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 Hello, and welcome to the first issue of
AI!I!iATO! ( w i t h t h a n k s t o ! ! i k e J i t l ov ). . . ;; e hope
you' ll like wnat we' re doing here. If this is
successful, we' ll be back with more larger issues
l at er .
AHI!.ATO! is the offici 1 newsletter of
CARTOORE (Cinematic Animation Round able Of New
E ngland ) a n d a s a l w a y s , we' re looking for members.
mem bership is 85.00 and it gives you a subscript-
ion to ANI!1ATO! as well as half price admissions
to our showings. (See later in this is ue for more
information along that line.) We would install a
coupon here, but we hate to see you cut up our
hard work. Instead, just send check or money order
to CARTOOHE, c/o liike Ventrella, 109 Tremont St„
Box 614, Brighton, I!A 02135. !lembers also get free
goodies like posters and buttons (when we get them,
t ha t i s . )
Well, thanks for your support. We need it.
Have fun and all that stui'f.

Editor: !like Ventrella

Contributors: Scott Gillespie
Craig Walton
F rank S t r o m

0
summer
83
®
E dit o r
My next film, "Sex, Violence and Racism,w
is going to be mace next week as soon as we
finish rotoscoping the whole thing. Should
take a day or two at least. Then I'm retiring.
Really. No kidding this time.
Ralph Bakshi
Scorch , C a li f o r n ia

E dit o r :
Help, I'm freezing!
W alt D i s n e y
c / o D i s ne y o n I c e

® E dit o r ;
OK, OK, you got me. I admit it. I'm really
Auggie Doggie in disguise. Now will you leave
me al one?
E lroy J e t s on
Spacevi l l e
E ep Op Or p A h A n

E dit o r :
We' re having an argument here we hope you
can help us sort out. My buddy here says that
wBozo" was the worst animated series of all
time. I insist that it has to be "The Three
Stooges.w What do you think? Are we both
wrong? Ierhaps the Al Brodax Popeyes? One
other friend suggests "Beetle Bailey," but
I don't think that's as bad as the others.
After all, Beetle Bailey sometimes would
move his head a bit while his mouth moved,
and there did seem to be more than one
drawing per second. Hopefully some of your
readers would like to join in this debate.
T h mk y o u .
H anna Bar b a r i a n
Battle Creek, Michigan

E dit o r :
"Rock and Rule" bombed because I wanted
it to. It just didn't show me in the right light.
We can't have this sort of thing, now, can we?
Nok
S omewhere i n N u k e Y o r k

E dit o r :
Thank you vewy much for this oppowtunity
to speak out on my suppowt fow the National
Rifle Association. Without this valuable
gwoup, w e wo ul d c l e nwy b e h e adxng t o wawd a
socxety with a vast overpoulation of wascally
wabbits. I say wWell done!"
Elmer F u dd
Long Cweek • Owegon

Edi t o r :
We' re in a heap of trouble now. The crew
of "Dark Star" just flew into Disneyland and
insist that Pluto be destroyed because he' s
u nst a b l e .
Mickey Mouse
Disney l a nd , C a li f o rn i a
 r / 4Qf.'"
i .
•
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Ijayyened
by Scott Gillespie

