Dani?l to Carmen:
>>>> You wrote... nothing.
"Something that looks like nothing" "Or *nothing* that loks like something"
? ;)
>>>> If there was a message in the body of your email,
>>>> then it hasn't reached the list. Or, at least not properly.
In any case, it wasn't a bad read.
Olivier
Author
Topic: 200309
(480 messages)
Olivier
CarmenG (DCML Digest, Vol 7, Issue 23)
Message 226 -
2003-09-11 at 19:10:36
L. Schulte
Disney Cartoon Movies
Message 227 -
2003-09-11 at 19:32:54
Some people were discussing the early Disney movies and mentioned the
original Fantasia.
What are your opinions on the new one that was called Fantasia 2000. ? I
thought it was quite wonderful, especially the sequence accompanied by
Respighi's Pines of Rome that showed the whales flying into the
universe. Two things I would have changed: I really think this sequence
with Respighi was the greatest one, and should have been moved therefore to
the end. Also, I really did not care for the New York story with
Gershwin's music.
Non-Disney news: I have heard that Warner Brothers is releasing a Bugs
Bunny/Daffy Duck movie around Christmas time called Looney Tunes: Back in
Action.
original Fantasia.
What are your opinions on the new one that was called Fantasia 2000. ? I
thought it was quite wonderful, especially the sequence accompanied by
Respighi's Pines of Rome that showed the whales flying into the
universe. Two things I would have changed: I really think this sequence
with Respighi was the greatest one, and should have been moved therefore to
the end. Also, I really did not care for the New York story with
Gershwin's music.
Non-Disney news: I have heard that Warner Brothers is releasing a Bugs
Bunny/Daffy Duck movie around Christmas time called Looney Tunes: Back in
Action.
Cord Wiljes
Commercial Links
Message 228 -
2003-09-11 at 21:04:57
Often there are Disney items published in one country which may be
interesting to list members in other countries. Even if a book is
written in a language I do not understand I may consider buying the
item. It may be:
+ the world's first edition of a story - like the Barks/Lustig/Block
"Somewhere in Nowhere" in Italian "Tesori Tre"
+ a picture book with just a short introduction - like the German art
book "Wer ist Carl Barks" by Gottfried Helnwein
+ a book published in English - like the complete Gottfredson reprint
published in Germany, which we recently discussed on this list
+ a merchandising article - like the great Disney figures produced by
Rutten
+ a publication which combines a lot of information - like the German
Floyd Gottfredson Checklist in "Hommage an Floyd Gottfredson"
...
Or someone sees a special sale of Disney items somewhere, or a very rare
item on ebay. Or something which is not Disney but might be interesting
to other list members - like a looney tunes item.
Of course mentioning something like this on the list will make people
want to know where to order the items. But the list is non-commercial
(which is a very good thing) so in most cases posting links to
commercial sites is not suitable.
So I would like to make the following suggestion: If someone has
discovered a nice item and wants to inform the others about it, he or he
can post the info together with a link to an online shop which delivers
internationally tp
www.dcml-talk.org
Like I just posted links to the items mentioned above to:
http://www.dcml-talk.org/read.php?f=1&i=179&t=179
Cord
interesting to list members in other countries. Even if a book is
written in a language I do not understand I may consider buying the
item. It may be:
+ the world's first edition of a story - like the Barks/Lustig/Block
"Somewhere in Nowhere" in Italian "Tesori Tre"
+ a picture book with just a short introduction - like the German art
book "Wer ist Carl Barks" by Gottfried Helnwein
+ a book published in English - like the complete Gottfredson reprint
published in Germany, which we recently discussed on this list
+ a merchandising article - like the great Disney figures produced by
Rutten
+ a publication which combines a lot of information - like the German
Floyd Gottfredson Checklist in "Hommage an Floyd Gottfredson"
...
Or someone sees a special sale of Disney items somewhere, or a very rare
item on ebay. Or something which is not Disney but might be interesting
to other list members - like a looney tunes item.
Of course mentioning something like this on the list will make people
want to know where to order the items. But the list is non-commercial
(which is a very good thing) so in most cases posting links to
commercial sites is not suitable.
So I would like to make the following suggestion: If someone has
discovered a nice item and wants to inform the others about it, he or he
can post the info together with a link to an online shop which delivers
internationally tp
www.dcml-talk.org
Like I just posted links to the items mentioned above to:
http://www.dcml-talk.org/read.php?f=1&i=179&t=179
Cord
Cord Wiljes
AW: Commercial Links
Message 229 -
2003-09-11 at 21:19:20
I wrote:
> (...) others about it, he or he can (...)
^^^^^^^^
Maybe a Freudian typo?
BTW: Why are the so few female Duck fans out there?
Cord
> (...) others about it, he or he can (...)
^^^^^^^^
Maybe a Freudian typo?
