timbox129
10-09-2015, 09:47 PM
Someday soon, I may want to do an animated feature of my own�something that is almost or partially like my own semi-autobiography in animated feature cartoons (or a semi-autobiographical fantasy for that matter); something partially inspired by Genndy Tartakovsky and Hanna Barbera and Cartoon Network�s 1990s kids show Dexter�s Laboratory or something like that; but also one that will describe my childhood self as well: a little boy adventurer and a curious learner, among other qualities.
Since I know I might not probably get to make a film of any established Cartoon Network character or so, why not I make up my own boy genius geek character and my own ballerina sister character for a change?
Well, I want to take some of the original 1990s run of Dexter�s Laboratory�s balance of science, humor, action, and character development or something else, mixed it with adventure and imagination and/or perhaps a classic good versus evil subplot (involving a Mandark-like rival genius kid neighbor from school who is really a Sauron-like �Master of All Evil� bent on taking over the world), and swap races for both the boy genius brother in the scientist lab coat and ballet student sister in a ballerina tutu outfit and turn them into unlikely heroes at the start of a journey�a journey beyond your imagination.
And oh!
I was thinking of calling it �TIMMY� or, rather, TIMMY: The Movie.
Now my Timmy could be a eight-year-old Japanese American boy genius character (who could also be given the surname �Kurosawa�, in honor of the legendary Japanese film director Akira Kurosawa) who is growing up somewhere during the 1990s (a more innocent time before 9/11), gets mostly good grades in school, and who lives in a quiet suburban small town Maryland neighborhood with a mother who loves to cook and clean, a father who is wild for sports, an older ballet student sister named Naomi, and their two Ren and Stimpy-like pets, a psychotic dog or chihuahua or whatever and a fat, simple, slightly dopey if goodnatured cat or Manx cat or whatever.
Like Dexter of Dexter�s Laboratory fame, Timmy Kurosawa could slip away on a fully equipped hi tech laboratory to solve problems like thwarting schoolyard bullies or saving the world from Namkrad, Master of All Evil, a grandly devilish sorcerer who masquerade as a school rival genius kid neighbor of Tim�s.
Like Dexter�s Laboratory�s Dee Dee, Naomi Kurosawa likes to dance or eat cookies, but she, along with the Ren and Stimpy-like dog and cat, are one of the only three characters to whom Timmy Kurosawa can truly relate.
People who really know animation might know not only the sad story of Richard Williams� failed magnum opus The Thief and the Cobbler (1964-1992; released 1993 and 1995) but also the story of my dream passion project, the self-titled TIMMY: The Movie.
I might spend a as of yet unspecified number of years or decades on TIMMY: The Movie, and it may contain some of the most complex animations ever attempted onscreen whether it be traditionally hand drawn or digitally computer generated.
I may or I may not get full funding for the TIMMY movie project until I achieve success or even win an award or something, so for an unspecified number of years or decades yet to come, I may just pick at it, in-between working on other things, perhaps, for TIMMY: The Movie can also be the whetstone with which I could hone my talent, craft, skills, and ideas.
And my art style might also keep improving and changing, becoming more and more complex.
Sure, 2D hand drawn traditional animation is becoming largely out of style in the mainstream these days, only to be replaced in the mainstream by digitally modeled and rendered 3D CGI animations such as Tangled, Wreck-it Ralph, Frozen and even Big Hero 6.
And you know, if I were to become a great animator, and if I were to hire many other animation hands�including the great animators of the 1980s and 1990s Disney Renaissance�to pass on their knowledge to a whole new generation of young animation artists, or else, all that knowledge and especially the 2d hand drawn traditional animation techniques will be completely lost forever, then TIMMY: The Movie will be one of my ways to learn.
And if I do, I may also set up my own artist-run studio to help train an entire new generation of young soon-to-be great animators and help make another revival in animation, one that will be very diverse especially in style and technique.