I saw "Rock and Rule" twice. I consider my-

self extremely lucky, considering it left Boston
a f t e r o n e week an d n e ve r a p peare d a nywhere e l s e
in the United States at all as far as I know.
The first show on the opening day I attended with
a mob oi' twelve. The second time I went there
were seven in the audience. Why did no one go to
see this film, especially in a city which trad-
itionally has supported science fiction, new
music, and animation?
 "Rock and Ruie" best combined these three
elements in such a way that no single element
overshadowed the other two. This new feature
from the Canadian based Helvana studios (wuevil
a nd Dani e l j ' jouse, v "Cosmic Christmasw)was sparse-
ly distributed and badly received. This is a pity.
"Rock and Rule" is one of the best feature length
animated films to be produced in the past decade.
"Rock and Rule" depicts a future post-war
society but adds a new twist: the characters are
mut itious of street animals (cats, rats, dogs).
Omar, a street tough rock musician trying to
m ake t h e 'big time' and his girlfriend Angel, a
singer with a 'unique' voice, are confronted with
our antagonist Mok,an egoistical poweri'ul megalo-
maniac whose fans worshin as a Rock God. Nok
feels worthy of this worship and wishes only to
please the crowd at any cost.
Nok (for reasons which are not quite clear)
wants to call forth a demon. He has all of the
c omponent s s a v e o ne : a 'unxque' voice. With
cajolement and extortion, he forces Angel to use
her talents for his own endo.
The characters are the film's greatest at-
tribute. As usual • the bad guys are more inter-
esting than the good guys. Nok is a perfect
modern power figure, an entertainer supreme. His
magnetism coupled with his hold over the masses
provides him with a control many politicians
would envy . T h er e s h oul d h ave been g r e a t e r c o ver -
age of the crowd in order to show how he extracts
his power. Too often the crowd was nothing more
than a faceless mass.
The rolier skating Schlepper brothers (Toad,
Sleasy, and Rip), Nok's henchmen, provide comic
relief. They provide an interesting contrast to
Nok's overbearing personality.
Angel is as beautiful us she is resourceful.
She is not the typical "damsel in distress." Her
independence is a good example of modern woman
r ar el y f o und i n a n i mat i o n ( s av e " Secre t o f M I tS " ) .
Other less prominent characters were also
well developed. Of particular note is jjylar, a
shady concert promoter, and Cinderella, the one
Schlepper sister, whose one passion is roller
d ancing a t C l u b 6 66 .
"Rock and jjulew smoothly combined standard
cel animation with computer and rotoscope tech-
niques. The settings were d:u k and dreary,rem-
iniscent of "Blade Runner" (Doesn't anyone nave
a bright vision of the future?). There are a
few nice touches: a televi on screen that actually
look" as if it is broadcasting a picture. In fact,
one of the Schleppers actually watches a badly
anijmited cartoon on TV!
The demon Mok summons was marvelously gro-
tesque. A nightxiarish creature of the Lovecr;J'tzan
genre, thxs monster was reuj neat. The summoning
wus the highlight of the film. It was animated
in a unique way, without any real comj„Lrison.
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 T he musi c , p r o v i d e d b y D eborah Har r y , L o u
Reed, lggy !op, Earth, wind and Fire, and cheap
Trick was excellent and was well integrated into
the story, unlike »Reavy !'l etal» where the music
seemed more of an afterthought. I impatiently
wait the release of a soundtrack album.
Unfortunately, much of the effect of this
great music was lost due to the poor sound
quality of this film. The musie never built as
it should; it was weakened by restrictions which
kept it too low key. During the summoning of the
demon, for example, the music never reaches the
crescendo needed to convey the power and import-
a nce o f t h e e v e n t .
So with all of these things going for it,
why did »Rock and Rule" bomb? Wna' happened?
Well, we here at CARTGORE have some theor-
ies.
First and foremost is the public's usual
reaction to animated films. Americans shun
animated films because they relate them to the
inept, underfinanced, untalented dreck they
grew up with on Saturday mornings.
A second reason concerns the film's adver-
tising strategy. Its catch phrase was "Sound
you can see in the movie you can feel!" By
promoting this film's musical aspects instead
of aiming for the science fiction audience,
a large potential group was lost.

