Skip to main content

Gumby Fest Brings in the Biggest Names in Stop Motion

On June 14th 2014 the first ever Gumby Fest, a major film festal and celebration for Stop Motion animation will be taking place in Glendora, CA.  Below is a reprint article from the press release from their blog announcing their world-class Stop Motion guests...
Academy Award-Winner Rick Baker Joins ‘Meet Gumby’s Gang’ Panel at Inaugural Gumby Fest in Glendora on June 14
Animators for ‘The Nightmare Before Christmas,’ ‘Robot Chicken’ ‘Coraline’ to share stories from the Gumby studios
Glendora, CA – Academy Award-winner Rick Baker will join the “Meet Gumby’s Gang” panel at the premier Gumby Fest to be held June 14 in Glendora, California.
Gumby, the world’s original clayboy and pop-culture legend who starred in more than 230 TV episodes and a movie, “grew up” in Glendora, where the iconic TV series was produced from 1960 to the late 1970s by Clokey Productions.
The celebration of all-things Gumby as well as stop-motion animation will take place on the grounds of Glendora City Hall and Public Library at the corner of Glendora Avenue and Foothill Boulevard.
“Meet Gumby’s Gang” will be held at 2 p.m. in the Bidwell Forum at Glendora Library, preceded by other discussion panels.
Rick Baker won the first ever Academy Award-winner for Best Make-up/Hair Styling for An American Werewolf in London; other credits include Disney’s upcoming Maleficent, Men in Black,Star Wars: Episode IV – A New Hope, and many others.
Joining Baker on the “Meet Gumby’s Gang” panel will be stop motion and visual effects pioneers who got their start at Clokey Productions:
·         Joe Clokey is president of Clokey Productions/Premavision Studios. Son of Art and Ruth Clokey, the pioneering creators of Gumby, Clokey was raised as Gumby’s little brother. In fact, Gumby’s adventures first came to life in bedtime stories that Art Clokey invented for his children. Today, Joe carries on his parents’ legacy, introducing Gumby to the next generation of fans, as the head of Gumby’s animation studio and business affairs.

·         Harry Walton began his professional film career in 1968 with Clokey Productions specializing in character animation as well as other areas of visual effects such as optical compositing, matte painting and compositing, plate photography, lighting and setup, stop motion puppet fabrication, miniature construction, visual effects supervision and animation direction. He worked on such films as Nightmare Before Christmas, The Abyss, James and the Giant Peach, Who Framed Roger Rabbit and more.


·         Doug Beswick has more than 40 years of visual effects achievements to his credit. His work can be seen in such mega hits as Star Wars, Ghostbusters, Terminator, Aliens, Evil Dead 2, Gremlins 2, Nightmare on Elm Street 3, and Beetlejuice. He began his career in special effects/animation in 1967 working at Clokey Productions, Doug worked on both the classic Gumby television show and the endearing Davey and Goliath program, building props, and later applying his animation skills.
·         Norman DeCarlo first worked for Art Clokey to help him create 99 episodes of the Gumby television series.  He then worked with Henry Selick to produce nationally televised commercials, MTV interstitials and his own private projects that eventually led Selick to direct The Nightmare Before Christmas, James and the Giant Peach and Monkeybone.

·         Richard Zimmerman (Rich Zim) – Gumby was Rich Zim’s first professional animation job after graduating college back in 1987.  Since then, he has animated on such projects as Pee Wee’s Playhouse, The Nightmare Before Christmas, James and the Giant Peach, and Coraline. Birdhouse, a 7-minute animated short he directed, played at over 25 festivals including Cannes and Sundance, where it won an award. He currently works on Robot Chicken and other feature films.
·         Carl Jabloski completed two 30-minute specials and four Davey & Goliath 15-minute television episodes and later participated on a health series called I Am Joe’s Heart. After leaving Clokey Productions Jabloski’s career evolved into project/cost management for the theme park industry.

