Last year’s Telluride Film Festival, and specifically the presentation by New York University professor/Oscar-winning animator John Canemaker of some of his favorite classic animated shorts (The Band Concert, Feed the Kitty, Composition in Blue, Free Radicals, among others), revived a long-dormant interest in animation as a mode of cinematic expression - I’ve always loved animation, but since that show, I’ve found myself seeking it out feverishly. This term I’m auditing a class with David Ehrlich here at Dartmouth in animation production; he was hesitant to let an auditor use up resources until I told him I was interested in working primarily in puppet animation and pixiliation, at which point he dismissively chortled me off:

“Ohhh. You want to work in PUPPET animation. A ha ha ha.”
Hilarious. Anyway, this weekend, I’m doing flipbooks for David, who is convinced that because I have a talent for photoshopping I must be good at drawing, adding further that I’m better at visual arts than I am at ‘writing and talking,’ a reference to my ‘penchant for bullshit’ that I apparently established with him while talking about Osamu Tezuka’s experimental animation Broken Down Film. I’m hoping in the long term that slaving through animation production will help me in some way down the line in giving me perspective on live action, my preferred medium.

But until then, I have to draw 200 pages of a little dude walking. Wish me luck.

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