And sure, even more than just a footnote in animation history, TIMMY (the movie, not just me) is gonna be a hugely influential animated movie project. And not to mention, a work of genius, pure and simple. I might either be a genius who may be difficult to work with or demand or perfection or input from my diverse (i.e., race, gender, etc.) crew or maybe encourage any animation artist who visit my own artist-run studio to offer input or ideas, but I may also become an inspiration as well as a great teacher.
And sure, given my obsession over planning and making TIMMY, I might also create some of the most spectacular, beautifully lush, and/or intricately complex animations of all time, hand drawn or CGI or a mixture of both�take, for example, Namkrad�s machine(s) of war, which is/are filled with every piece of weaponry and machinery imaginable�and some of the most delightfully subtle. Plus beautiful cinematography and lighting effects; every in-camera and/or digital trick in the book, and a hundred which aren�t!
That being said, TIMMY The Movie may or may not technically be a Disney movie for it is something absolutely unique, original and/or especially visually distinctive: an animated feature film project that may be as though it is designed somewhere in the 20th century more than just the 21st, using design trends from anywhere and from the 20th and 21st centuries, and all sorts of ideas, some or many of which will be all its own things.
Yes, the family dog and cat may look like the aforementioned Ren and Stimpy:
And yes, some of the characters in TIMMY The Movie may look like they might come straight out of Genndy Tartakovsky�s 1990s work on Dexter�s Laboratory:
Or his work on Samurai Jack (like in Samurai Jack himself as a young boy in these examples below):
((NOTE: Young Samurai Jack could be the inspirational character design model for Timmy Kurosawa himself!!!))
Or Craig McCracken�s The Powerpuff Girls (as in this character below named Fuzzy Lumpkins):
But rest assured, they could still move with perfect fluidity whether they be realistic like in a Disney animated feature film or stylized like in Genndy Tartakovsky�s and Craig McCracken�s respective works. It will be a dream, pure and simple. And of course the whole entire thing will be in the language of a dream.
And seriously, guys, anything is possible in the world of the animation art-form.
((And animation is not a genre. It is a technique as well an art form as well as mostly a visual medium.))
Well, I always intend TIMMY: The Movie to not be crappy like anything else these days�but rather be good, great, or nothing short of breathtaking.
I hope that TIMMY, more than anything else about it, might become something of a masterpiece. Even so, TIMMY: The Movie might also contain some of the most stunning, intricate, complicated, dynamic, and carefully designed animations ever filmed, hand drawn, CG, or both.
Even with a look that may alternate between the look of the character designs and animation style for the 1997-1998 episodes of Dexter�s Lab, or the first two seasons of Craig McCracken�s Powerpuff Girls, or the lessons of Disney�s Nine Old Men, or even the look of the character designs and animation for Samurai Jack, and may also alternate between radically bizarre and foreign as well as realistic and highly stylized, a hopefully splendid or even heartwarming story, and/or even a dollop of humor with the kind of lunacy native to the old gold Genndy Tartakovsky-involved original Dexter�s Lab shorts from Season 1 (1996-1997) and Season 2 (1997-1998) or classic Warner Bros. cartoons or even the Tex Avery and Tom and Jerry MGM cartoons, TIMMY: The Movie is going to be one of those perfect things�a superb fulcrum between highbrow and/or lowbrow�a vibrant, personal project impractically done on a never before seen scale or whatsoever.
It may want to do what has never been done before, but in a way that doesn�t call attention to itself, but more than that, as technically impressive and/or thoughtfully and splendidly heartwarming as it is, it�ll also be consistently and riotously funny as hell!
Whether it be on the big movie theater screen or in IMAX or especially on an online website like YouTube or Vimeo in high quality and available for any curious parties at no cost, even so, I wanted TIMMY: The Movie to blow everyone away (especially if he or she is one who is a fan of Dexter�s Lab or Samurai Jack or the Old Cartoon Network or the animation work of Genndy Tartakovsky and Craig McCracken)�and it may be like realizing that there�s a whole half of a movie after Lawrence of Arabia�s intermission, or even that Adam isn�t just sticking his pointer finger at the sky on the Sistine Chapel (In fact, Adam is sticking his pointer finger at the pointer Finger of God, who first created Man in His Image).