'I

f I;I ; , ' i

O ur s u gges t i o n s :
1. Change the advertising format. The title
"Rock and Rule" implies heavy metal music to
some, so any advertising would have to offset
this image. Aim towards the science fiction
a spect " .
2. Remix the sound, bringing the back-
round musi c f o r w ar d wh en ne e ded.
I sinceroly hope that Nelvana will re-
r e l e as e » h ock an d h u l e " so that others may
enjoy this higi quality animation.
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 ' 00+
1RE BESTOF
Warner Brotherg
Chosing the "best" in any field is a risky
job. Especially if one is a special affectionato
of the area being ludged.
But duty calls, and we must stand to decide
among the hundreds of films the great warner Bro-
thers studio provided us with which ones are the
BEST.
The reason for this decision is twofold:
One, we are putting on our first screening on
July 8th, and we want it to be a huge bass. (It
had better be or a certain CARTOONS President
is going to be out a lot of money. ) What better
way to turn people on to the 5oys of animation
than by screening some of the most popular
cartoons of all time? Two, we feel as though
these films deserve to be commended and ap-
preciated. That's it.
With this in mind, then, let's look at
our list of possible films that will be shown
(or is that films that possibly will be showno)
at our first screening. The list is longer than
our screening program will be because often it
is impossible to get the film desired. On we
go in no particular order!:
A TALE OF TWO KITTIES (Clampett): This
i s t he m a mar s e ir s t appearance of
Tweety Bird. Here our fine feathered friend
has to deal with two Abbot and Costello charact-
er cats. Tweety 1s a much more aggresive bird
than the later model that Friz Freling employed.
Tweety has a number of indespensible dynamite
sticks (what sell' respecting cartoon character
wouldn' t?) and recites lines like eAw, poor
puddy tat fall down and go BOON!" in the most
untweety voice imaginable.
HANATEUR NIGHT (Avery): One of Tex's
p g sa a t | t th 1 k f
talent is endless is cartoonland. Ierformers
fall through trap doors that appear endlessly,
tomatoes thrown at bad acts hover in midair
until a good shot is had, and a band drops its
instruments at the count of three to take up
batons ao the conducter plays the opening
score. Four Stars from Joe Adamson's "Tex
Avery: K i n g o f C a r t o ons. "
 THE ISLE OF klNGO lONGO (Avery): Another
spotgag my u u o rtc es. A great satire
on the travelogues popular at the time. The sun
sinks slowly in the west everywhere but in an
Avery cartoon: Here a demented ganster machine
guns it down in an instant.
PORKY IN WACKYIAND (Clampett): This is the
origina ac an w e o ne, not the later color
version titled "Dough for the DoDo." In this zany
film, Porky flies to "Darkest Africa" iri search
of a reward for capturing a dodo bird. (Ignore
the fact that dodos have been extinct for years
and look nothing like the cartoon version of them.
Tazmanian Devils don't travel in tornadoes, either.)
Salvador Dali would be proud of this film ae its
the most dada film ever put out by the WB crew.
There are dissolves worthy of the best KoKo the
Clown cartoons• and enough strange goings on to
make Tex Avery Jealous. (He later copied this
film in "The Cat That Hated People" for NGN.)
DUCK! RABBIT! DUCK! ( J ones) : T h i s i s a
favorite no o r s e c nique or its innovative
style as much as for its script. What starts
off as a typical Bugs/Daffy encounter ends up as
a riotous battle between the two as they try to
convince a befuddled Elmer that it's Duck season
or Wabbit season or that Daffy is a wabbit or
Bugs is a duck or whatever.
PORKY PIG'S FEAT (Tashlin): Daffy and
I' hy ~ PP t I h th y t '

