James Chiang

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.

https://youtu.be/eT3OLoQcu5A

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.

https://youtu.be/paYdOu-mmbg

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.

https://youtu.be/4WVNrUUWhPY

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

“The art is not something you apply to your work
The art is the way you do your work, a result of your attitude toward it.” – Charles Eames

The famous (and incredibly comfortable!) Eames Chair and Ottoman, designed by Charles and Ray Eames in 1956.

Some people think art is something you add. It’s why many organizations can’t seem to understand their creative staff or be able to get the most out of them. Catch phrases like it’s “all about the team” or “all about the family/company” may gain compliance in the short run but will tire quickly when not backed up by real support (which includes the reward of recognition as well as fair compensation and sufficient rest). There must be real accountability.

Extreme quota demands. Monotonous repetition. Continuously harsh and inflexible deadlines place incredible strain on the animation artist. Turning creative people into widget makers simply doesn’t work.

https://youtu.be/MY8MsGU4xyA

Oh, those TPS reports! From Mike Judge’s 1999 comedy classic, Office Space. (It’s hard to believe now, but I once had a job like this!)

When art becomes something that is applied like icing on a cake, the end product looks and feels like something from a production line. Don’t expect creativity or innovation if what you mainly demand of your staff is productivity and/or compliance. If you treat them like widget makers and provide the kinds of conditions conducive to generating that kind of work, you shouldn’t be surprised with the kind of results you’re seeing. Nor should you expect loyalty (i.e. it won’t be the weakest members that will jump ship but your very best and most reliable because real talent, that which is truly indispensable, is rare and always in demand). If that doesn’t scare you, realize this; don’t expect loyalty (or a great reception) from the paying customer either.

The “tramp” loses his mind in this comical critique of the industrialization of the work place, in Charlie Chaplin‘s 1936 Classic, Modern times.

If you expect predictable and easily measurable outcomes (numbers) you certainly can’t expect artistic or financial breakthroughs. Your organization risks becoming, as the marvelous Seth Godin points out, a follower, one that can only sell its brand by doing it cheaper and faster – a road ultimately doomed to failure in a world of expanding global competition and technology that’s become more available to more and more organizations world wide. It’s like making common running shoes and your only choice will be to spend the most in marketing your product to make up for a lack of distinction in quality or impact. Any and all financial benefits gained from cost cutting in the first place will be completely eliminated, especially considering that marketing costs these days can be as high as 100% the cost of actual animation production.

Walt Disney Studio’s box office hit, Frozen, cost approximately $150 million to produce, but at least as much or more to market and distribute. Fortunately, its artistry and its ability to connect to audiences world-wide helped it reach over $1.2 Billion in gross revenues .

So it’s not surprising to commonly see disharmony and disenchantment within the production environment. Animation as a product requires the input of so many people that it multiplies the complexity of product and people management. It’s also a product whereby the consumer has come to expect greater and greater quality. How can you whip and chain so many to comply? What possible gimmick, motivational speech or rule change could be used to streamline the creative process and get exciting yet regularly productive results? The answer is none – the only solution is trust, freedom and respect between a company’s leaders and it’s creative members. People have to become self-accountable and self-guiding for a company to be strong and manageable.

https://youtu.be/3g7WZETP-Ew

Respect and cooperation is usually the best solution. Harvey Keitel’s Mr. Wolf from Quentin Tarantino’s Pulp Fiction, is one of the coolest characters in modern film history.

Artists need respect. They are fragile beings sure, but it isn’t because they are weak but precisely because they are courageous. Artists bravely throw their heart and soul into their work – a risk few others take on a regular basis – exposing themselves to constant rejection and failure, being vulnerable to judgement by others and even more harshly, themselves. (Hear how Milt Kahl would torture himself while animating here).

After all, what artist strives to disappoint? It’s a very humbling process.

“There’s no amount of external validation that can undo the constant drone of internal criticism. And negative self talk is hungry for external corroboration. One little voice in the ether that agrees with your internal critic is enough to put you in a tailspin.” – Seth Godin

But provide the right atmosphere, one that honors people and allows for freedom and risk of the unknown, and you’ll be rewarded with the kind unexpected ingenuity and loyalty that is unmatched. Artists who feel respected and happily engaged in their work regularly, put in countless unpaid hours building and solving problems for their organizations (after work, during their sleep, and even on their vacations!) This is an attribute usually applied exclusively to entrepreneurs, who you’d correctly expect to worry day and night about their investment.

Brad Pitt plays Floyd, the ultimate slacker, in Tony Scott’s 1993 film, True Romance.

On the flip side, artists who themselves disrespect the work and craft, and only do hack work, shouldn’t expect accolades or the respect from their employers or even their fellow artists. Somewhere along the way they’ve stopped being artists (and just because you’re animating or holding a brush doesn’t mean you are one.) Being an artist is about a soulful, personal commitment to the craft. It’s being part of a unique membership – it has to be earned, much like the professional athlete on his team or musician in an orchestra.

https://youtu.be/sSrYec4y_og

Burgess Meredith tells Rocky the hard truth, in Sylvestor Stallone’s 1976 Best Picture-winning movie, Rocky. Screenplay by Stallone himself, the film changed his career (and grossed over $225 million worldwide while sporting a nifty production cost of less than $1 million).

Work that’s done like a job, and done only because you’re getting paid, is not art. Artists should know better. If an environment is set up for you to learn, with flexibility and resources to be collaborative and creative, then they should reward that support system, by respecting the work itself. The old saying applies – any job worth doing, is worth doing well. That said, even if things aren’t perfect, you still must respect yourself, by respecting the craft. As the wonderful Neil Gaimen noted:

“Life is sometimes hard. Things go wrong, in life and in love and in business and in friendship and in health and in all other ways that life can go wrong. And when things get tough, this is what you should do. Make good art.”

But for the most part, the slacker animation artist is rare. This incredibly difficult and risky field is one that invites the dreams and labors of creative, emotionally dedicated and diligent investors of passion and energy, not the free-loader.

So, to you supervisors, directors, producers, executives and owners out there, know your artists (which includes your programmers, technicians, production assistants etc.) Provide and care for your teams and they will reward you in such unpredictable and intangible ways that you’ll marvel at the results – results that will help your product, your team and organization standout and prosper globally, and thus, financially.

Good work done by good people in good work environments. That’s a win-win-win.

Author: James Chiang

The Artistry of Jack Lemmon

Respect