BTW: Why are the so few female Duck fans out there?
Cord
Daniel Van Eijmeren
Barks's Glittering Goldie paintings
Message 230 -
2003-09-12 at 00:00:14
LARS JENSEN to KATIE SULLIVAN, 10-09-2003:
>>> So what? Glittering Goldie also is a one-time Barks fenomenon.
>> In the comics, true. But she popped up in an awful lot of his oil
>> paintings. http://www.sullivanet.com/duckburg/barksoils/ [...]
> I don't know much about Barks' oil paintings, but... Did he paint the
> Goldie-oriented ones because he had a desire to use that character? Or
> because the customers who ordered the paintings had asked for Goldie
> to be included in them?
I don't know. But if so, Barks could have objected to using her.
Maybe a variation of this question would be:
Did Barks create the Duck-oriented stories because he had a desire to
use these characters? Or because the editor who ordered the stories had
asked for the Ducks to be included in them?
Barks has often said that he'd rather would have drawn humans instead
of ducks. So, according to the point you seem to be making, most of
Barks's comic book work should also be put aside as "commissioned work".
Well, is that really what you meant? :-)
--- Dani?l
>>> So what? Glittering Goldie also is a one-time Barks fenomenon.
>> In the comics, true. But she popped up in an awful lot of his oil
>> paintings. http://www.sullivanet.com/duckburg/barksoils/ [...]
> I don't know much about Barks' oil paintings, but... Did he paint the
> Goldie-oriented ones because he had a desire to use that character? Or
> because the customers who ordered the paintings had asked for Goldie
> to be included in them?
I don't know. But if so, Barks could have objected to using her.
Maybe a variation of this question would be:
Did Barks create the Duck-oriented stories because he had a desire to
use these characters? Or because the editor who ordered the stories had
asked for the Ducks to be included in them?
Barks has often said that he'd rather would have drawn humans instead
of ducks. So, according to the point you seem to be making, most of
Barks's comic book work should also be put aside as "commissioned work".
Well, is that really what you meant? :-)
--- Dani?l
Daniel Van Eijmeren
Conclusion when no items are found in databases
Message 231 -
2003-09-12 at 00:28:16
TIMO RONKAINEN to LARS JENSEN, 10-09-2003:
>> I've searched Inducks and couldn't find any pre-1986 comics
>> written by Pezzin for Disney. Did he do some other work for them?
> How odd. Here it is: http://coa.inducks.org/coa/c1/simp.php
If Inducks really wouldn't have found any results, then it's also
very well possible that the Inducks database (or any other database)
is INCOMPLETE on that point.
--- Dani?l
>> I've searched Inducks and couldn't find any pre-1986 comics
>> written by Pezzin for Disney. Did he do some other work for them?
> How odd. Here it is: http://coa.inducks.org/coa/c1/simp.php
If Inducks really wouldn't have found any results, then it's also
very well possible that the Inducks database (or any other database)
is INCOMPLETE on that point.
--- Dani?l
Daniel Van Eijmeren
Barks's Disney paintings, inspired or custum-ordered?
Message 232 -
2003-09-12 at 01:20:32
KATIE SULLIVAN to LARS JENSEN, 10-09-2003
> It was always my assumption that most of Bark's paintings (but
> not all) were done based on his own ideas and inspirations rather
> than custom-ordered by fans.
I think it's a combination of both, just like most of his other work.
In the BarksBase, Gerd Syllwasschi mentions under Barks's Disney
painting "Pleasure in the Treasure" (2-72): "For the first time,
Barks was free to choose the subject himself."
http://www.barksbase.de/english/h/7202.htm
I don't know where this information comes from, though.
There are two earlier paintings which seem to have a new concept,
instead of an existant cover design:
"Blue Composition of Ducks" (21-71)
http://www.barksbase.de/english/h/7121.htm
"Christmas Composition" (1-72)
http://www.barksbase.de/english/h/7201.htm
If Gerd's information is right, then the subjects of these earlier
paintings seem to have been ordered by customers. Still, as far as
I know, the scenes of these paintings were designed/staged by Barks
himself. So, maybe that's the relatively small difference between a
free subject and a commissioned subject.
For a commisioned subject, Barks (apparently) got some initial
directions from the custumor.
For a free subject, Barks (apparently) got no directions at all.
This would make him free to do whatever he wished, as long as the
painting contained Ducks and an commercially interesting image.
Please notice that I'm just GUESSING.
> (My website is down right now...I don't know why.) :(
Cheer it up, then! :-)
--- Dani?l
"Hey! Somethin's makin' SENSE!"
Which Barks story?
Hint #1: "Scram! Do you think you WORK here?"
Hint #2: "It looks VALUABLE! If it were only yours -"
Hint #3: "A little AIRING won't hurt this antique charm!"