Anyway, I might be very interested and determined to make sure that for TIMMY: The Movie will also have one of the most joyful and one of the most heartfelt reconstructions of what it is like for any child (regardless of his or her race, gender, etc.) to grow up in the 1990s, which is an innocent time before the 9/11 attacks in 2001, complete with the childhood innocence that is so dear to Walt Disney's heart. If so, I hope that TIMMY: The Movie will also sweep away--like a fresh breath of fresh air--some or much of the cynicism, grittiness, crassness, or even gross-out raunchiness that has--for too long after 9/11--obscured the life, love, laughter, pop culture, and innocence of the 1990s.
What I might cook up for TIMMY: The Movie in the years and/or decades or more to come�set pieces, dynamite animation and special effects, or even perfectly conceived gags�might also include comedy bits, designs that range from Genndy Tartakovsky/Craig McCracken-inspired to Disney-inspired, sweeping camera movements, meticulously crafted and gorgeous backgrounds, breathtaking action or adventure, even wonderfully expressive character moments along the way.
Sure, like Brad Bird�s The Iron Giant (1999), TIMMY: The Movie could be made in a CinemaScope Widescreen 2.39:1 format, which may present certain challenges such as the need for different kinds of wider staging of small numbers of characters and the need for longer backgrounds and/or production cels.
Hopefully, TIMMY: The Movie could awe with wonderful (if mostly 2D hand drawn) animation (with some amazing CG thrown in), gorgeous backgrounds, and even an outstanding background music score fit for an epic (I wanted the background music score for TIMMY: The Movie to be scored like and as if it is scored in the style and tradition of the late great James Horner�s outstanding music score for Don Bluth�s Land Before Time (1988).), and even so, I hope to champion the imagination not only for the children in the audience but also for the adults as well.
And hopefully, by virtue of its astounding imagination, sometimes epic, often serious drama, almost always light-hearted and hilarious, I hope that TIMMY: The Movie is going to be hopefully a best-loved and heartfelt animated classic even without considering how dynamically well animated it would be, but we shall see about all that till all will be said and done about it!
My apologies for making such a very long post, once again, and and you don�t have to read all of it if you want, but what do you boys and girls think of all that?
Since I know I might not probably get to make a film of any established Cartoon Network character or so, why not I make up my own boy genius geek character and my own ballerina sister character for a change?
Well, I want to take some of the original 1990s run of Dexter�s Laboratory�s balance of science, humor, action, and character development or something else, mixed it with adventure and imagination and/or perhaps a classic good versus evil subplot (involving a Mandark-like rival genius kid neighbor from school who is really a Sauron-like �Master of All Evil� bent on taking over the world), and swap races for both the boy genius brother in the scientist lab coat and ballet student sister in a ballerina tutu outfit and turn them into unlikely heroes at the start of a journey�a journey beyond your imagination.
And oh!
I was thinking of calling it �TIMMY� or, rather, TIMMY: The Movie.
Now my Timmy could be a eight-year-old Japanese American boy genius character (who could also be given the surname �Kurosawa�, in honor of the legendary Japanese film director Akira Kurosawa) who is growing up somewhere during the 1990s (a more innocent time before 9/11), gets mostly good grades in school, and who lives in a quiet suburban small town Maryland neighborhood with a mother who loves to cook and clean, a father who is wild for sports, an older ballet student sister named Naomi, and their two Ren and Stimpy-like pets, a psychotic dog or chihuahua or whatever and a fat, simple, slightly dopey if goodnatured cat or Manx cat or whatever.
Like Dexter of Dexter�s Laboratory fame, Timmy Kurosawa could slip away on a fully equipped hi tech laboratory to solve problems like thwarting schoolyard bullies or saving the world from Namkrad, Master of All Evil, a grandly devilish sorcerer who masquerade as a school rival genius kid neighbor of Tim�s.
Like Dexter�s Laboratory�s Dee Dee, Naomi Kurosawa likes to dance or eat cookies, but she, along with the Ren and Stimpy-like dog and cat, are one of the only three characters to whom Timmy Kurosawa can truly relate.
