Frank Tashlin 2ª Parte: "Animación"
Después de la gran iniciativa de cagney y de la ardua labor realizada por él para crear la filmografía de las películas de Frank Tashlin, se me ocurrió que podría realizar la 2ª parte, la de animación. Esta está compuesta por cantidad de cortometrajes de animación en técnica 2D, tanto a color como en blanco y negro. Más allá de que todos los cortos tienen diálogos en ingles sin subtítulos, me parece que son cosas dignas de ver y que no precisan obligadamente los subtítulos para poder contemplar la belleza de los cortos, la majestuosidad con la que estan hechos, y las partes graciosas, o que pueden divertir a los niños, aunque siempre sería mejor con los subtítulos.
Filmografía Fran Tashlin 1ª parte por Cagney: Frank Tashlin
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Quiero decir un par de cositas:
• Todos los cortometrajes estan comprobados por mi, tanto para comprobar que los cortos fueran en idioma original, como para agregar la información de si son en blanco y negro o a color (y de paso para verlos
). • Todas las imagenes en las fichas son capturas realizadas por mi para agregarle cierto color y gracia a la filmografía, ya que en internet no se consiguen las caratulas de cada corto como sí ocurre con sus películas.
La Biografía de frank Tashlin ya esta hecha en la filmo de cagney, asi que hago una introducción con un fragmento de una entrevista y algunas imágenes.
Frank Tashlin: entrevista
Barrier: You were at Schlesinger's three different times, so this must have been...
Tashlin: Schlesinger brought me out from New York, and I worked there. Then I started a comic strip, and he wanted a cut of it, and I said go to hell. So he fired me. Then I worked for Ub Iwerks, who was doing a thing called Flip the Frog. Then I came back to Schlesinger's as a director.
Barrier: While you were with Iwerks, you were an animator?
Tashlin: I was an animator, yes.
Barrier: Since Schlesinger had fired you in the first place, what led to the reconciliation?
Tashlin: He was starting another unit, and he needed a director, and he said, I'll let you direct. He was a man who thought in money terms. He never let personalities interfere too long; his wallet spoke.
Barrier: And you started off as a director, when you went back to Schlesinger, on Porky Pig cartoons?
Tashlin: That's right. Friz Freleng was there, and Tex was directing, and he wanted a third unit; he was doing twenty-six cartoons a year and he wanted to do thirty-nine. Chuck and Clampett weren't directing yet.
Barrier: Who did you have assigned to you as animators when you first started directing?
Tashlin: A very good animator named Bob Bentley...another fellow, Joe D' Igalo..Nelson Demorest...Norm McCabe, who directed later on.
Barrier: Didn't Bob McKimson animate for you?
Tashlin: Later on. I complained I needed a strong animator—none of these men were too strong, especially in personality animation—so I got Bob, because Bob was very, very solid, and he drew very well.
Barrier: There's been a great deal of interest lately among my friends in the cartoons you directed during your first stint at Warners, as a director, because you seem to be anticipating a lot of the stuff they did later, in the early forties, in the sense of the timing and the wilder gags, which they didn't have in the earlier cartoons. For example, I've seen a cartoon of yours called Cracked Ice, and it's very interesting to me, because you start off pretty much like the old Warner cartoons, with a string of fairly obvious gags—the timing milks the gags—and then you get into the sustained gag, with the pig slipping around the ice.
Tashlin: Was there a Saint Bernard in that?
Barrier: Yes, the pig is trying to get the brandy away from the Saint Bernard. Now, you were beyond even Tex Avery at this time, even though Tex is usually credited with developing the wilder Warner style. Was this a conscious development, or did it just sort of happen?
Tashlin: I would never once think I was ever ahead of Tex, any time, anywhere, anyhow. Tex, I thought, was just marvelous. I'm surprised that you say that. All I was ever interested in was applying—see, wherever I am, wherever I'm working at the time, my mind and heart are ahead, somewhere else. I am never where I'm at. When I was doing cartoons, I was concerned with one thing: doing motion pictures, features. I would try to apply like—I remember I did the first montage they ever did in a cartoon. I was always trying to do feature-type direction with these little animals. And it's like when I was doing films, I started thinking of doing plays. But fellows like Tex and Friz, they stayed with it. You know, everything came from Disney's, we didn't do anything. It all came from Disney's.
Barrier: How do you mean? The characters, or the techniques, or—?
Tashlin: Everything. There's a great deal of argument about who created Bugs Bunny. Now certainly, "Bugs" Hardaway, Ben Hardaway, who was a great idea man, had a lot to do with it, and it was certainly his name. But Bugs Bunny is nothing but Maxie Hare, the Disney character in The Tortoise and the Hare. That's the only time they ever used that character [Actually, Max Hare was used in two other Disney shorts.] We took it—Schlesinger took it, or whoever, and used it a thousand times. But that whole thing of the guy [here Tashlin made the "whoosh" sound that is used in cartoons to accompany great speed], that's where that was invented [in The Tortoise and the Hare]. So that's all Disney. Maxie Hare had a voice [Tashlin imitates it] that's really a cross of the woodpecker's [Woody Woodpecker] today, and Daffy Duck's. You run The Tortoise and the Hare, and it's almost Woody's voice. So that all came from Disney. Now, take the mouse that's everybody's used, and that Barbera and Hanna used at MGM for years. That mouse was designed by Disney, and Wilfred Jackson directed it in a picture called The Country Cousin. That's the first time that cute mouse was ever used.
Barrier: But still, the Warner cartoons in the forties had a wildness...
Tashlin: I think that was Tex. Freleng, Izzy, did marvelous, meticulous things, especially with music. I used to try to do things like he did, and never could do them as well as he did. But Tex, I guess, was really the one who developed wild, wild jokes. A lot of our humor came from Jack Benny, and I'll tell you how. Jack Benny was on the radio Sunday night, that's when Jack was very, very big. We'd come in Monday morning, all of us were talking about Jack. Jack had running jokes—there'd be a knock on the door, open the door, Mr. Kitzel would stick his head in and say one line. The rabbit started doing that—"What's up, doc?" Bing, door closes, out. We'd get all of this from Jack Benny. We really stole from all over, and perhaps, as it came out of the assembly line, we put some originality to it. But really, we got it from all over. We got the characters, we got everything. But I think of everyone there, Tex was the great innovator. If there was any innovation, it was Tex.
Barrier: But in your cartoons like The Major Lied Till Dawn, for example, there were wild gags that were beyond even what Tex was doing at the time.
Tashlin: Really? I don't remember that one.
La entrevista completa aqui: http://www.michaelbarrier.com/Interviews/Tashlin/tashlin_interview.htm
1933-26-Buddy's Beer Garden.mpg [71.16 Mb] 