> It was always my assumption that most of Bark's paintings (but
> not all) were done based on his own ideas and inspirations rather
> than custom-ordered by fans.
I think it's a combination of both, just like most of his other work.
In the BarksBase, Gerd Syllwasschi mentions under Barks's Disney
painting "Pleasure in the Treasure" (2-72): "For the first time,
Barks was free to choose the subject himself."
http://www.barksbase.de/english/h/7202.htm
I don't know where this information comes from, though.
There are two earlier paintings which seem to have a new concept,
instead of an existant cover design:
"Blue Composition of Ducks" (21-71)
http://www.barksbase.de/english/h/7121.htm
"Christmas Composition" (1-72)
http://www.barksbase.de/english/h/7201.htm
If Gerd's information is right, then the subjects of these earlier
paintings seem to have been ordered by customers. Still, as far as
I know, the scenes of these paintings were designed/staged by Barks
himself. So, maybe that's the relatively small difference between a
free subject and a commissioned subject.
For a commisioned subject, Barks (apparently) got some initial
directions from the custumor.
For a free subject, Barks (apparently) got no directions at all.
This would make him free to do whatever he wished, as long as the
painting contained Ducks and an commercially interesting image.
Please notice that I'm just GUESSING.
> (My website is down right now...I don't know why.) :(
Cheer it up, then! :-)
--- Dani?l
"Hey! Somethin's makin' SENSE!"
Which Barks story?
Hint #1: "Scram! Do you think you WORK here?"
Hint #2: "It looks VALUABLE! If it were only yours -"
Hint #3: "A little AIRING won't hurt this antique charm!"
Daniel Van Eijmeren
Fantasia 2000, Fantasound, other sounds (OT)
Message 233 -
2003-09-12 at 02:36:47
L. SCHULTE, 11-09-2003:
> Some people were discussing the early Disney movies and mentioned the
> original Fantasia.
> What are your opinions on the new one that was called Fantasia 2000. ?
> I thought it was quite wonderful, especially the sequence accompanied by
> Respighi's Pines of Rome that showed the whales flying into the
> universe. Two things I would have changed: I really think this sequence
> with Respighi was the greatest one, and should have been moved therefore
> to the end.
Being an admirer of "Fantasia", I found "Fantasia 2000" a bit disappointing.
I expected MUCH more technical and artistic highlights. The whales scenes
looked wonderful, but the animation itself was not ground-breaking at all
(IMO). It looked like computer-work that I could have seen before, or am I
wrong about that?
> Also, I really did not care for the New York story with Gershwin's music.
Do you mean the city-life part, where only outlines of characters were shown,
or something like that? I liked it very much!
I'm sure that when I'll see "Fantasia 2000" again, it will look much better
to me than the first time. I expected a mind-blowing, state-of-the-art
path-breaking masterpiece like the old "Fantasia". But I think "Fantasia
2000" comes closer to compilation-movies like "Make Mine Music", instead.
I'm curious if a DVD-release of "Fantasia" would be censored (like the early
1990s VHS-release), or not. And would the DVD-release make use of the
original seven-channel "Fantasound" sound-recording? This way of recording
is comparable with the five-channel sound-reproduction of modern cinema's
and DVD. For this 1930s sound-technique alone, "Fantasia" already was far
ahead of it's time. The early 1990s soundtrack- and video-releases have
"just" a stereo-mix (two channels), which I already found remarkable for
such an old recording.
According to the leaflet of the CD-soundtrack, "Fantasia" revolutionized
motion picture sound. (Is that so?) It says the recording were done by
Leopold Stokowski. I believe Stokowski was the sound-freak (and inventor?)
who insisted on this path-breaking, experimental way of sound-recording.
About other sound-techniques, I wonder if the old 1930s Disney cartoons
contain vocal overdubs (the same voice being recorded multiple times, so
that one person can be heard as being more than just one person - just
think of the 1970s popsong "Bohemian Rhapsody" by Queen, for example).
I believe Clarence Nash did both Donald's voice and the nephews's voices.
Are there examples were they are talking through each other at the same
time?
I believe that the 1930s animations were recorded in three-track. One track
for the music, one track for sound-effects, and one for the dialogue. If
that's true, then overdubbing was technically possible as early as the 1930s.
(Or was there a stand-in for any multiple voices, like those for Donald and
his nephews?) I'm curious if these such three-track tapes(?) still exist,
that would give some (limited) possibilities to remix the cartoons to
stereo-sound.
Maybe this would be a nice subject for DCML-TALK? (http://www.dcml-talk.org)
Was the Walt Disney Company innovative in sound-recording, reallly pushing
the borders, or did they just mostly use techniques which were already
available at the time? Are there sites about this subject?
BTW. I don't know very much about animation. Please let me know wherever
I'm wrong.
