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The humor can be a little dated — although Jack Burns’ conspiracy-minded racist neighbor feels unsettlingly current — but the design, with watercolor furnishings floating on bright fields of color, is bold and still fresh. Its structure is that of a single-camera sitcom; indeed, its pilot script, first realized in animated form as a segment on “Love, American Style,” also was filmed in a live-action version, starring Van Johnson. Where most every sitcom or drama looks more or less like most every other sitcom or drama, every cartoon has its own way of picturing the world.
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Jetsonian architecture also seems to draw from the work of Charles Schridde in his series of ads for Motorola in the early 1960s which ran in the Saturday Evening Post and Life magazine. You can get away with things in a cartoon you couldn’t in a live-action series, or that at least would register differently. It is hard to imagine Bill Burr’s profane 1970s serial period piece “F Is for Family,” on Netflix — a show that runs long on humiliation, trauma, shouting and a very real sort of violence — coming off as funny or ultimately sweet as it does if it weren’t a cartoon. In early episodes of “The Simpsons,” Homer would grab Bart by the throat and squeeze; try that with live actors and wait for the tweets.
Cartoon House stock illustrations
Drawing also makes the characters one with their universe; the look of the Simpsons or the Harpers or Hills is also the look of their home, their street. One noticeable advantage of cartoon settings is that they’re less aspirational than their live-action counterparts. You could write a paper on what’s on the kitchen counters. But as I pointed out in my post about Googie architecture from last year, the artists and animators working on “The Jetsons” didn’t really need to leave their own backyards for inspiration. The Hanna-Barbera Studio which produced “The Jetsons” was in Hollywood and in the late 1950s and early 1960s buildings all across Los Angeles had that mid-20th century modern look that would become identified as Jetsonian.
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These same shots were often shot in one take because film was expensive and the Disney Brother’s budget was limited. When a live action sequence called for an outdoor shot, Walt and Roy would make due with just about any location they could find - from their uncle Robert’s yard (seen in Alice’s Day at Sea) to vacant lots where they could film for a small fee. It was clear that the duo would need a larger studio lot with a soundstage. It was then (late in 1925), that Walt an Roy began to consider purchasing a lot on Hyperion Avenue in the Silver Lake district of Los Angeles. After their 12-and-a-half-minute “demo-reel” won the attention of cartoon shorts distributor Margaret Winkler, Walt and Roy would need to rent an office space in order to house their expanded staff and meet their production schedule. The brothers hired their very first employee - Kathleen Dollard to “blacken” (or, darken) their pencil lines.
In fact, it was just a TV shoot for “Naked Planet,” a spoof on the late 1950s ABC show “Naked City.” Thinking that mobsters want to snuff him out, George goes into hiding with Astro at Mr. Spacely’s vacation home in the woods. Green park landscape with grass, trees, flowers and clouds. Now registered as a historic landmark, Walt first boarded at the one-story bungalow at the age of 21 upon arriving in Los Angeles in 1923.
During 1924, a total of ten Alice one-reel short films were created inside Disney Bros. Studio on Kingswell Avenue, owing largely to a demanding schedule imposed by Margaret Winkler’s fiancée Charles Mintz. Other former Laugh-O-gram staff would soon join Ham’s move to California and help with the production of the Disney Brother’s Alice in Cartoonland series. You can go back, prehistorically, to Hanna-Barbera’s “The Flintstones,” the “modern Stone Age family” comedy, which premiered in 1960 on ABC. That vacation home – Mr. Spacely’s “old fishing cabin” — is one of my favorite examples of Jetsonian architecture. Probably because the building bears a striking resemblance to the villain Vandamm ‘s hide-out in Alfred Hitchcock’s 1959 film North By Northwest.
Cartoon House Sketch royalty-free images
Tall actors may play short people, young actors may impersonate seniors, plain people may play beautiful ones; it’s fluidity nonpareil. On “Bob’s Burgers,” mother Linda and daughter Tina are played, respectively, by John Roberts and Dan Mintz; Regina King voiced brothers Riley and Huey on “The Boondocks”; and on “Duncanville,” Poehler voices both mother Anne and teenage son Duncan. Sadly, the home in North by Northwest is not a real house that you can visit, but was instead built on an MGM set.
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Though these experiences are looked back upon as “happy times”, each visitor is important to the kindly caretaker Marina who generally runs the shop during its hours of operation. During our visit, she briefly took time to show us a few photographs and reflect on individuals who have visited from Florida, and even Japan. Numerous Walt Disney Company employees, Walt Disney Studio staff, Disney Parks employees have visited and brought stories and gifts for Extra copy’s Disney museum. Thanks to some individuals who worked here, a floor plan was reconstructed. This displayed floor plan helps visiting guests find the locations of Roy’s desk, the inker’s desks, and even the old camera room used to shoot the drawings of Alice’s Cartoonlandsettings and cast.
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Old run-down house remodelled into cute traditional suburban cottage. Four vector buildings sketch drawings in perspective view with trees. There were twice as many animated cartoons produced during 1925 than the preceding year. This is because Winkler Pictures began to demand an increased production schedule of two short films every month. A close examination of photographs of Disney Brothers Studio taken during 1925 reveal that artwork was displayed in the window and near the doorway to advertise the popular Walt Disney “comics” produced here. With a $500 loan from their uncle Robert and their first check from Winkler Pictures, the Disney Brothers moved into their first studio, in the back room of Mc Rae & Abernathy Holly-Vermont Reality at 4651 Kingswell Avenue (in the modern-day Silverlake district).
After moving out from his uncle’s house, Walt and his brother, Roy, bounced from the Olive Hill apartments to a second-story room at Charles and Nettie Schneider’s boarding house. In order to fund the Alice Comedies through Disney Bros. Cartoon Studio, the brothers would share the room and eat every meal at a cafeteria from late 1923 to July 1925.
This would prove most advantageous for Walt because he would be able to briefly find rooming with his uncle Robert. So, with just $40 in his pocket and his prized pilot film, Walt Disney left Kansas City bound for California. As in the olden days of radio, casting is unrelated to physical type, age or even gender.
Owned by his Uncle Robert and Aunt Charlotte, Walt rented his Uncle’s garage space to set up a makeshift studio for $1 a month. If you’re planning a trip to Southern California any time soon, here’s how you can visit each Los Angeles home belonging to Walt Disney history! From brief apartment stays to a million-dollar mansion, Disney fans can track the humble cartoonist’s rise to the top through the first half of the last century.
