Published between 1982 and 1995
In 1966 the Group moved to Shelton Street, home of the School of Film Technique. But with declining membership and minimal finance, a few years later the remaining stalwarts formed a limited company called Teamwork Films. They moved to Neal’s Yard and carried on in much reduced circumstances, relying for their existence on sponsored work. Eventually the venture failed leaving John Daborn with the few remaining group assets.
Illustrations from The Legend of Bolster.
Making the Legend of Bolster
LEW COOPER’S FILM ‘THE LEGEND OF BOLSTER’ WAS ONE OF THIS YEAR’S MOVIE MAKER TEN BEST FILMS. HE TELLS US ABOUT ITS PRODUCTION.
Since taking up movie-making I’ve always had an interest in animation. I have dabbled in most types, usually in short experimental attempts. All the completed animated films I’ve made have been made with puppets of some form. The problem here is that you need an area which can be set aside for your film making. In this way, you can leave everything set up, and do the odd bit of filming when you can spare the time.
The drawings were made on thin white bond paper, then traced onto cels using black waterproof ink. I find you can see through the paper without using a light box. This means you can literally make drawings anywhere. I’d often sit in an armchair with my drawing board on my lap.
Cutting the Cost of Cel Animation
By Les Ranyard
My interest in animation began very early in my cine hobby with hand drawn titles and short cartoons drawn directly onto blank 9.5 film – this was very difficult as anyone who has done it will agree – to keep your subject in the same position in the frame – being unable to overtrace – then like many of us, I changed over to Super 8 which made this medium almost impossible due to the reduced frame size.
used the older of my grandchildren who added the desired sound effect on ‘queue’, sometimes. This was a huge joke, with masses of retakes, till the desired effect was obtained. This was the lighter side of animation, enjoyed by all who took part in it, most of the time, except when the wife would poke her head round the door, asking if we want a ‘cuppa’. Back to the start again, after the children had stopped laughing at my remarks to my fast retreating wife.
Illustrations for the “Animation by a young film maker” article.
Animation by a Young Film Maker
MICHAEL SALKELD WON THE BBC YOUNG FILM MAKER’S COMPETITION LAST YEAR. HE TELLS US HOW HE GOT STARTED THROUGH TO HIS LATEST FILM.
I have been making animated films for six years, though I had been interested in animation all my life. At first I made flick books, generally copying things I had seen on the television or in the cinema.
Naturally I didn’t stay satisfied with flick books for very long, so by the time I got a cine camera for Christmas, also my 11th birthday, I was geared up to make animated films. At first I copied Walt Disney or should I say the style of Walt Disney, which isn’t all that bad considering Disney animation is so good.
How the devil got down to Georgia
TONY SALMON, WHO’S FILM “THE DEVIL WENT DOWN TO GEORGIA” WON AN IAC AWARD THIS YEAR TELLS US HOW HE MADE THE FILM.
My film “The Devil went down to Georgia” was made almost by accident. The character of the Devil himself had been born out of an idea for a film I was working on at the time, when the country and western record “The Devil went down to Georgia” bounced into the hit parade.
Model sheet from “The Devil Went Down to Georgia” by Tony Salmon.