--- Dani?l
> Some people were discussing the early Disney movies and mentioned the
> original Fantasia.
> What are your opinions on the new one that was called Fantasia 2000. ?
> I thought it was quite wonderful, especially the sequence accompanied by
> Respighi's Pines of Rome that showed the whales flying into the
> universe. Two things I would have changed: I really think this sequence
> with Respighi was the greatest one, and should have been moved therefore
> to the end.
Being an admirer of "Fantasia", I found "Fantasia 2000" a bit disappointing.
I expected MUCH more technical and artistic highlights. The whales scenes
looked wonderful, but the animation itself was not ground-breaking at all
(IMO). It looked like computer-work that I could have seen before, or am I
wrong about that?
> Also, I really did not care for the New York story with Gershwin's music.
Do you mean the city-life part, where only outlines of characters were shown,
or something like that? I liked it very much!
I'm sure that when I'll see "Fantasia 2000" again, it will look much better
to me than the first time. I expected a mind-blowing, state-of-the-art
path-breaking masterpiece like the old "Fantasia". But I think "Fantasia
2000" comes closer to compilation-movies like "Make Mine Music", instead.
I'm curious if a DVD-release of "Fantasia" would be censored (like the early
1990s VHS-release), or not. And would the DVD-release make use of the
original seven-channel "Fantasound" sound-recording? This way of recording
is comparable with the five-channel sound-reproduction of modern cinema's
and DVD. For this 1930s sound-technique alone, "Fantasia" already was far
ahead of it's time. The early 1990s soundtrack- and video-releases have
"just" a stereo-mix (two channels), which I already found remarkable for
such an old recording.
According to the leaflet of the CD-soundtrack, "Fantasia" revolutionized
motion picture sound. (Is that so?) It says the recording were done by
Leopold Stokowski. I believe Stokowski was the sound-freak (and inventor?)
who insisted on this path-breaking, experimental way of sound-recording.
About other sound-techniques, I wonder if the old 1930s Disney cartoons
contain vocal overdubs (the same voice being recorded multiple times, so
that one person can be heard as being more than just one person - just
think of the 1970s popsong "Bohemian Rhapsody" by Queen, for example).
I believe Clarence Nash did both Donald's voice and the nephews's voices.
Are there examples were they are talking through each other at the same
time?
I believe that the 1930s animations were recorded in three-track. One track
for the music, one track for sound-effects, and one for the dialogue. If
that's true, then overdubbing was technically possible as early as the 1930s.
(Or was there a stand-in for any multiple voices, like those for Donald and
his nephews?) I'm curious if these such three-track tapes(?) still exist,
that would give some (limited) possibilities to remix the cartoons to
stereo-sound.
Maybe this would be a nice subject for DCML-TALK? (http://www.dcml-talk.org)
Was the Walt Disney Company innovative in sound-recording, reallly pushing
the borders, or did they just mostly use techniques which were already
available at the time? Are there sites about this subject?
BTW. I don't know very much about animation. Please let me know wherever
I'm wrong.
--- Dani?l
ZeldasTriforce
Barks caricature in quiet neighborhood story? (WDC 178)
Message 234 -
2003-09-12 at 03:04:28
Daniel van Eijmeren wrote:
In the quiet neighborhood story (WDC 178), Donald gets in a quarrel with an
author living next door.Somewhere in Donald Ault's book "Carl Barks
Conversations", Barks remembers that he based this story on real-life circumstances. He
really had loud neighbours at the time. (Can someone check up this part?)
-----------------------------------------------------------
On page 117 of "Carl Barks Conversations":
Klaus Strzyz: Do you have any favorite stories?
Carl Barks: There are lots of them! Of the 10-pagers, the story I like best
is the one in which Donald has a chicken farm and stacks the eggs so high that
when an earthquake shakes them loose they cover the town on the valley floor
and have to be burned. And then there's the one where the ducks move into a
quiet neighborhoof and Donald is naturally the loudest one of all. That's really
good and even the secondary figures are well done, for example the
cheese-taster who blows his alphenhorn [WDC178].
Gare Barks: At the time Carl was writing that story, we lived in an aprtment
house with awfully loud neighbors. Only upstairs it was quiet.
Carl Barks: The woman that lived there was drunk all day, and the only noise
that one heard from her was when another empty wine bottle fell to the floor.
But next door-- frightful!
Derek Smith
In the quiet neighborhood story (WDC 178), Donald gets in a quarrel with an
author living next door.Somewhere in Donald Ault's book "Carl Barks
Conversations", Barks remembers that he based this story on real-life circumstances. He
really had loud neighbours at the time. (Can someone check up this part?)
-----------------------------------------------------------
On page 117 of "Carl Barks Conversations":
Klaus Strzyz: Do you have any favorite stories?
