Since others are posting them, here’s one of my “brushes with Show-biz” stories. The short version of how I got to work for and with the brilliant comedian Chris Rock.
An animation director went to HBO and offered his services to do a short segment for Rock’s show in ”collage style.” One of the producers asked, “You mean like SOUTH PARK?” The animation director said “No, like Stephen Kroninger.” Fortunately for me, someone I’d worked with on several other projects was also one of the producers in that meeting. She said “Stephen’s a friend of mine, why don’t we get him?” The rest is television history. We had three weeks from start to finish to bang out the animation. It’s called Bad Phone Sex. The bit is about Chris trying to get his completely disinterested and uncooperative girlfriend (Judy Gold) to talk dirty to him over the phone. Chris Rock was incredibly patient and a dream to work with. He posed for all of the head-shots, looking at the storyboards and then imitating the expressions in the drawings. He couldn’t have been nicer. At one point in editing the audio we decided to take out a line with a very popular four-letter word in it. Not because of the word, it’s used liberally throughout the piece, but because it was felt that it impeded the flow of the animation. A producer intervened and said ”You can’t take that line out because Chris always gets a big laugh whenever he says (popular four letter word).” It stayed in and big laugh he got. Lots of big laughs in fact. The program was recorded in front of a studio audience and aired on what turned out to be the very last episode of “The Chris Rock Show.” He soon departed for Hollywood. The two minute animation is included as an extra on Rock’s DVD “Bring The Pain.” It was also selected for Spike and Mike’s Twisted Festival of Animation.
I'm a great admirer of Federico Fellini's caricatures. Here's a website with seventy-nine of his drawings. Click on the image icons at the far right of the page. Fellini Drawings OR Fellini Drawings type Fellini into the box that reads Autore, press Lista and you're in. There are also some great books collectiing his works. FELLINI!Segni di cinema And my personal favorite I disegni di Fellini Here are some drawings from "I disegni di Fellini."
This drawing of Anita Ekberg is in "Segni di cinema."
Caption: “His Excellency Benito Mussolini consists of a wooden bowl, bathroom suction pump and a pair of old shoes. His features are a hard-boiled egg, two prunes and a pickle. In his caricatures, Hirshman tries to use objects which not only look like the subject, but which also describe the subject’s personality. He has succeeded in his caricature of Mussolini.”
These were first published in the May 10, 1938 issue of LOOK magazine. I don’t know anything more about the artist and these are the only images I’ve seen.
Caption: “Harpo Marx as Hirshman sees him. His hat is a money belt, his hair, tomatoes; his eyes are marshmallows and his nose a potato. He has an oversize frankfurter for a mouth and forks for arms.”
Caption: “Wally and her Duke through the eyes of Hirshman. The Duke’s head is made of toast, a fried egg and bacon, a pretzel and a leaf of spinach. The food is especially treated to prevent its spoiling. Wally consists of a pocket book, a bone pin, beads, safety and bobby pins. Her body is made of a fan and a clothes hanger.”
Today marks the 103rd anniversary of the birth of S.J. Perelman. Although best known as the author of countless pieces for “The New Yorker” and for having co-scripted “Monkey Business” and “Horse Feathers” for the Marx Brothers, he began his life in the arts as a cartoonist. Above is an example of his handiwork.
"I was born in New York in 1904 and reared in Rhode Island, where I attended Brown University. Simply stated, I became interested in the life creative because I was a comic artist at college. I was more interested in working for the college humor magazine, The Brown Jug, than I was in trigonometry and all those necessary adjuncts. Eventually, in my senior year, I became editor of the magazine and subsequently went professional in New York as a comic artist. This lasted for six or seven years, when I drifted into writing, principally because my cartoon captions became longer and longer and longer." S.J. Perelman 1967 (from "Conversations" by Roy Newquist)
After he started working as a screenwriter for the Marx Brothers, he gave up his career as a cartoonist entirely. Many of his friends were professional artists, and over the years they tried to encourage him to resume his drawing. Some even presented him with drawing supplies, but he never bothered to use them. ("SJ Perelman, A Life" Dorothy Herrmann, Simon & Schuster 1986)
For a more complete bio
Dictionary of Literary Biography on S(idney) J(oseph) Perelman: http://www.bookrags.com/biography/sidney-joseph-perelman-dlb2/