People who really know animation might know not only the sad story of Richard Williams� failed magnum opus The Thief and the Cobbler (1964-1992; released 1993 and 1995) but also the story of my dream passion project, the self-titled TIMMY: The Movie.
I might spend a as of yet unspecified number of years or decades on TIMMY: The Movie, and it may contain some of the most complex animations ever attempted onscreen whether it be traditionally hand drawn or digitally computer generated.
I may or I may not get full funding for the TIMMY movie project until I achieve success or even win an award or something, so for an unspecified number of years or decades yet to come, I may just pick at it, in-between working on other things, perhaps, for TIMMY: The Movie can also be the whetstone with which I could hone my talent, craft, skills, and ideas.
And my art style might also keep improving and changing, becoming more and more complex.
Sure, 2D hand drawn traditional animation is becoming largely out of style in the mainstream these days, only to be replaced in the mainstream by digitally modeled and rendered 3D CGI animations such as Tangled, Wreck-it Ralph, Frozen and even Big Hero 6.
And you know, if I were to become a great animator, and if I were to hire many other animation hands�including the great animators of the 1980s and 1990s Disney Renaissance�to pass on their knowledge to a whole new generation of young animation artists, or else, all that knowledge and especially the 2d hand drawn traditional animation techniques will be completely lost forever, then TIMMY: The Movie will be one of my ways to learn.
And if I do, I may also set up my own artist-run studio to help train an entire new generation of young soon-to-be great animators and help make another revival in animation, one that will be very diverse especially in style and technique.
And sure, even more than just a footnote in animation history, TIMMY (the movie, not just me) is gonna be a hugely influential animated movie project. And not to mention, a work of genius, pure and simple. I might either be a genius who may be difficult to work with or demand or perfection or input from my diverse (i.e., race, gender, etc.) crew or maybe encourage any animation artist who visit my own artist-run studio to offer input or ideas, but I may also become an inspiration as well as a great teacher.
And sure, given my obsession over planning and making TIMMY, I might also create some of the most spectacular, beautifully lush, and/or intricately complex animations of all time, hand drawn or CGI or a mixture of both�take, for example, Namkrad�s machine(s) of war, which is/are filled with every piece of weaponry and machinery imaginable�and some of the most delightfully subtle. Plus beautiful cinematography and lighting effects; every in-camera and/or digital trick in the book, and a hundred which aren�t!
That being said, TIMMY The Movie may or may not technically be a Disney movie for it is something absolutely unique, original and/or especially visually distinctive: an animated feature film project that may be as though it is designed somewhere in the 20th century more than just the 21st, using design trends from anywhere and from the 20th and 21st centuries, and all sorts of ideas, some or many of which will be all its own things.
Yes, the family dog and cat may look like the aforementioned Ren and Stimpy:
And yes, some of the characters in TIMMY The Movie may look like they might come straight out of Genndy Tartakovsky�s 1990s work on Dexter�s Laboratory:
Or his work on Samurai Jack (like in Samurai Jack himself as a young boy in these examples below):
((NOTE: Young Samurai Jack could be the inspirational character design model for Timmy Kurosawa himself!!!))
Or Craig McCracken�s The Powerpuff Girls (as in this character below named Fuzzy Lumpkins):
But rest assured, they could still move with perfect fluidity whether they be realistic like in a Disney animated feature film or stylized like in Genndy Tartakovsky�s and Craig McCracken�s respective works. It will be a dream, pure and simple. And of course the whole entire thing will be in the language of a dream.
And seriously, guys, anything is possible in the world of the animation art-form.
((And animation is not a genre. It is a technique as well an art form as well as mostly a visual medium.))
Well, I always intend TIMMY: The Movie to not be crappy like anything else these days�but rather be good, great, or nothing short of breathtaking.
I hope that TIMMY, more than anything else about it, might become something of a masterpiece. Even so, TIMMY: The Movie might also contain some of the most stunning, intricate, complicated, dynamic, and carefully designed animations ever filmed, hand drawn, CG, or both.