Carl Barks: There are lots of them! Of the 10-pagers, the story I like best
is the one in which Donald has a chicken farm and stacks the eggs so high that
when an earthquake shakes them loose they cover the town on the valley floor
and have to be burned. And then there's the one where the ducks move into a
quiet neighborhoof and Donald is naturally the loudest one of all. That's really
good and even the secondary figures are well done, for example the
cheese-taster who blows his alphenhorn [WDC178].
Gare Barks: At the time Carl was writing that story, we lived in an aprtment
house with awfully loud neighbors. Only upstairs it was quiet.
Carl Barks: The woman that lived there was drunk all day, and the only noise
that one heard from her was when another empty wine bottle fell to the floor.
But next door-- frightful!
Derek Smith
CarmenG
Oops--CarmenG's blank message
Message 235 -
2003-09-12 at 03:21:49
Hello, and my apologies for the blank mailing a couple of days ago.
I have a one-year-old daughter who has perfectly wonderful toys, but her
favorite things to play with are the remote control and the computer keyboard. A
toy keyboard or a toy remote control will not satisfy. I'm afraid I was reading
my email with her in my lap one night & she must have clicked some buttons
that sent off a reply.
So--I'm sorry. But--this blank message received more response than my
usual dull postings, so what does THAT say about me?!!
Carmen
By the way, Daniel, I think we corresponded privately a couple of years
ago...? I'm trying to remember....
I have a one-year-old daughter who has perfectly wonderful toys, but her
favorite things to play with are the remote control and the computer keyboard. A
toy keyboard or a toy remote control will not satisfy. I'm afraid I was reading
my email with her in my lap one night & she must have clicked some buttons
that sent off a reply.
So--I'm sorry. But--this blank message received more response than my
usual dull postings, so what does THAT say about me?!!
Carmen
By the way, Daniel, I think we corresponded privately a couple of years
ago...? I'm trying to remember....
Gary Leach
Questions from Olaf
Message 236 -
2003-09-12 at 03:43:43
Olaf asks:
> -- I noticed that a few stories in the July issue of US (or was it
> June?) did
> not have the same titles as in INDUCKS - and as I assume the titles in
> INDUCKS
> are the original titles from Egmont, I get the impression that these
> titles are
> CHANGED by Gemstone. Am I wrong, or is that the case? If so, why?
I don't know right at the moment which stories you mean (I'm mentally
completely absorbed by the material going into the December issues -
six books in all, and two of 'em - DDA #3 and Christmas Parade No. 1 -
all mine to finalize and send out to prepress by next week, hoo hah!),
but we do change titles of Egmont stories here and there. One reason is
that the Egmont title doesn't quite seem to capture what the story is
about, at least as we see it. Another is that the title seems clunky
somehow, or just plain dull. We may or may not improve it by our
substitution, but these are the reasons we do it.
> -- Another similar question: In Gemstone publications, Miss Typefast's
> name is
> changed to "Quackfaster" because that's her name in American. But when
> it was
> said a month or two ago that Horace Horsecollar and Clarabelle Cow
> lived in
> Duckburg, that was not changed to Mouseton (which I assume is their
> hometown in
> American). Why not?
Simple: we didn't catch that reference to Duckburg until the story had
gone to press.
Gary
> -- I noticed that a few stories in the July issue of US (or was it
> June?) did
> not have the same titles as in INDUCKS - and as I assume the titles in
> INDUCKS
> are the original titles from Egmont, I get the impression that these
> titles are
> CHANGED by Gemstone. Am I wrong, or is that the case? If so, why?
I don't know right at the moment which stories you mean (I'm mentally
completely absorbed by the material going into the December issues -
six books in all, and two of 'em - DDA #3 and Christmas Parade No. 1 -
all mine to finalize and send out to prepress by next week, hoo hah!),
but we do change titles of Egmont stories here and there. One reason is
that the Egmont title doesn't quite seem to capture what the story is
about, at least as we see it. Another is that the title seems clunky
somehow, or just plain dull. We may or may not improve it by our
substitution, but these are the reasons we do it.
> -- Another similar question: In Gemstone publications, Miss Typefast's
> name is
> changed to "Quackfaster" because that's her name in American. But when
> it was
> said a month or two ago that Horace Horsecollar and Clarabelle Cow
> lived in
> Duckburg, that was not changed to Mouseton (which I assume is their
> hometown in
> American). Why not?
Simple: we didn't catch that reference to Duckburg until the story had
gone to press.
Gary
Katie Sullivan
Paintings and websites
Message 237 -
2003-09-12 at 04:11:36
> From: "Daniel van Eijmeren" <dve at kabelfoon.nl>
>
> Barks has often said that he'd rather would have drawn humans
> instead
> of ducks. So, according to the point you seem to be making,
> most of
> Barks's comic book work should also be put aside as
> "commissioned work".
