November 2015 – Page 3 – Animated Spirit

A young Picasso sitting among what was a tiny portion of his huge collection of African Art. It’s quite clear now, that a lot of his “inventiveness” surrounding cubism and abstraction, came about from the influence of ancient tribal art, of which Picasso was a huge collector and appropriator. (photo credit: Réunion des Musées Nationaux)

In Robert McKean’s wonderful little book, Steal like an artist, he explores the issue of taking ideas and techniques from others. Is it disrespectful? Theft? Or just a plain lack of originality? It’s been a debate for artists throughout history this issue of authenticity and ownership. The reality is, everyone’s ideas come from somewhere else. It’s the nature of the word inspiration.

Here is the Webster dictionary definition of what inspiration is:

: something that makes someone want to do something or that gives someone an idea about what to do or create : a force or influence that inspires someone

: a person, place, experience, etc., that makes someone want to do or create something

: a good idea

Now, given that definition, how can anyone claim ‘complete’ ownership of an idea? It brings up the issue of companies today patenting every single thing out there, both in science and the arts. What is the fair and proper arrangement between investors of creative art, the creators themselves, and the consuming public? It makes one ask, what is art? What is science? And more (or less) importantly, who does it belong to?

This famous portrait, of Adele Bloch-Bauer I by Gustav Klimt, was previously stolen and most recently returned. It’s ‘valued’ at $135,000,000.

The sporadic and unplanned nature of creative and inspirational work is such that it needs to come from something from which to be born, bounce off of or leap forward from. Therefore, claiming “ownership” is a strange concept, much like us humans claiming ownership over nature and the world around us – it’s not ours to claim. We are, at best, stewards of what’s been given to us. Ideas are no different.

“… things of greatest merit are public property. ” – Seneca

It’s a fine line that separates science and art. A good example lies in the works and studies of Leonardo Da Vinci. One thing is clear however, and that is, his works should be available for everyone to see and experience.

What about originality? Here’s what Robert Henri has to say:

“Don’t worry about your originality. You couldn’t get rid of it even if you wanted to. It will stick with you and show up for better or worse in spite of all you or anyone else can do.”

I used to worry about originality far too much, and by doing so, it made me even less original. As artists, it’s all too easy to try so hard for uniqueness that you end up closing your eyes to what’s already there – thereby reducing your visual vocabulary and shutting off things that could inspire you and influence you in a positive, even impactful way. A limited exposure creates less originality not more. The truth is, your path will naturally take you to where you need to go, as long as you don’t fight it too hard. Be at ease to let your influences show because it doesn’t mean that you’re a flake or a hack. Find what you love, and let it be a part of you – it’s kind of like knowing that you have little choice but to be influenced also by your family and friends – so why not let your heroes influence you? Work hard, but allow “yourself” to become what it will. This is harder advice to take than you’d think.

Keith Haring’s remarkably simple, yet magical art, doesn’t try to be anything special – it just is. Great art doesn’t have to be complex or intellectual – it has to be personal.

I’ve always liked the idea that artists and scientists are merely agents for change and discovery. Proprietorship is not the goal. Our role is to develop attentiveness to innovation and creativity, raising our abilities to make something from our discoveries, and then share it with the world. It is only in that way, by doing our jobs as deliverers of some good, do we have any hope of parlaying some insight, beauty and further inspiration for others to follow in the future.

Toulouse lautrec’s artistry has left a huge imprint on graphic designers, painters and artists world over including the author of this blog.

How do we know when inspiration arrives? Like life, creative discoveries and growth seldom arrive on schedule – so you’ve got to be ready and open with a notepad nearby. My best ideas can come during the grind of work or sometimes while just lying in bed reading, looking at pictures, or listening to music – a state opposite of a frenzied search for answers. Be open to that. Be open to anything.

“Finished persons are very common – people who are closed up, quite satisfied that there is little more to learn.” – Robert Henri

Be open, also, to copying. I spent years studying and copying the drawings and timing of animators like Milt Kahl, Frank Thomas, Glen Keane and James Baxter. There is nothing wrong with direct copying, if you’re doing it to learn. But if you’re deriving from the works of others, acknowledge the source, and show your appreciation. That is, remember to give thanks.

Captain Hook by Frank Thomas, from Walt Disney’s 1953 classic, Peter Pan. I loved the design and animation of Captain Hook so much that I made piles of sketches copying his work, analyzing deeply the lines, shapes, timing, and acting choices.

