Faster and More In­tense

Animation Magazine - - Tv -

Pro­duc­ers of

Wthe most-re­cent Looney Tunes re­boot, hope show re­flects amped-up pro­duc­tion meth­ods. By Karen Idel­son.

ab­bit – A Looney Tunes Pro­duc­tion prom­ises to take on some fairly sa­cred ter­ri­tory as it re­boots the clas­sic Bugs Bunny car­toons gen­er­a­tions of now-grown kids loved on Satur­day morn­ings. Elmer Fudd, Yosemite Sam, Wile E. Coy­ote and Porky Pig are all on board for the se­ries. Even Foghorn Leghorn makes a cameo.

“There are cell phones, there are ATMs, we’re mod­ern­iz­ing the so­cial con­text,” says pro­ducer Matthew Craig. “But Bugs’s per­son­al­ity is the same in that he’s usu­ally clever, he doesn’t al­ways get in direct con­flict as much as he ma­nip­u­lates the sit­u­a­tion he’s in to his ad­van­tage.”

The se­ries de­buts this fall on Car­toon Net­work’s Boomerang and fea­tures 26 episodes in to­tal and each episode is made up of four stand-alone car­toons that are about five min­utes long. This amped up the pace of the show in more ways than one. In the orig­i­nal Looney Tunes car­toons, each shorter piece was about eight min­utes long, so pro­duc­ers had to find a way to get to the sto­ry­line quicker than ever.

They also had to find a way of work­ing that would al­low them to put each episode to­gether at a pace that made sense and also con­veyed the en­ergy of the Bugs Bunny shorts of old.

“The way it worked was that we’d pitch the show at 10 a.m., then each artist would get a gag to draw and they’d be done by 1 p.m. or 2 p.m., then we’d or­ga­nize and pitch the whole thing to the whole crew at 5 p.m. and if we didn’t get the laughs we wanted, we’d re­work. But if we did, we’d move on the next story,” says Craig, who comes from the live-ac­tion back­ground of Satur­day Night Live. “I don’t know if that’s the best way, but it’s the way we did it.”

When sto­ries worked, the pro­duc­ers took the art and the Post-It notes and dropped them into Toon Boom and they’d be­came the first pass at a par­tic­u­lar story. The an­i­ma­tors used th­ese el­e­ments as they started their pro­duc­tion process.

Craig and pro­ducer Gary Hartle think the fre­netic pro­duc­tion pace give a kind of au­then­tic en­ergy to the show, where Bugs Bunny is run­ning the same gamut as the pro­duc­ers and never sure if he’s go­ing to get to his goal in time.

“We’re still re­cov­er­ing but do­ing it that way made sense,” says Craig. [ Pre­mieres Nov. 25 In this 70-minute movie based on the se­ries, slacker groundskeep­ers Morde­cai and Rigby go back in time and bat­tle an evil vol­ley­ball coach in or­der to save the uni­verse — and their friend­ship — af­ter ac­ci­den­tally cre­at­ing a “Ti­me­nado.” [

Bre­boots the clas­sic se­ries with all the ex­pected el­e­ments, plus a new em­pha­sis

on the clas­sic char­ac­ters. By Karen Idel­son.

e Cool Scooby-Doo! is among the slate of Warner Bros. An­i­ma­tion clas­sic re­boots this sea­son. The show brings to­gether the clas­sic char­ac­ters – ScoobyDoo, Fred, Daphne, Shaggy and Velma – on a quest to solve mys­ter­ies once again. This time they’re also on a quest to solve their own per­sonal dilem­mas on top of chas­ing the req­ui­site ghosts and mon­sters.

In each 22-minute episode, Fred bat­tles his ten­dency to be a con­trol freak and gets un­done by the an­tics of the group, Velma strug­gles against her nerdy anti-so­cial ways, Daphne finds her­self al­most too naïve to chase the bad guys, and Shaggy and Scooby-Doo are just as at­tracted to the fa­bled Scooby Snacks as ever.

Pro­ducer Zac Mon­crief ( Phineas and Ferb) wanted an up­date that felt true to the well­known, beloved crew, but they de­cided to fo­cus on the com­edy of the char­ac­ters, how they in­ter­act with each other and the per­son­al­ity traits of the char­ac­ters, rather than the mystery or fear of chas­ing mon­sters and ghosts.

“We’re do­ing a show that’s char­ac­ter driven,” says Mon­crief. “They’re still work­ing on all the ex­ter­nal prob­lems but you see some­one like Velma — who gets into ev­ery col­lege where she ap­plies — get scared when one col­lege wants to in­ter­view her.”

The script-driven show, de­but­ing this fall on Car­toon Net­work’s Boomerang, will have 26 episodes this sea­son and also pays homage to the older look of the orig­i­nal Scooby-Doo an­i­ma­tion. Af­ter ex­plor­ing some op­tions, Mon­crief kept clas­sic el­e­ments like Fred’s as­cot and Velma’s glasses and a sim­ple style of an­i­ma­tion but with an edge that makes it more mod­ern.

Fa­mil­iar voice per­form­ers were also brought in for this take on Scooby-Doo. Frank Welker, who worked on Scooby-Doo! Mystery In­cor­po­rated, voices Scooby-Doo and Fred. Grey Grif­fin, also a vet­eran of Scooby-Doo! Mystery In­cor­po­rated, reprises the role of Daphne. And Matthew Lil­lard, who played a part in the Scooby-Doo fea­ture films, is the voice of Shaggy.

Though the show is mainly char­ac­ter driven, Mon­crief also kept the scares and the chases. They’re just shaped by the wack­ier per­son­al­ity char­ac­ter­is­tics of the crew. The vet­eran an­i­ma­tion pro­ducer also kept two clas­sic el­e­ments from the se­ries: The ref­er­ences to Scooby Snacks and the line, “And I would have got­ten away with it, too, if it weren’t for those med­dling kids.”

“Those things are im­por­tant to any­one who has ever loved this show,” says Mon­crief. [

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.