>
> Well, is that really what you meant? :-)
I'm not sure if you meant that for Lars or me, but it certainly
wasn't why *I* meant! ;)
It's a good point, though. I like to think that Barks may have
started out preferring to draw humans instead of ducks, but the
ducks grew on him as years passed.
> From: "Daniel van Eijmeren" <dve at kabelfoon.nl>
> > (My website is down right now...I don't know why.) :(
>
> Cheer it up, then! :-)
LOL! I wish I could! It seems my webhost has disappeared
without warning. Grr! I've hired a different company now, but
it may be a few days before everything is up and running again.
It'll still be at the same address, though.
Katie Sullivan
http://www.sullivanet.com/
__________________________________
Do you Yahoo!?
Yahoo! SiteBuilder - Free, easy-to-use web site design software
http://sitebuilder.yahoo.com
>
> Barks has often said that he'd rather would have drawn humans
> instead
> of ducks. So, according to the point you seem to be making,
> most of
> Barks's comic book work should also be put aside as
> "commissioned work".
>
> Well, is that really what you meant? :-)
I'm not sure if you meant that for Lars or me, but it certainly
wasn't why *I* meant! ;)
It's a good point, though. I like to think that Barks may have
started out preferring to draw humans instead of ducks, but the
ducks grew on him as years passed.
> From: "Daniel van Eijmeren" <dve at kabelfoon.nl>
> > (My website is down right now...I don't know why.) :(
>
> Cheer it up, then! :-)
LOL! I wish I could! It seems my webhost has disappeared
without warning. Grr! I've hired a different company now, but
it may be a few days before everything is up and running again.
It'll still be at the same address, though.
Katie Sullivan
http://www.sullivanet.com/
__________________________________
Do you Yahoo!?
Yahoo! SiteBuilder - Free, easy-to-use web site design software
http://sitebuilder.yahoo.com
Daniel Van Eijmeren
Dime and Dime Again (Three Caballeros/Some US 321 Observations)
Message 238 -
2003-09-12 at 06:07:18
DEREK SMITH, 10-09-2003:
> [US 321] And Carlos Mota's art on 'Dime and Dime Again Part 1': Let's
> just say that the two female office workers at the end wrere drawn
> rather attractively. It reminded me of how Carl Barks and other
> artists of that age may have drawn them, so I guess I shouldn't have
> been surprised when I found out that Barks had something to do with
> the plot (how much I don't know since Geoffrey Blum wrote it and I
> don't know the history behind the story). I wonder if Barks' style
> may have provided any inspiration to Mota or if he usually draws in
> that manner.
Read my email of 21 June 2003, in which I've mentioned what I know
about Barks's idea that inspired Geoffrey Blum to write this story:
http://stp.ling.uu.se/pipermail/dcml/2003-June/023412.html
As far as I know, Barks and Blum have never communicated about the
making of the story. But I might be wrong. If so, please let me know.
Has Blum himself ever commented on this story? Will there be an article
about it in a Gemstone comic, for example?
There are differences between Barks's idea and Blum's story. And I'm the
kind of nitpicker who falls over such things. In Barks's idea, Scrooge
BUYS lottery tickets. In the story this has been replaced by getting
lottery tickets for free, or something like that. In my opinion, this
was an inferior replacement for a *very* interesting story-ingredient.
I didn't understand the part where a nephew decides to saw down a tree.
With a chain-saw, no less. I find this a remarkable move for a nephew,
even in instances without references to Junior Woodchucks. At least
according to the Dutch translation, there is absolutely NO reason to saw
down the tree. The nephew just wants to help Scrooge being a bit faster.
(I can't stand it when trees are sawed down. This is a pet peeve. In the
city where I live, people chop down trees to have lots of sun in their
garden, and then they hide under a parasol to have at least *some* shadow...)
Anyway, somehow I expected a lot more from Blum than this story. But maybe
that's also because I'm too familiar with the idea. Reason is that I've
tried to script it myself, as a shooting script, before Blum's story was
published. Just for fun, as a practice. I'm just an amateur writer. In
that shooting script, Scrooge is so desperate that he even takes advice
from Gladstone Gander. (As I said, Scrooge is really very desperate.)
Gladstone is an expert in being lucky, so that's how Scrooge gets the
silly idea of buying lottery tickets to test his own luck. This was my
solution to let Scrooge make this strange but interesting out-of-character
move in a believable way. I was disappointed when I curiously looked for
Blum's solution for this story-point, only to find out that it just wasn't
included at all. (Or did I overlook something?)
There was one story-point I've ignored. I couldn't get the story working
if Scrooge *knows* his dime is stolen by the Beagle Boys. That would raise
too much questions to get a story going. Maybe Blum thought the same about
this. In Blum's story, Scrooge doesn't know what exactly happened with the
dime, neither.