By studying the works of others, you get to be more original not less. And it’s sometimes nice to let your influences show. It’s inevitable, that you become a bit like your heroes. Don’t be afraid of that. There’s no such thing as pure originality. There’s only things that work.

“Don’t try to be original, just try to be good.” – Paul Rand

A short but inspiring video, by Imaginary Forces, on the work and words of Paul Rand, legendary graphic designer and logo creator extraordinaire.

Jack Lemmon was one of the finest actors of his generation, one who got better and better with age. Here, he stands next to his old colleague, Walter Matthau, in the 1968 film, Odd Couple, directed by Gene Saks.

Today it’s common for animators to do a lot of video reference, in particular, the recording of their own, often ham, performances. Video capture is great, but if that is gonna to be a large part of your repertoire as a professional, then you better take some acting classes. But it takes years to learn to be a good actor (assuming you even have the aptitude for it in the first place), and many more months to “create” each individual character. Animators seldom get the kind of ramp up time to understand the history and nuances that define their characters, since they often have to ‘play’ so many different ones in any given production. Another, additional, and perhaps more accessible option, is to study the acting of real live actors, both on stage and in film. It’s a marvelously efficient and effective way of studying the trade, especially when it comes to formulating a “visual” performance — one in which we, as animation artists, build and construct as an optical and emotional illusion.

Jack Lemmon is one of those actors well worth studying. In almost any role he plays, he just grabs the screen with his marvelous physical mannerisms, humble charisma and deep vulnerability. He was always believable whether in comedic or dramatic roles. I don’t ever recall him giving a poor performance.

Jack Lemmon seen here in The China Syndrome, directed by James Bridges and co-starring Jane Fonda and Michael Douglas. This sharp thriller, about a safety cover-up at a nuclear power plant, is filled with rich and engaging performances, including that by Lemmon who would go on to the win the 1979 Cannes Best Actor award for his performance.

“I won’t quit until I get run over by a truck, a producer or a critic.” – Jack Lemmon

The hard-working and long-time actor was also the first of his guild to win both the Best Actor and Best Supporting Actor at the Academy Awards, long before the likes of other great actors (such as Robert DeNiro, Gene Hackman, Meryl Streep and Kate Winslet) would do the same. He re-played Henry Fonda’s role in the TV remake of 12 Angry Men to absolute perfection and even lent his voice in a small cameo on The Simpsons.

Jack Lemmon plays Frank Armand from Fox’s hit TV series, The Simpsons, in the episode, The Twisted World of Marge Simpson.

Acclaimed for his many different roles throughout his long career, Lemmon is often cited for his majestic turn for comedy in films like Some Like It Hot, and much later Grumpy Old Men, where he starred again next to Walter Matthau, his co-star from the Odd Couple.

Jack Lemmon and Tony Curtis pretend to be women in order make a run from the mob in Billy Wilder’s Some Like it Hot, co-starring Marilyn Monroe.

My own favorite moments of his come from the film, The Apartment, where he shared the screen opposite a very young and lovely Shirley MacLaine. Here, he plays C.C. Baxter, a character so wonderfully naive, but at the same time so completely likable and relatable. In many ways he reminds me of the modern day Tom Hanks — another actor whom you can’t help but root for. Both of these artists are so likable that you forget they are also masters of their craft.

Jack Lemmon plays the affable C.C. Baxter, from Billy Wilder’s 1960 classic, The Apartment. Watch how Lemmon beautifully constructs the naivety of his character through action and non-action, as he works to impress Shirley MacLaine, who’s in an opposite state of mind.

Great actors use their voices, faces and physical expressions in ways that give pure authenticity to the roles they’re playing. Lemmon, was a master at using all his gifts. There’s beautiful rhythm in how he moves his characters both physically and emotionally — gliding effortlessly from one action and emotion to the next, like music from Miles Davis. Every bodily gesture and every nuance in his face helps to build the scenes and characters he plays. The formulation and timing of his art, couldn’t be better.

Jack Lemmon (seen here with Kevin Spacey) plays Shelly Levene in James Foley’s adaptation of David Mamet’s Pulitzer Prize winning play, Glengarry Glen Ross. Despite the cold cut nature of the characters and the industry on display, Lemmon’s performance pulls you in with deep empathy in perfect portrayal of a man motivated by desperation.

So, if you’ve got a nice free evening, or a lazy afternoon that beckons you to lay prone on the couch, pull up an old Jack Lemmon movie (he made over sixty of them). Witness a master at the craft of acting, and have a good time doing it.

“If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. You must reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.” — Jack Lemmon

Month: November 2015

Stealing or Borrowing?

The Artistry of Jack Lemmon