• il y a 3 mois
Transcription
00:00Ahoy there, this is Eric Goldberg, and it's my pleasure to provide commentary for a great Frizz Freeling cartoon, Buccaneer Bunny.
00:13I used to have this cartoon in Super 8, actually, and poured over it frame by frame by frame, learned a lot that way.
00:20It's interesting about this cartoon, it's the only one in which Yosemite Sam, playing Buccaneer Sam, is dressed in this pirate outfit with this yellow shirt.
00:31And yet, that became the image that was used so widely to represent the character in other media, in comic books, in prints, on T-shirts.
00:42Somehow they always showed him as Buccaneer Sam, even though they called him Yosemite Sam.
00:48I'm sure many of you will recognize this outfit from the mudflaps that have him on it, and various other ways that they've utilized this image.
00:59Now, there's some great animation here by Virgil Ross, look how beautifully three-dimensional Bugs is here.
01:06One thing I also want to call your attention to is secondary animation.
01:11Now, most of the time we look at who's talking, but take a look in this scene coming up as the gun muzzle is pressed up against Bugs' face.
01:22We're watching Sam talk, but take a look at Bugs' face as that gun muzzle is pressing into it.
01:30It's a great piece of secondary animation, but for the most part, no one's looking at it.
01:43The other thing Virgil was great at was smear drawings, which the Warner guys used all the time.
01:50So coming up, you'll see him turn very, very fast and turn back again and break his teeth by gritting them.
01:57And if you look at that single frame, you'll see these great smear drawings that Virgil's put in the scene.
02:05Now, one thing, of course, that Fritz Freling is known for is his great timing, and this cartoon is full of those instances.
02:15Look how quickly he does those turnarounds. There's no frames wasted.
02:23Plus, I love the joke that he can't go anywhere with the boat without the oars, so he has to swim and get the oars and then row the boat.
02:34And now here, Bugs is doing his impression of Charles Lawton playing Captain Bly in Mutiny on the Bounty.
02:54One thing that's great about Mel Blanc's performance here, too, is that it's Bugs Bunny doing Captain Bly.
02:59It's not just an imitation of Captain Bly. It's amazing, the versatility that he had.
03:12This parrot stuff is great, too. Most of this animation is by Manny Perez.
03:18But Mel Blanc's voice work on the parrot is fantastic, especially during the payoff here.
03:25Now, you could frequently hear Mel doing parrots and various other voices on the Jack Benny radio program at the time as well.
03:46He did practically everything on radio.
03:56Now, watch the timing on this gag.
04:00Sam climbs up and all the way down without a stop until he hits the ground. It's perfect.
04:08This one, too.
04:11No frames wasted.
04:14Now, here comes a piece of effects animation that was pretty elaborate for a Warner's cartoon. Watch the water.
04:20And also when the boat rises.
04:23Gee, I wonder what Sam is mouthing there.
04:25et la scène est vachement déchirée.
04:34Ici, on voit une animation de l'effet qui est assez élaborée pour un film de Warner.
04:39Regardez l'eau.
04:43Et aussi quand le bateau se lève.
04:45Je me demande ce que Sam est en train de dire.
04:49La façon dont l'animation de l'eau est faite sur la surface,
04:52c'est une technique appelée « drybrushing »
04:54où l'on met de la peinture sur le bateau
04:57et on suit les dessins d'animation,
04:59mais on le brushe très très doucement
05:02pour qu'il y ait un sentiment brush-strokey.
05:05Quand Sam est sous l'eau,
05:07ils utilisent un outil appelé « glass ripple »
05:10et c'est un verre qu'ils peinent sur l'art
05:14qui le distorte un peu
05:16et qui lui donne ce look ripple,
05:18comme si Sam était sous l'eau.
05:20Et j'ai entendu dire que quand ils n'avaient même pas l'argent pour un verre ripple,
05:24ce qu'ils utilisaient, c'est un remplaçant à la peinture,
05:27peint sur une cellule,
05:28et ça ripple bien aussi.
05:33C'est un outil très célèbre,
05:36ces « door gags »,
05:38tout le temps pour la musique,
05:42et les notes hautes pour Bugs,
05:43et les notes basses pour Sam.
05:46Mon outil préféré, c'est celui à la fin,
05:48où Bugs sort de la porte
05:50et retourne dans la même porte.
05:52Continuité ici aussi.
05:54La porte de Bugs est étendue à droite,
05:56et quand Sam l'ouvre,
05:58dans le close-up,
05:59c'est étendu à gauche.
06:04C'est une super animation ici,
06:06par Jerry Chinekey,
06:08particulièrement quand Sam essaie de jouer
06:11nonchalant,
06:12comme s'il ne s'en soucie pas
06:14que Bugs va exploser le bateau.
06:28Regardez Sam.
06:32C'est un exemple
06:34de transition rapide
06:36d'une idée à l'autre.
06:43Mais vous vous attachez à l'idée
06:45de lui jouer Jax longuement
06:47pour l'apprécier.
06:49Mon doute, c'est que Jerry Chinekey
06:51a animé tous ces planques
06:53qui tombent aussi.
06:55Ils avaient des animateurs d'effets,
06:57mais ils les utilisaient seulement
06:59pour des choses spécialisées,
07:01comme des explosions.
07:05Et enfin, Bugs prouve
07:07son connaissance de l'Histoire américaine
07:09en quotant l'ambassadeur
07:11américain révolutionnaire,
07:13John Paul Jones.
07:21À plus, Bugs.