Pitching Stories like Rik Mayall

Rik Mayall, pitching stories in Grim Tales

Pitching stories is just storytelling. It’s performance. This post will give you what I think is the best examples of a person telling a story in a way that suits animation.

I first discovered the comic actor Rik Mayall (1958-2014) from from the wild English comedy show The Young Ones. He also appeared on Black Adder, and was the star of Bottom with his longtime partner Ade Edmondson. It was his children’s television program Grim Tales that left the greatest impression on me. Most episodes included some short animations produced by independent studios, but other than that it was basically him telling a story in his high energy style. Dressed in pajamas and and robe he gives every character a disinctive voice, and he effortlessly switches between them. Sometimes he sits in his puppetted chair, but he also roams about and delivers whatever attitude is needed with is body.

One man. Telling a story. I couldn’t take my eyes off him.

Really, you just have to watch some, and imagine you are a television executive with him in your office pitching stories. You would not be bored. I recorded all his shows off televsion and onto VHS and kept them too long. Now we have YouTube. All the episodes are great, I have selected these based on the video quality. There doesn’t seem to be a dvd available, or I would buy it in a heartbeat.

When Mr. Mayall passed away, I posted this animated video “Don’t Fear Death.” It’s also worth checking out.

Comedy Notebooks

Many great artists have kept notebooks. Comedians are no different. While comedy often seems to be a magical talent, professionals will put in work to develop a better understanding of their art. They record their obervations and jot down ideas for future use. (It should go without saying, but you should be writing down all your original ideas.) What all comedians definitely study is other comedians. This post will tell you about some very famous people who spent their time watching, and taking notes, about other acts.

Animators love to watch animation, right? You learn a lot by exposing yourself to as much as you can. When you start on a job, there is an assumption that you know more than just the 12 principles of animation. Artists who have a huge vault of ideas to draw upon can offer a lot to a production, and will be appreciated. When you are developing work, you can often get ideas across by referring to something that has been done before. “Reference” is more than just movie clips you use when animating.

I recently finished reading Baggy Pants Comedy: Burlesque and the Oral Tradition, by Andrew Davis. Below is a quote I want to share. It’s about how to absorb the work by observation. In the times before movies, there was only live theater. Burlesque comedy was an oral tradition. Sketches and routines were seldom written down. Actors weren’t handed a script and told to go home and memorize it. Performances were fluid, and improvisation was expected. Actors learned by stading off stage, or in the audience, and watching.

Not only did a young comic learn the joke, he absorbed the pace and the rythym of a line, and the inflection and emphasis to give key words or syllables. By watching others perform a particular scene, a burlesque comic could learn, for example, how certain facial expressions or body movement helped communicate the meaning of the joke.

The few notes and scripts that survived are invaluable. When someone in the past records the details of events, it can become an historic document. So writing things down is good!

When you go to an art class, you are paying the teacher to tell you things. It’s advisable to write down what he or she tells you. What if you also write down what YOU observe when you are watching a cartoon? Just the idea that you are looking for something to note will help you pay special attention, and you will have something to refer to in the future.

Benny Hill was a hugely successful television comedian, and he was a note taker. In Funny Peculiar: The True Story of Benny Hill, Benny’s old stage partner Reg Varney remembers…

We’d meet in the mornings to pick up the mail, then while I went back to bed, he’d go off to the pictures taking his little notebook with him. He went every single afternoon, and when I came to the theater in the evenings he’d give me an ear bashing about what film he’d seen. I used to say to him ‘But did you get it all down?’ and he’d say ‘You bet!” He had bits of paper everywhere!”

Reg Varney went back to bed, and now almost nobody remembers his name. Benny studied and took notes. Benny was looking for material he could potentially fit into his own act. Honestly, he was pilfering jokes. But that helped him to understand how jokes worked. He also had a big collection of American joke books to draw upon. He would sometimes stay up late into the night listening to American comedians coming through faintly on the radio, looking for good material that hadn’t yet made it to England.

Animator and film director Frank Tashlin also kept notebooks. The image at the top is his drawing. Years ago I found this quote, by Tex Avery, and included it in my book. If this doesn’t inspire you to study comedy, quit reading this blog.

Frank Tashlin was working for Schlensinger then, too. We called him Tish-Tash. He had a cartoon strip and he fooled around. He would see cartoons and he would go to the old slapstick movies with a little flashlight and a little black notebook, and he would write down every Charlie Chaplin and every Laurel and Hardy gag he saw. We used to kid him about his little black book, because he was always looking in it for a joke. Well, the laugh was on us. He went much further in this gag business than we ever did.

If you start taking notes, I would love to hear your observations. You could also learn what I have observed and learned over the years by picking up my book. Click the link below!

Comedy for Animators on Amazon

Retiming for Comedy

Timing is a big part of both animation, and comedy. Here is a trick to help develop the timing of your animated scenes.

