Showing posts with label Floyd Norman. Show all posts
Showing posts with label Floyd Norman. Show all posts

Saturday, June 13, 2026

Negromancer News Bits and Bites from June 7th to 13th, 2026 - UPDATE #8

by Leroy Douresseaux a.k.a. "I Reads You"

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NEWS:

SPORTS - From YahooSports:  Tonight (Sat., June 13th), the New York Knicks are the 2025-26 National Basketball Association (NBA) Champions.  They defeated the San Antonio Spurs 94-90 in Game 5 in San Antonio, Texas to win the best-of-seven series 4 games to 1.  This is the Knicks first NBA Championship since 1973.

MEDIA - From NBCNews:  According to sources, the United States Department of Justice has signed off on Paramount Skydance's $110 billion acquisition of Warner Bros. Discovery.

TELEVISION - From DeadlineAMC's hit series, "Dark Winds," is currently filming its fifth season.  John Hoogenakker and Gregory Cruz join the cast.  Season 1 actress Geraldine Keams returns for Season 5.

MOVIES - From Variety:  In an interview for his new film, "Disclosure Day," Oscar-winner Steven Spielberg said that he offered to direct a "James Bond" film early in his career as a hit maker.  However, the Bond producers at the time rejected his offers.

ACADEMY AWARDS - From Oscars:  The Academy of Motion Picture Arts and Sciences announced today that its Board of Governors voted to present Academy Honorary Awards to actor Glenn Close, animator Floyd Norman, and director Ridley Scott.  The Irving G. Thalberg Memorial Award will be presented to producers Christine Vachon and Pamela Koffler, who together founded the independent film production company, "Killer Films" (2014's "Still Alice," 2015's "Carol"). The Oscar® statuettes will be presented at the Academy’s 17th Governors Awards event on Sunday, November 15, 2026, at the Ray Dolby Ballroom at Ovation Hollywood, in partnership with Rolex.

From AnimationMagazine:  Pioneering Disney artist, Floyd Norman, will receive an Academy Honorary Award (Honorary Oscar) in November. Norman began his 65-year career at Walt Disney Animation Studios in 1956. He was the studios first African-American animator.
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MOVIES - From ScreenRant:  Writer-director Mike Flanagan has wrapped filming of his upcoming film, "The Exorcist," which is a reboot of infamous 1973 movie.  The cast that includes Scarlett Johansson, Diane Lane, Jacobi Jupe, Chiwetel Ejiofor, Laurence Fishburne, Sasha Calle, John Leguizamo, Rahul Kohli, Hamish Linklater, Benjamin Pajak, Carl Lumbly, Carla Gugino, John Gallagher Jr., Gil Bellows, Samantha Sloyan, and Kate Siegel.  Due to be released March 12, 2027, this new film will tell a new standalone story that is meant to relaunch "The Exorcist" horror franchise rather than being a direct sequel to previous installments.

BOX OFFICE - BoxOfficePro:  The winner of the 6/5 to 6/7/2026 weekend box office is Paramount's "Scary Movie" with an estimated take of 55 million dollars.

TELEVISION - From Parade:  In addition to cancelling "The Late Show with Stephen Colbert" and "The Neighborhood," CBS has also cancelled "DMV" after one season and "Watson" after two seasons.


Wednesday, September 20, 2023

Review: Walt Disney's "ROBIN HOOD" is the Non-Classic Disney Classic

TRASH IN MY EYE No. 44 of 2023 (No. 1933) by Leroy Douresseaux

Robin Hood (1973) – animation
Running time:  83 minutes (1 hour, 23 minutes)
MPAA – G
PRODUCER/DIRECTOR:  Wolfgang Reitherman
WRITERS:  Larry Clemons; based on story and character concepts by Ken Anderson
EDITORS:  Tom Acosta and Jim Melton
COMPOSER:  George Bruns
Academy Award nominee

ANIMATION/FANTASY/FAMILY

Starring:  (voices) Brian Bedford, Phil Harris, Roger Miller, Peter Ustinov, Terry-Thomas, Monica Evans, Andy Devine, Carole Shelley, Pat Buttram, George Lindsey, and Ken Curtis

Robin Hood is a 1973 animated musical-comedy and fantasy-adventure film produced and directed by Wolfgang Reitherman.  It is also the twenty-first feature-length animated film from Walt Disney Productions, part of a line also known as the “Disney Classics.”  The film is based on the English folklore character, Robin Hood, and the stories that have grown around the character.  Disney's 1953 Robin Hood film depicts the legendary outlaw and the cast of characters around his legend as anthropomorphic animals (animals that talk and act like humans)

Robin Hood opens with the story's narrator, Alan-a-Dale – The Rooster (Roger Miller), saying that there are many stories of Robin Hood, but that the one he is about to tell takes place in the world of animals.  He introduces Robin Hood – A Fox (Brian Bedford) and Little John – A Brown Bear (Phil Harris).  They are outlaws and live in Sherwood Forest.  They rob from the rich in order to give gold coins to the overtaxed citizens of the town of Nottingham.