Some other notes:
I like Carlos Mota's art for the story, but I find the staging of the panels
too slanted. It looks like being on a ship on a stormy sea. Otherwise, I find
art mostly very good.
Someone told me that Blum uses the godfather/mastermind Grandpa Beagle from
Don Rosa's stories. (There is no such Grandpa Beagle in Barks's stories.)
I don't know if the story is titled "From Dime to Dime", or "Dime and Dime
Again", or both.
--- Dani?l
> [US 321] And Carlos Mota's art on 'Dime and Dime Again Part 1': Let's
> just say that the two female office workers at the end wrere drawn
> rather attractively. It reminded me of how Carl Barks and other
> artists of that age may have drawn them, so I guess I shouldn't have
> been surprised when I found out that Barks had something to do with
> the plot (how much I don't know since Geoffrey Blum wrote it and I
> don't know the history behind the story). I wonder if Barks' style
> may have provided any inspiration to Mota or if he usually draws in
> that manner.
Read my email of 21 June 2003, in which I've mentioned what I know
about Barks's idea that inspired Geoffrey Blum to write this story:
http://stp.ling.uu.se/pipermail/dcml/2003-June/023412.html
As far as I know, Barks and Blum have never communicated about the
making of the story. But I might be wrong. If so, please let me know.
Has Blum himself ever commented on this story? Will there be an article
about it in a Gemstone comic, for example?
There are differences between Barks's idea and Blum's story. And I'm the
kind of nitpicker who falls over such things. In Barks's idea, Scrooge
BUYS lottery tickets. In the story this has been replaced by getting
lottery tickets for free, or something like that. In my opinion, this
was an inferior replacement for a *very* interesting story-ingredient.
I didn't understand the part where a nephew decides to saw down a tree.
With a chain-saw, no less. I find this a remarkable move for a nephew,
even in instances without references to Junior Woodchucks. At least
according to the Dutch translation, there is absolutely NO reason to saw
down the tree. The nephew just wants to help Scrooge being a bit faster.
(I can't stand it when trees are sawed down. This is a pet peeve. In the
city where I live, people chop down trees to have lots of sun in their
garden, and then they hide under a parasol to have at least *some* shadow...)
Anyway, somehow I expected a lot more from Blum than this story. But maybe
that's also because I'm too familiar with the idea. Reason is that I've
tried to script it myself, as a shooting script, before Blum's story was
published. Just for fun, as a practice. I'm just an amateur writer. In
that shooting script, Scrooge is so desperate that he even takes advice
from Gladstone Gander. (As I said, Scrooge is really very desperate.)
Gladstone is an expert in being lucky, so that's how Scrooge gets the
silly idea of buying lottery tickets to test his own luck. This was my
solution to let Scrooge make this strange but interesting out-of-character
move in a believable way. I was disappointed when I curiously looked for
Blum's solution for this story-point, only to find out that it just wasn't
included at all. (Or did I overlook something?)
There was one story-point I've ignored. I couldn't get the story working
if Scrooge *knows* his dime is stolen by the Beagle Boys. That would raise
too much questions to get a story going. Maybe Blum thought the same about
this. In Blum's story, Scrooge doesn't know what exactly happened with the
dime, neither.
Some other notes:
I like Carlos Mota's art for the story, but I find the staging of the panels
too slanted. It looks like being on a ship on a stormy sea. Otherwise, I find
art mostly very good.
Someone told me that Blum uses the godfather/mastermind Grandpa Beagle from
Don Rosa's stories. (There is no such Grandpa Beagle in Barks's stories.)
I don't know if the story is titled "From Dime to Dime", or "Dime and Dime
Again", or both.
--- Dani?l
Daniel Van Eijmeren
Note from Donald Ault, about Barks's Disney paintings
Message 239 -
2003-09-12 at 06:14:43
Here's a note from Donald Ault.
- - - - - - -
From: "Donald D. Ault" <donaldault at pop.net>
To: "Daniel van Eijmeren" <dve at kabelfoon.nl>
Subject: Re: Barks's Disney paintings, inspired or custum-ordered?
Date: Thu, 11 Sep 2003 21:04:43 -0400
[...]
The first money bin ("Pleasure in the Treasure") was commissioned by San
Francisco comics store owner and publisher Gary Arlington. It was ordered
through me, and Gary specifically told me to tell Carl that he could
painting anything he wanted. (I remember that Gary said something to the
effect that he'd had lots of experience with creative people like R. Crumb,
and they always did their best when they were given free reign.) So the idea
of a "money bin" painting was Carl's own. Gary Arlington didn't indicate in
any way what he wanted--except that it be an original composition and not a
recreation of one of the covers as most of the early paintings had been. We
discussed this at length in part of my 1997 interview, excerpts from which
appear on pages 194-95 of my Barks Conversations book. This fact about
Arlington's "no strings" request is referred to on page 88 of the Fine Art
book as well.