·         Ron Dexter has been the head of production for Clokey Productions / Premavision since the early 2000s. His 30 years in the film industry has included directing and shooting TV commercials. He owned a studio in Hollywood for 20 years, and has shot films in 18 countries and 40 states. He has made numerous documentary films and worked on both feature films and TV shows. He made camera gyros for helicopter shots, steady cams (before they were developed commercially) and smooth track systems for dolly moves.
For the full schedule or more info visit: http://gumbyfest.net/festival-schedule
Gumby Fest

Comments

Popular posts from this blog

CGI/ Stop Motion "The Little Prince" Trailer is Here

Mark Osborne's ( Kung Fu Panda ) has released the first trailer for his next movie The Little Prince.  The trailer is spectacular.  The film is a mix of 2D hand drawn, paper cut-out Stop Motion, puppet Stop Motion, and CGI.  Which is pretty risky in this day and age.  Now, anything with 2D or Stop Motion is an immediate red-flag; needless to say, this film (the Stop Motion side of it) will be beautiful.  Although in the trailer we see a CGI little girl imagine a hand drawn plane, which turns into a paper cut-out plane, and then morphs into a Stop Motion puppet that becomes The Little Prince.  CGI, in my opinion, was not the way to go with this project -- or so I thought.  Now that I see the fusion process in realtime my view has shifted a little.  Although my rule still stands, if you don't have a huge budget for CGI then don't do it !  The Little Prince trailer, though, did still pull it off; yes, it could be tweaked, but I have confidence ...

Interview with Samuel Lewis - Animator, Character Designer, and Sculptor on Stop Motion Short Film, "Lost & Found"

Knotjira, a clumsy dinosaur made of wool, as seen in Lost & Found . Photo courtesy of Andrew Goldsmith. “If I had to pick a starting point for my career as a stop motion animator I would have to say it was my obsession as a six year old with a book called ‘Playing with Plasticine’ by Barbara Reid,” Samuel Lewis – a London-based stop motion and 2D animator and director, whose most recent labor of love can be seen in his contribution to the Australian stop motion short film, Lost & Found – tells Stop Motion Geek. Upon reflection, Lewis explains that his love for the medium of stop motion began very early in life, and has merely managed to burn ever brighter in his fervor to master the craft. “I would spend countless hours fixated on sculpting tiny snails, fruit bowls and dinosaurs to the point where I would stay inside on family holidays sculpting a surfer in a beach scene rather than going to the actual beach that was only a short walk away,” Lewis recalls wistfully. “...

A Screen Novelties Christmas Present, to Us!

I check my email and I see... Property of Screen Novelties  This gets an ' ohmygosh ' reaction from me; which doesn't happen every day for one who loves his internet tidbits.  Oh, I almost forgot, I have been deprived my internet due to an ice storm that happened last morn, just thought I would throw that in there... For those of you who know me personally, you will notice after watching this [Screen Novelties] is breaking new ground.  I have been saying that if Screen Novelties works hard enough they will be the next Laika.  I believe in you guys! So anyhow check it out right here:  http://screen-novelties.com/greetings-from-krampus/#.UrjRCNJDuuJ Screen Novelties website:  http://screen-novelties.com/ "A Krampus Christmas" eCard from Screen Novelties on Vimeo .

Short Flicks: Bent Image Lab's "Fruity Pebbles"

What could be better than starting your day off with part of a whole breakfast, Fred Flintstone, and Stop Motion?  We couldn't think of anything either.  Nevertheless, these awesome commercials/BTS will bring out the kid, and nerd, in all of us.  Directed by Rob Shaw for the incredible Bent Image Lab (a studio that just moved to Manhattan , by the way), these TV spots encapsulates everything we know and love about the modern stone-age Flintstone family who establish how we now think of Prehistoric times. Fire House :  http://vimeo.com/45991027 Cocoa Pebbles "Fire Hose" from Bent Image Lab on Vimeo . Cop Rock :  http://vimeo.com/42010097 Cocoa Pebbles "Cop Rock" from Bent Image Lab on Vimeo .

Vincent & Puppet Scales

Tim Burton's Vincent  is a masterpiece; the short was animated by the brilliant Stephen Chiodo .  I do love that the short was shot in black and white film, ask any true film-lover and

Interview with Matt Bollinger, Painter and Animator Behind Stop Motion/Painting Hybrid Short Film "Between the Days," a Beautiful Portrait of Routine, Unfulfillment, and Despair in Middle America

"Before Work" finished painting featured in  Between the Days . Photo courtesy of Matt Bollinger.  Often – far too often – we forget the true weight of our actions, our everyday decisions, ranging from those big to small. And, in forgetting, we forget ourselves – who we truly are, where we have been, what we have done, how we have gotten here, to this very place in this very moment. For we are nothing if not the sum total of all our decisions, our actions…even the most minute, even those – perhaps especially those – made in the thrumming humdrum of the everyday: the act of rising from our bed and reaching over to flick off the alarm resting on our bedside table, lighting a cigarette, collecting yesterday’s trash before moving on to more, equally menial tasks. Moments spent alone, in ostensible comfort – the comfort provided us by 21st century accoutrements so many of us have grown to take for granted. Whether we are aware of it or not, each of our actions leave a ma...