The Sheriff of Nottingham – A Wolf (Pat Buttram) tries to catch the two, but he fails every time.  The sheriff's failure to capture the outlaws irritates Prince John – A Lion (Peter Ustinov).  John is the “Prince Regent” of England while his older brother, King Richard – A Lion (Peter Ustinov), is out of the country fighting in the Third Crusade.  Prince John and his advisor, Sir Hiss – A Snake (Terry-Thomas), plot to end the nuisance of Robin Hood.  Prince John also demands that the Sheriff tax the poor townsfolk of Nottingham excessively, driving many to abject poverty.

Meanwhile, Robin's attention is not entirely focused on robbing the rich.  He wishes to reunite with his love interest, Maid Marian – A Vixen (Monica Evans), who is also the niece of King Richard.  And Prince John's latest plot to catch Robin Hood may just reunite Robin and Marian.  Can their love survive an increasingly enraged Prince John?

As “DVD Netflix” prepares to shutdown, I've been racing to catch up on certain films that I have never seen or have not seen in a long time.  I recently decided to sample some films in which 2023 is the fiftieth anniversary of their original theatrical releases.  That includes such films as Woody Allen's Sleeper, George Lucas' American Graffiti, and the Bruce Lee classic, Enter the Dragon.

Walt Disney's Robin Hood is one of those films celebrating a 50th anniversary, and it is one of the Disney animated classics that I had never seen prior to now.  I am a fan of Robin Hood films, especially the 1991 Kevin Costner vehicle, Robin Hood: Prince of Thieves.  I also like Ridley Scott's 2010 film, Robin Hood, starring Russell Crowe in the title role.  I found some enjoyment in Tom and Jerry: Robin Hood and His Merry Mouse, a 2012 direct-to-DVD film.  [Robin Hood makes a small appearance in director Richard Thorpe's “Best Picture” Oscar nominee, Ivanhoe (1952), which I have seen a few times on Turner Classic Movies.]

Disney's Robin Hood is an odd film.  First, it isn't an origin story, and takes place, apparently, well into Robin's career as an outlaw.  While Alan-o-Dale mentions “the Merry Men,” Robin's legendary band of outlaws, Little John is the only one that appears in this film.  Friar Tuck – A Badger (Andy Devine) does appear, but he seems to be purely the priest of Nottingham – more a beneficiary of Robin's outlaw activities than a participant.  For me, this makes the film seem under-developed, as if it we are getting half of the intended story.

Apparently, using the the American “Deep South” as a setting for this film was considered, but ultimately the chosen locale was Robin Hood's traditional English setting.  However, Roger Miller, who provides the talking and singing voice of Alan-o-Dale, is best known for his honky-tonk inflected country music and novelty songs, so much of Miller's performance here seems out of place.  Miller's Alan-o-Dale has the flavors of America's rural South, which somewhat clashes with the English setting.  Still, I tend to like Miller's narrating and singing in Robin Hood, although this film's best song is the Oscar-nominated “Love,” written by George Bruns and Floyd Huddleston.

To begin, Robin Hood feels muddled, and it really does not find its narrative flow until about 37 minutes into the film.  At that point, the characters really emerge as they take their places within the story.  The action turns lively, and the animation and animation effects start to stand out.  The voice performances overall are good, but not great – nothing that I would call memorable in the context of the great performances in other Disney animated classics.  Walt Disney's Robin Hood does not exactly miss the mark, but it does not hit the bullseye, either.

6 of 10
B
★★★ out of 4 stars

Wednesday, September 20, 2023


NOTES:
1974 Academy Awards, USA:  1 nomination: “Best Music, Original Song” (George Bruns-music and Floyd Huddleston-lyrics for the song “Love”)


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Friday, November 24, 2017

Review: Disney's "The Jungle Book" is Animation That Sounds Cool

TRASH IN MY EYE No. 22 (of 2017) by Leroy Douresseaux

The Jungle Book (1967)
Running time:  78 minutes
MPAA – G
DIRECTOR:  Wolfgang Reitherman
WRITERS:  Larry Clemmons, Ralph Wright, Ken Anderson, and Vance Gerry (inspired the “Mowgli” stories written by Rudyard Kipling)
PRODUCER: Walt Disney
EDITORS:  Tom Acosta and Norman Carlisle
COMPOSER:  George Bruns
SONGS:  Terry Gilkyson; Richard M. Sherman and Robert B. Sherman
Academy Award nominee

ANIMATION/FANTASY/FAMILY

Starring:  Phil Harris, Sebastian Cabot, Bruce Reitherman, George Sanders, Sterling Holloway, Louis Prima, J. Pat O'Malley, Verna Felton, Clint Howard, and Ben Wright

The Jungle Book is a 1967 animated, musical fantasy film produced by Walt Disney Productions and directed by Wolfgang Reitherman.  It is inspired by Rudyard Kipling's “Mowgli” stories found in his 1894 collection of stories, The Jungle Book, from which this movie also takes its name.  The Jungle Book is the 19th Disney animated feature film and is also the last film to be produced by Walt Disney, who died during its production (1966).  Disney's The Jungle Book focuses on a talking panther and bear who try to convince a human boy that he must leave the jungle before an evil tiger kills him.