pay their bill. The unscrupulous manager

even eventually has them locked up with ball
and chain. There are some wonderful bits in-
volving a fall down an endless flight of stairs
and even a r ef erence to a new Dick Tracy char-
acter invented by Daffy when he smushes in the
face of the manager to produce a real "prune-
f ace. "
THE GREAT PIGGY BANK ROBBERY (Clampett):
Speaking o c rac y , y ge s the final
go ahead with this film as he (as Duck Twacy)
battles Neon Noodle, Pumpkinhead, Jukebox Jaw,'
and a slew of other deformed Dick Tracylike
vi liens.
THUGS WITH DIRTY RUGS (Avery): Another
four star Avery. e e o cri m e is turned
upside down. Killer Diller brings his terror
to twon robbing every bank, as the chief of
police yells "Take that you dirty rat!" until
we see that he's feeding a, you guessed it,
a dirty rat. A favorite scene is where the bad
guys are in a house, trying to figure out the
combination to a lock. The lock turns out in-
ste td to be a radio dial, and as "The Lone
Ranger'• comes on, our villsns settle down com-
fortably in front of the radio to listen to its
pleasures.
 THE DOVER BOYS (Jones): An often overlooked
t PP P . t 1 th ft1 t h
is both a satire of the old melodramas that
plagued early filmgoers and is yet a loving
tribute to their inanities. Without being over-
handed, he manages to build hie story with our
understanding: The three Dover Boys (Tom, Dick>
and Larry) have their fiancee (Doris Stanpipe)
kidnapped by that "cad, coward, bully and thief"
Dan Backslide. Best scene: When Dan sees a car
and in his loud voice (which he always carries
with him), yells: "A roundabout! I'll steal it!
NO ONE WILL EVER KNOW!" The film is also import-
ant for another reason: Jones' use of motion is
excellent. In Disney's "The Tortiee and the Hare,"
speed was first conveyed accurately in en animated
film by drawing lines behind the character and by
blurring action. Here, Jones tries another tech-
nique which works Just as well (the sign of a
good film technique is that you really don't
notice it at first): Jones has the characters
mold into place according to their speed. This
is hard to explain. Instead of using lines to
move a charcter from one place to another
quickly, Jones actually draws the whole character
blurred into new forms. Try waving your hand in
front of your face. You don't see lines or ind-
ividual hands, you see a blur....guess you have
to see this to appreciate it or even to under-
stand it. Take our word for it, it's great.
AND it looks real nifty when viewed frame by
frame.
INKI AND THR LION (Jones) Here's one they
never s ow on an ymore, but We'
re not sure why.
People say it's racist. It features a young
African boy named Inki (perhaps it's the name
people don't like) who is stalking a lion. Every
once in a while a small Hinah bird gets in the
way, That's about it. Nobody really knows why the
cartoon and the others in this series are good.
Everybody likes them, though. Even Jones, who was
gust ae confused by these films as the audience.
COAL BLACK AND THE SEBBEH DWARFS (Clampett):
N ow THI on e s r a c s . u y ou a v e o l o o k at
it in its proper time frame: This was back in WWII,
and the fact that Clampett may not have been as
enlightened as was a small minority of whites is
no reason to overlook this gem of a film. Every»
thing works here, from the slightest geg to the
most overwhelming musie. It'e also a great
Disney parody, down to a wishing well scene
and a "dopey" dwarf as well We think that
Ralph Bekshi must have a copy of this that
he plays every morning.
DUCK AHUCK (Jones): Thi s one does get
h EI I w. V ' 1t It'
the one where poor Daffy gets treated terribly
by the animator who keeps erasing his backrounds
and replacing his voice with sound effects. It's
a wonderful film, and we couldn't leave it out.
 KITTY KORNERED (Clampett): Here's one
•
' WV.P k y h l t » t
he kicks out into the snow. One of them, a fel-
low who later evolves into Sylvester, speaks to
his comrades: »Are we mice or men7» The smallest
one admits coyly, "I like cheese • He is instantly
thrashed back into a snowdrift. "Wait a minute!>
spits Sylvester, "I've got it!" The small one
pops out hopefully, " The cheeseV!!!» Back to t h e
snowdrift. Anyway, this film has many bright
moments (like when Porky's eye grows about 50
times a la Avery upon seeing a cat dressed as a
martian.)
ONE FROGGY EVENING (Jones): If we get all
the films we wan, s w i ll be the first we'
ll
cut beoause it has been on TV so often. Our hero
finds a frog that will sing, but only to him.
Needless to say, no one believes him. An excellent
film. Everybody loves the N1chigan rag!
THE OLD GRAY HARE (Clampett): Elmer and
Bugs are now e r eclining years, with long
beards and canes to prove it. They reminisce on
their childhood (seems they've been adversaries
from way back) as Bugs is biting the big one
(whatever THAT means). Bugs isn't so easily
duped or killed, however, as Elmer should know
by now, Be sure to keep watching the screen as
the closing titles go by. !KNN!
DAFFY DCC (Clsmpett):An early Daffy in
black a~n w ~e. Daffy acts daffy in a hospital
and blows his body up blimpl1ke a la Donald in
•Three Cabslerros." This print (the one we' ll
be showing) is a rare version that has scenes
that are missing in the later color version.
(Thanks to animator Steve Segal for this one).
PORKY'S ROAD RACE (Tashlin): A great film
which nc u es c arse urea of famous stars of
the day: Boris Karloff, The Narx Brothers,
you know, the typical guys who are always in
these types of cartoons.