The subject matter of the other two paintings mentioned was generally
dictated by potential buyers--one who wanted a Christmas scene and one who
wanted a "posed" picture of the some of the major characters. The Christmas
scene, however, went up for public auction through Russ Cochran, and the
potential buyer who had requested that topic ended up buying it for the
highest bid. The "Blue Ducks" painting was sold directly to the person who
originally suggested the "posed characters" painting idea.
Donald Ault
Professor of English
University of Florida
ault at ufl.edu
http://www.nwe.ufl.edu/~donault/
- - - - - - -
From: "Donald D. Ault" <donaldault at pop.net>
To: "Daniel van Eijmeren" <dve at kabelfoon.nl>
Subject: Re: Barks's Disney paintings, inspired or custum-ordered?
Date: Thu, 11 Sep 2003 21:04:43 -0400
[...]
The first money bin ("Pleasure in the Treasure") was commissioned by San
Francisco comics store owner and publisher Gary Arlington. It was ordered
through me, and Gary specifically told me to tell Carl that he could
painting anything he wanted. (I remember that Gary said something to the
effect that he'd had lots of experience with creative people like R. Crumb,
and they always did their best when they were given free reign.) So the idea
of a "money bin" painting was Carl's own. Gary Arlington didn't indicate in
any way what he wanted--except that it be an original composition and not a
recreation of one of the covers as most of the early paintings had been. We
discussed this at length in part of my 1997 interview, excerpts from which
appear on pages 194-95 of my Barks Conversations book. This fact about
Arlington's "no strings" request is referred to on page 88 of the Fine Art
book as well.
The subject matter of the other two paintings mentioned was generally
dictated by potential buyers--one who wanted a Christmas scene and one who
wanted a "posed" picture of the some of the major characters. The Christmas
scene, however, went up for public auction through Russ Cochran, and the
potential buyer who had requested that topic ended up buying it for the
highest bid. The "Blue Ducks" painting was sold directly to the person who
originally suggested the "posed characters" painting idea.
Donald Ault
Professor of English
University of Florida
ault at ufl.edu
http://www.nwe.ufl.edu/~donault/
Theresa Wiegert
Female duck fans
Message 240 -
2003-09-12 at 10:36:36
Cord:
> BTW: Why are the so few female Duck fans out there?
Beats me. Both me and my mother are serious fans as is everyone else
(though male) in the family. But then again, there's a difference in
fanhood also - I'm not nearly as geeky (sorry for the expression, it's not
meant as an insult, I like geekyness, it adds personality) as most of the
people here. I have other geekqualities though, so I'm still ok, I hope...
But generally, perhaps geekyness is a male trait - coming to think of it,
not so many of my female friends are obsessed about a certain thing like
men often can be. I wonder why... (that is just a personal observation
though, and not enough for a statistic conclusion)
L. Schulte, about Fantasia 2000:
Nice film, with the pure genious of the flamingo with a yoyo (of the same
stuff as For the Birds, the pixarfilm shown before Monsters inc, also
totally magnifiecent). That one and Noas ark (?) (ship, boat, floating
zoo) starring Donald and Daisy were the abolute best ones, in my opinion.
Gerschwins NY-piece was magnificent, and a good break in style... while
the whales left me completely untouched... the differences in taste are
interesting. But (as Daniel mentions also), there wasn't really anything
groundbreaking about it, like the old one... Also, I failed to realize why
it is a good idea to reuse the Magician's apprentice-part...
cheers!
/Theresa
> BTW: Why are the so few female Duck fans out there?
Beats me. Both me and my mother are serious fans as is everyone else
(though male) in the family. But then again, there's a difference in
fanhood also - I'm not nearly as geeky (sorry for the expression, it's not
meant as an insult, I like geekyness, it adds personality) as most of the
people here. I have other geekqualities though, so I'm still ok, I hope...
But generally, perhaps geekyness is a male trait - coming to think of it,
not so many of my female friends are obsessed about a certain thing like
men often can be. I wonder why... (that is just a personal observation
though, and not enough for a statistic conclusion)
L. Schulte, about Fantasia 2000:
Nice film, with the pure genious of the flamingo with a yoyo (of the same
stuff as For the Birds, the pixarfilm shown before Monsters inc, also
totally magnifiecent). That one and Noas ark (?) (ship, boat, floating
zoo) starring Donald and Daisy were the abolute best ones, in my opinion.
Gerschwins NY-piece was magnificent, and a good break in style... while
the whales left me completely untouched... the differences in taste are
interesting. But (as Daniel mentions also), there wasn't really anything
groundbreaking about it, like the old one... Also, I failed to realize why
it is a good idea to reuse the Magician's apprentice-part...
cheers!
/Theresa