Even with a look that may alternate between the look of the character designs and animation style for the 1997-1998 episodes of Dexter�s Lab, or the first two seasons of Craig McCracken�s Powerpuff Girls, or the lessons of Disney�s Nine Old Men, or even the look of the character designs and animation for Samurai Jack, and may also alternate between radically bizarre and foreign as well as realistic and highly stylized, a hopefully splendid or even heartwarming story, and/or even a dollop of humor with the kind of lunacy native to the old gold Genndy Tartakovsky-involved original Dexter�s Lab shorts from Season 1 (1996-1997) and Season 2 (1997-1998) or classic Warner Bros. cartoons or even the Tex Avery and Tom and Jerry MGM cartoons, TIMMY: The Movie is going to be one of those perfect things�a superb fulcrum between highbrow and/or lowbrow�a vibrant, personal project impractically done on a never before seen scale or whatsoever.
It may want to do what has never been done before, but in a way that doesn�t call attention to itself, but more than that, as technically impressive and/or thoughtfully and splendidly heartwarming as it is, it�ll also be consistently and riotously funny as hell!
Whether it be on the big movie theater screen or in IMAX or especially on an online website like YouTube or Vimeo in high quality and available for any curious parties at no cost, even so, I wanted TIMMY: The Movie to blow everyone away (especially if he or she is one who is a fan of Dexter�s Lab or Samurai Jack or the Old Cartoon Network or the animation work of Genndy Tartakovsky and Craig McCracken)�and it may be like realizing that there�s a whole half of a movie after Lawrence of Arabia�s intermission, or even that Adam isn�t just sticking his pointer finger at the sky on the Sistine Chapel (In fact, Adam is sticking his pointer finger at the pointer Finger of God, who first created Man in His Image).
Anyway, I might be very interested and determined to make sure that for TIMMY: The Movie will also have one of the most joyful and one of the most heartfelt reconstructions of what it is like for any child (regardless of his or her race, gender, etc.) to grow up in the 1990s, which is an innocent time before the 9/11 attacks in 2001, complete with the childhood innocence that is so dear to Walt Disney's heart. If so, I hope that TIMMY: The Movie will also sweep away--like a fresh breath of fresh air--some or much of the cynicism, grittiness, crassness, or even gross-out raunchiness that has--for too long after 9/11--obscured the life, love, laughter, pop culture, and innocence of the 1990s.
What I might cook up for TIMMY: The Movie in the years and/or decades or more to come�set pieces, dynamite animation and special effects, or even perfectly conceived gags�might also include comedy bits, designs that range from Genndy Tartakovsky/Craig McCracken-inspired to Disney-inspired, sweeping camera movements, meticulously crafted and gorgeous backgrounds, breathtaking action or adventure, even wonderfully expressive character moments along the way.
Sure, like Brad Bird�s The Iron Giant (1999), TIMMY: The Movie could be made in a CinemaScope Widescreen 2.39:1 format, which may present certain challenges such as the need for different kinds of wider staging of small numbers of characters and the need for longer backgrounds and/or production cels.
Hopefully, TIMMY: The Movie could awe with wonderful (if mostly 2D hand drawn) animation (with some amazing CG thrown in), gorgeous backgrounds, and even an outstanding background music score fit for an epic (I wanted the background music score for TIMMY: The Movie to be scored like and as if it is scored in the style and tradition of the late great James Horner�s outstanding music score for Don Bluth�s Land Before Time (1988).), and even so, I hope to champion the imagination not only for the children in the audience but also for the adults as well.
And hopefully, by virtue of its astounding imagination, sometimes epic, often serious drama, almost always light-hearted and hilarious, I hope that TIMMY: The Movie is going to be hopefully a best-loved and heartfelt animated classic even without considering how dynamically well animated it would be, but we shall see about all that till all will be said and done about it!
My apologies for making such a very long post, once again, and and you don�t have to read all of it if you want, but what do you boys and girls think of all that?