Interview with Bradley Slabe, Co-Director of Stop Motion Love Story, "Lost & Found" (Part 1/2 of Interview with "Lost & Found" Directors)

Knotjira (foreground) and Knitsune (background) in Lost & Found . Photo courtesy of Andrew Goldsmith. The true essence of art – a reflection of life itself – is very much akin to the Japanese aesthetic of “wabi-sabi”: it’s imperfect, impermanent, and, at times, profoundly...incomplete. It is both at once a fundamental truth, and, curiously, more often than not, a thing incredibly hard to acknowledge, to make peace with. Yet perhaps our resistance is justifiable, for once we admit that the world is full of unknowns – unknowns that aren’t ideal, that aren’t perfect – we are just as soon confronted with the actualization of a deep, intrinsic, and very human fear: the fear of a future full of...unknowns that aren’t ideal, that aren’t perfect. Yet it’s the confrontal of that fear that is the most terrifying reality of all, for the moment we make peace with it we have just as soon have acknowledged that our paths in life aren’t in our own hands, or something we can contro...

Interview with Mark Smith, Director and Writer of Stop Motion Short Film, "Two Balloons"

A still from Two Balloons featuring the character of Elba. Photo courtesy of Mark Smith. As I sit, listening to Peter Broderick’s moving composition for piano  More Of A Composition , I close my eyes and envisage an enormous funnel cloud skimming across the crystalline face of an ocean – the skies are murky and unusually dark, lightning crackles, spider-webbing across the darkened skies before then vanishing, and still, after its gone, an electricity continues to hum in the air and I simply  know  that it’s going to soon strike again. And as the scene presents itself to me, I suddenly feel something similar to what director Mark C. Smith felt when he saw the same image as he sailed to a small island called Grenada along with his wife in a timeworn sailboat. For him, in that moment inspiration struck, and the idea suddenly came to him for his heartfelt stop motion film,  Two Balloons . For me, I open my eyes and feel as I did the instant  Two Balloons  ...

"Cloudy With a Chance of Meatballs 2" End Credits

A few nights ago I sat down and watched the sequel to Cloudy With a Chance of Meatballs ; correctly titled Cloudy With a Chance of Meatballs 2 .  And, I must say... it was enjoyable and entertaining.  Though the first film was comedic brilliance animated, dubbed, and packed in a box we like to call a movie.   Cloudy 2 wasn't any where near as good as the first one but on the other hand the original directors/writers of the first film, Phil Lord and Chris Miller didn't direct the sequel.  But they are the creative team behind the recently released The Lego Movie .  Which looks great and is getting incredibly positive reviews from the critics.  So, i am excited to partake in that movie experience.  All the 'end credits' work was done by the amazing people over a Screen Novelties. Lots of cool stuff here in the end credits including grown men in strawberry suits, puppets, and of course, Stop Motion.  So grab a snack and enjoy! Link:  http:...

Interview with Andrew Goldsmith, Co-Director of Stop Motion Love Story, "Lost & Found" (Part 2/2 of Interview with "Lost & Found" Directors)

Knotjira (left) and Knitsune (right) in Lost & Found . Photo courtesy of Andrew Goldsmith. The true essence of art – a reflection of life itself – is very much akin to the Japanese aesthetic of “wabi-sabi”: it’s imperfect, impermanent, and, at times, profoundly...incomplete. It is both at once a fundamental truth, and, curiously, more often than not, a thing incredibly hard to acknowledge, to make peace with. Yet perhaps our resistance is justifiable, for once we admit that the world is full of unknowns – unknowns that aren’t ideal, that aren’t perfect – we are just as soon confronted with the actualization of a deep, intrinsic, and very human fear: the fear of a future full of...unknowns that aren’t ideal, that aren’t perfect. Yet it’s the confrontal of that fear that is the most terrifying reality of all, for the moment we make peace with it we have just as soon have acknowledged that our paths in life aren’t in our own hands, or something we ...