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5 comments:
Regarding Marty's prior comment about the cartoon's timing:
I thought the weird timing in all of the Ren and Stimpy cartoons was part of the joke and a Kricfalusi signature. They seemed to deliberately milk the gag for about 5 or 10 seconds more than it deserved. It repeatedly tries your patience, but in a funny way. The tongues licking back and forth and Yogi's outraged looks are examples of this. Am I the only one that sees it this way?
You're right Tom. Re watchability is what you sacrifice when you play against expectations like that.
John K does grotesque well but that lessens appeal.
That's funny since his God is Ed Benedict. So he takes the lessons he loves from Benedict and twists them and he lessens the appeal.
lessons he lessens, pretty good
Now wait a second fellas!
#1 I think by going "off model" for expressive (and just the sheer joy-of-funny-drawing) purposes, John K. and co. are ADDING to the appeal.
#1A This scene shows the helter skelter clash of worlds when a Cartoon Bear (who is basically a human) collides with the cartoon caricatures of two real bears. This specific scene may not show everything at its "prettiest", but there are lots of other scenes in this short that do, and the particular scene here is meant to be the peak of repulsion in the cartoon.
#2. I agree that the timing doesn't work great in this scene--this was the scene I was thinking of when I complained about timing. But I want to cut them (the cartoon makers, Spumco) a lot of slack, because they are trying to do something in that scene which you never see anyone do today: they are trying to show this funny development of emotions, from Yogi's desperation to find BooBoo, then his anxiousness/begining of relief moment when he thinks he hears him, to the intial incomprehension seeing Boo and his girlfriend together in flagrante, to shock, horror, disgust, then outrage, pain, and finally, the terror as he flees. I'm sorry, that sounds kinda pedantic, my listing everything here, but doing so helps give me an appreciation for what they were TRYING to do.
Most anybody else would have had Yogi pop his head thru the bush and do one BUG-EYE "Tex Avery" take, then he'd make a one-liner, or set-up one of the gross, tongue-licking bears for a one-liner response. If they DID try to make the scene deeper than that, Yogi would've jumped out of the bushes to confront the adulterous couple, and we'd get a lot of talking head stuff--lots of lines of dialogue some writer would put in so he'd be sure everrybody knew this was a dramatic moment.
Blech.
The only dialogue we get here is the meorable, "HOMEWECKER!!" If you look at the scene in THAT light, maybe it makes the saggy timing more forgivable.
#2.1 My understanding is that a lot of the awkward timing that we see in this short comes from the gap between only being able to do layout in house, and shipping out the actual animation--I think this makes for sloppy timing. It shows up more here than in other shows that suffer from the same division of labor because the Spumco guys are trying to get a lot of complex animation in there. On this particular cartoon, I've heard John K. lament the patchy timing, and the wasted effort of using this short to begin training their Korean (?) animators overseas, only to have their contract for more Yogi cartoons cancelled.
#2.2 The slow timing in R & S was for similar reasons, but also just inexsperience, and ultimately, as a way to get the gags to read. I often get the feeling that we're watching something that is timed for a lot more animation, but lacks the budget to insert it. (And the R & S guys would be the first to say they were inexperienced and very imperfect in their execution of those cartoons--afterall, the old Warner Bros. guys had YEARS of making tons of cartoons full-time until they really hit their stride).
It just takes a lot of experience and refining to really get slick comedic timing.
That's why it's so special when it happens!
#3 I sound like a too-touchy Spumco partisan here. I'm not.
I think there are major shortcomings to a lot of their work, and a lot of the things I don't like, I attribute to them (their tastes, their decisions, etc.), not just to all the executives trying to "keep them down". I think if they'd have been able to get another contract for a show like R & S, and could have kept a crew of more than, say, four people, the quality and appeal would be much higher. And to his credit, I've never known John K. to not give ample credit to everyone that has worked with him. He says he wants to make stars of ALL his cartoonist.
Too bad he now has no one on staff.
He's a Spumco of one.
Which is sad to think: these guys were at least really TRYING to do something worthwhile, and turns out they've just been banging their heads against the wall since 1993!!
Just to make sure my comments aren't misunderstood, I LIKE the oddball timing of the Kricfalusi cartoons, precisely because they were not over-slick-a-fied, (like that word?) and I agree with Marty that it adds to the appeal. Whether they did it on purpose or because of inexperience I don't know, but it works for me. In the same way, a pencil sketch complete with blue construction lines, eraser marks and fingerprints can be more charming than the slicked- up ink version.
It's funny. It's as funny as most everything being made now days. John K oughta take a crack at Adult Swim
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