bed not once but TWICE. At the end of the day I'm over the moon that I got the opportunity and I really hope the podcast audience gets a kick out of it too.
You can listen to the whole thing below or download it here. Joy!
   Skwigly Podcast 03 (18/06/2012) - Nancy Beiman & Billy West by skwigly

Story & Concept Art - Part Two, For True!

So we've previously established that our zombie-duck pal is a bit of a leech and a moocher, and has coerced the hunter into letting him stay for the night...

After an offer of one night turns into several weeks of scrounging, the hunter's patience wears thin. But this duck isn't going anywhere. You can't tell in this sketch because of the position of the wing, but would it be too disgusting and unpleasant to have the pizza he's just eaten be visible in his stomach wound? He is a zombie and I want him to be a little bit gross in a cute way, but I don't really want to make people throw up.

Personalities clash and the duck slowly starts to destroy the hunter's quality of life, through alienating his friends, constantly eating his food and, in this scene, stealing away his prospective lay. Bit of a smooth-talkin', Rico Suave mo'fo, this guy. For the hunter, it's the last straw.

Having had enough, the hunter chases the duck through the house, cornering him in the trophy room. Will he finish what he started all those months ago and kill the duck proper, or will our seemingly-doomed zombie friend smooth-talk his way out of it?

There is a final sketch for this first batch of concept art, which I won't include as it gives away my current ending. The reception these sketches have received so far have been positive on the whole, but my concern is whether I have the ability to maintain this style for a whole film's worth (by that I mean, like, 10-15 minutes). I don't doubt that a lack of fundamental artistic knowledge is evident with these drawings - the backgrounds are especially shaky and scribbled, while the characters don't really maintain much of a strict model. My plan over the next few weeks is to carry out some tests for what means of animation will best suit the visual look of the film. Whether or not traditional, 2D animation can carry it, or perhaps 3D CGI remains to be seen. Having seen its effectiveness on shows like Futurama, I'm quite interested in the idea of perhaps even marrying the two. One means can quite possibly cut corners of the other (for example, 3D CGI backgrounds with 2D character animation over the top, or perhaps the other way around) without jeopardising the film's aesthetic.