When I worked in the commercial department of Industrial Light & Magic we worked in 30 frames per second. When reviewing dailies, the supervisor would occasionally ask to see a take played back faster, say 36 fps.  It often resulted in motion that had the energy the supervisor or director was looking for.  It was then easy for the animator to go back into the scene, select the keys, and scale the timing to match the exact percentage the supervisor had already seen and approved. Changing the speed of your playback is a super quick way to test out new timing.

It occurs to me now that the same retiming method could be used with reference footage. If you have recorded yourself acting out a scene, try changing the playback speed to get different results before you start to animate.

But let’s take it just a little further. Maybe you have to animate a scene that it is very complicated or even a little risky to act out. What if you acted out the scene at a speed that made it easy for you to carry out all the details in the motion, then you speed it up to get the velocity you want? Or if your character has to fall, you can do it at a speed that allows you to play it safe.

I’ll confess, I didn’t invent this idea. It’s been around for about a century.

Ben Model is one of the top musical accompanists for silent films. He is intimately familiar with silent film timing, and the technique of “undercranking”. For those who don’t know, early movie cameras were hand cranked by skilled camera men. Movie projectors, on the other hand, were mechanically timed to be as consistent as possible. The speed of cranking could be manipulated to change the effect of the motion when projected. By cranking the camera more slowly, undercranking, the resulting playback gave us the sped up quality we are familiar with in silent comedy.  It’s like applying a time warp to an animation curve but done live on the set.

It is generally thought that they used the sped-up image simply to make the action funnier. Indeed, it does do that, but apparently they found another advantage of running the film faster. It allowed them to act slower. Creating physical comedy requires great skill, and the chance to act slower allows for greater precision in the performance.

Mr. Model has taken some clips of silent comedy and slowed them down to approximate how it was acted in real-time. It reveals interesting things. Not only does speeding up the motion make it funnier it allowed the actors to move more carefully. They could fine tune the details, and when played at full speed, it makes them look almost superhuman. First, a short video featuring Harold Lloyd to show you how it worked, then a longer more detailed example from Charlie Chaplin.

Mr. Model has several more of these undercranking studies on his YOUTUBE CHANNEL. Here is his SILENT FILM MUSIC website where you can purchase rare silent films on dvd and blu ray. During this pandemic stay at home time, I recommend his Sunday Silent Comedy Viewing Party on Youtube.

To finish up, here is an example of how the Monty Python crew used undercranking in their fish slapping dance. At real time, getting hit with a big fish looks noticably more painful, and less funny.

Comedy for Animators on Amazon

The man who died laughing

The late Tim Brooke-Taylor was a member of The Goodies were a trio of English comedians who performed on TV in the seventies and early eighties.

There is a unusual story associated with them:

From wikipedia:

On 24 March 1975 Alex Mitchell, a 50-year-old bricklayer from King’s Lynn, literally died laughing while watching an episode of The Goodies. According to his wife, who was a witness, Mitchell was unable to stop laughing whilst watching a sketch in the episode “Kung Fu Kapers” in which Tim Brooke-Taylor, dressed as a kilted Scotsman, used a set of bagpipes to defend himself from a black pudding-wielding Bill Oddie (master of the ancient Lancastrian martial art “Ecky-Thump”) in a demonstration of the Scottish martial art of “Hoots-Toot-ochaye.” After twenty-five minutes of continuous laughter Mitchell finally slumped on the settee and died from heart failure. His widow later sent the Goodies a letter thanking them for making Mitchell’s final moments so pleasant

Here is a dramatization of the event.

The BBC had pulled some previous YouTube videos of this episode. Hopefully they will leave this one up.

Wacky Races – for real.

Wacky Races was one of my favorite Hanna-Barbera cartoons. Over the years it has inspired automobile lovers to recreate the highly caricatured cars and drivers in real life. First, enjoy this Peugeot advertisement. It gives all too brief glimpses of the famous cars. Obviously Peugeot wants you to look at their model. No doubt many of these are CG recreations of the more outlandish vehicles.

The Penelope Pitstop ending is so right.

If you are unfamiliar with the originals, here they are:

Wacky Races 01

THIS SITE has ranked the cars. THIS PAGE actually uses F-1 scoring to rank the best racers in the 17 episode series.

Starting a blog post often leads me to fun discoveries. In 2009, the Wacky Races were reproduced at the Goodwood Festival of Speed. They did a fabulous reproduction, and I so wish I could have seen them. Here are the cars:

And some of the crew.

What many people may not know is Wacky Races was inspired by the Blake Edwards live action comedy epic The Great Race. In 2016 I was fortunate enough to stumble onto two of the original cars on display at a local theater. Professor Fate was the bad guy, and below is my photo of his car which could elevate to drive through snow.

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