Obviously, there is not enough time in

the evening to show all of these, but we hope
that our showing w111 have as many of these ss
possible. We hope your favorite wasn't left out.
If it was, 1t may be because we chose against it
because of TV exposure. At any rate, we hope to
eee you all on July 8th at 7:50 at the Boston
Film/Video Foundation. Bring friends. Admission
is S5.00 for nonmembers, g!.50 for members.
(Hey, we got overhead, you know.)
T OP FILM S
THE TOE RENTAL CHAMPIONS
(Accordtad to V~ariet i Nay 4, 1989)
1, Bambi ( 1942) $27,850,000
2. The Jungl e Book ( 1967) $27,317,000
3. Snow Whit e ( 1 9 37) $ 26,900,000
4. Ci nder e l l a ( 1949) $25• 539 • 000
5. Lady and t h e T ramp ( 1955) $ 25,218,000
6. 101 Dalmati on s ( 1 961) $ 22,792,000
7. Song O' The South ( 1 946) $ 2 1,536• 000
8 . F a n t a s i a ( 1 9 4 0 ) $ 2 1 , 6 1 3 , 0 00
9. Pi n occhi o ( 1 940) $ 19,912,000
10. Th e Fo x a n d t h e H o und ( 1 9 8 1 ) $ 19 • 1608000
11. The Ar i s t o c at s ( 1 970) $ 18,680,000
12. Robin Hood ( 1973) $ 17, 110,000
13e Pete r l . a n ( 1 9 53 ) $ 1 6 , 87 5• 000
14. Sl eeping Beauty ( 1 959) $ 15,815,000
15. The Rescuers ( 1977) $ 15 000,000
16. L o r d o f t h e R i n g s ( 1 9 78 ) $ 1 3 87918043
17. Heavy Metal ( 1 9 81) $ 1 0, 325
18. Al i c e i n Wonderl and ( 1 951) $ 7 , 196,000
19. Sword i n t h e . Stone ( 196'3) $6, 560,000
20. A Boy Named Charl i e B r own ( 1969) $ 6 , 000,000
21. The Secret of NIMH (1982) $4,794,087
22. Fritz the Cat (1972) $4,700,000
23. Wizards ( 1 977) $ 4 , 659,000
 What's all this about?
It seems that Variety, like most trade
journals, loves a goo~ a . A n d Varietv gives
the best list in the field, it is~ o
Not true, Bullwinkle breath.
The Variettylist is based on rental sales.
That's sometXIng completely dii'ferent from the
intake at the box office. The rental sales can
be set by a distributor lower to some theatres
and thus the list can be altered.
The list also fails to include any film
that has grossed less than g4 million. This, of
course, includes most of the animated films in
e xi s t e n c e .
The list also does not include rereleases
unless they are ma)or. For example, Yellow Sub-
marine has probably been shown so often in
places like the Harvard Square Theatre that it
most likely deserves a place on the list.
Another ma)or problem with the list is
the fact that it does not take inflation into
account. Sure, Jungle Book made more than Snow
White. But how much was a buck worth in 19B7,
anyway?
variety has finally discovered its error,
and in ~ e a y 4th issue also included a brief
list of the top films adjusted yearly for in-
flation. Six animated films made the list:

1 , Snow Whit e ( a t P 2 6 )
2, lady and the Tramp (at k64)
The Jungl e Hook ( at t 7 3 )
4. Cinderella (at 481)
5 . Hambi ( a t P 8 2 )
6. 1 0 1 D al mat i o n s ( a t t 9 1 )
 I, unfortunately> do not have the time
nor the inclination to figure out a system
that would take into account inflation per
year and then to go to the library and pour
through old issues of Vari~et in order to
come up with something re~se~bling the above
'1 st
ROVEVRR, (wish I could type italics.
I have to underline or CAFITALIEE whenever I
want empha~s s )a v e taken the list in the
aforementioned trade sheet and have adjusted
it for inflation with no concern whatsoever
of individual yearly performance.
what I' ve done was this: I' ve taken a
film> say "Fantasia>v and using a government
formula used for calculating such stuff, I
have checked the film's year ( 1940) against
what a buck was worth then, and then ad)usted
it accordingly. This does not take into account
rereleases or anything, but it's still a heck
of a lot more informative than the Top Rental
Champions of All Time list we saw at the start
of this article.
Therefore, here is my list of the films
-vjusted sort of for inflation, starting with
number seven:

7 . Fant a s i a
8. Pi noccio
9. Song O' Th e South
10..Peter Pan
1 1. S l e e p i n g B e aut y
1 2. Th e A r i s t o c a t s
15. Robi n Hood
14. Alice in Wonderland
15. The Rescuers
16. The Fox and t h e Hound
1 7. Th e Swor d i n t h e S t o n e
18. The Lord of t h e Rings
19. A Boy Named Char l i e B r own
20. Heavy Hetal
21. Fritz the Cat
2 2. Wi z ar ds
23. Th e Se cre t o f N I ( dH

Sorry. I have no indication of how the

other films that earned less than four million
would do on thi s l i s t . I g u ess Var l e t d oesn' t
c onsider them important enough,~ u c s the
spice of life.
 What city are Walt Disney, Walter Lasts, and

Qi
Ub Iwerks from?
a H ol lywood
b Kansas City
c Nonolulu
d R ' l y ch
O
m'g What is Donald Duck's license plate?
a Q u ack 2
b 3I3
c 0 07
d He doesn't have one
Who created Tom and Jerry?
a God
b Ten Avery
o Walter Lasts
d William Hannah and Joe Barbers
4 Where does Quasi like to spend his time?
a in the bathtub
b a t a n orgy
c a t t h e Quaekerdero
d There is no such being as "Quasi«
5o Who anisated King Kong?
a Queen Kong
b George Psl
c W ill is O'Brien
d Ray Nsrryhsusen
Zero Nostel'e last film proJect wae doing a
voice for a chsrcter in sn animated film.
What was the film snd which character did
Zero play?
a Jeremy the Crow in «NINE«
b R ukh i n " The Last Uni corn"
c Keehsr the sesgull in "Waterehip Down"
d L arry i n "Wizards"
Who did the voice of Barney Rubble?
a Nel Blanc
cJ
b Ar t Carney
Larry Storch
)
d Dews Butler
What famous cartoon wae Winsor McCay known for?
a Yellow Submarine
b Boso
c Gertic the Dinosaur
d Gushy and Pokey
How many holes are there in the sea of holes?
a Nobody knows
b T hree or f our
c A million
d E nough to fill the Albert Hall
IO What studio did John Hubley found?
a Hubley films
b Warner Brothers
c UFA
d S t udio 54
o o~ - ~