The Jungle Book opens in the deep jungles of India.  Bagheera the black panther (Sebastian Cabot) finds a human male baby in a basket in the deep and gives him to a mother wolf who just had cubs.  She raises the boy along with her own cubs.  Ten years later, the human boy is Mowgli (Bruce Reitherman, the director's son), a feral child who lives among the wolves as if he were one of them.

However, the wolf tribes learn that Shere Khan (George Sanders), a man-eating Bengal tiger, has returned to the jungle, and that the human-hating tiger wants to kill Mowgli.  Baheera volunteers to take Mowgli to the “Man-Village,” a nearby human settlement, but Mowgli is determined to stay in the jungle.  Mowgli finds a sympathetic animal in Baloo the sloth bear (Phil Harris).  The laid-back, fun-loving bear decides to raise Mowgli himself, but will Baloo and Mowgli do the right thing before Shere Khan strikes?

I love the beautiful background art for The Jungle Book, even the foliage in the foreground that is animated is nice.  The characters that most entertain me are Baloo and Shere Khan; I think I am becoming a bigger fan of the late George Sanders, who gives voice to Shere Khan, every time I see him in a movie, even if I have seen that movie previously.

Beyond that, I am not particularly impressed, amused, or entertained by The Jungle Book the way I am by Disney films I consider exceptional (Bambi, Peter Pan, and Pinocchio to name a few).  I have to admit that having seen it for the first time (as far as I can remember) I can understand why some consider it a “beloved Disney classic.”  It is simply a Disney classic that I like, but don't love.

6 of 10
B

Friday, November 10, 2017

1968 Academy Awards, USA:  1 nomination: “Best Music, Original Song” (Terry Gilkyson for the song "The Bare Necessities")


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Wednesday, July 5, 2017

Disney Animator Floyd Norman is Keynote Speaker at Siggraph 2017

Photo is courtesy of Michael Fiore Films

SIGGRAPH 2017 Announces Floyd Norman, Walt Disney Animation Studios’ First African-American Animator, as Keynote Speaker

CHICAGO--(BUSINESS WIRE)--SIGGRAPH 2017, the world’s leading annual interdisciplinary educational experience showcasing the latest in computer graphics and interactive techniques, proudly announces Floyd Norman, the first African-American animator to work for Walt Disney Animation Studios, as its keynote speaker. SIGGRAPH’s keynote session featuring Norman will be presented as a fireside chat, allowing attendees the opportunity to hear a Disney legend discuss his life and career within an intimate setting. SIGGRAPH 2017 will mark the 44th International Conference and Exhibition on Computer Graphics and Interactive Techniques, and will be held July 30th to August 3rd, 2017 in Los Angeles.

    The #SIGGRAPH2017 Keynote has been announced! Learn all about @floydnorman. #CG #animation (cc: @siggraph)

Floyd Norman was the subject of a 2016 documentary film entitled “Floyd Norman: An Animated Life” from filmmakers Michael Fiore and Erik Sharkey. The film, which covers Norman’s life story, also includes interviews with such notables as actress/comedian Whoopi Goldberg (voice, “The Lion King”), Richard Sherman (composer, “Mary Poppins”) Leonard Maltin (film critic), Ralph Guggenheim (former vice president of animation at Pixar) and Gary Trousdale (co-director, Disney’s “Beauty and the Beast”), among others. Ain’t It Cool News hailed the film “delightful” and said, “[Norman is] a man who has undoubtedly brought joy to your life without you even knowing it.”

“Floyd Norman is a living legend and a national treasure. He is an animator, storyteller, and renowned artist. As the first African-American animator to work at Walt Disney [Animation Studios], Norman is an inspiration to those of us who followed his trail-blazed path into the animation, motion graphics, and computer graphics fields. We are thrilled that he has accepted our invitation to appear as our very special keynote speaker for SIGGRAPH 2017,” said SIGGRAPH 2017 Conference Chair Jerome Solomon.

Norman was hired as the first African-American animator at Walt Disney Studios in 1956 and was later hand-picked by Walt Disney himself to join the story team on “The Jungle Book.” After Walt’s death, Norman left Disney to start his own company, Vignette Films, Inc., and produce films on the subject of black history for high schools. He and his partners would later work with Hanna-Barbera Productions to animate the original Fat Albert TV special “Hey, Hey, Hey, It’s Fat Albert,” as well as the opening title sequence for the TV series “Soul Train.”

Norman returned to Disney in the 1980s to work in their publishing department, and in 1998 moved to the story department to work on “Mulan.” After all this, an invite to the Bay Area in the late ‘90s became a career highlight when Norman began working with leaders in the next wave of animation — Pixar and Steve Jobs — adding “Toy Story 2” and “Monsters, Inc.” to his film credits. Though Norman technically retired at the age of 65 in 2000, Norman is not one to quit and chose, instead, to occupy an open cubicle at Disney Publishing Worldwide for the last 15 years. As he puts it, “I just won’t leave.”

While not on staff, Norman’s proximity to other Disney personnel has led him to pick up freelance work, and continue his impact on animation as both an artist and a mentor. As to his future plans, he says, “I plan to die at the drawing board!”

On SIGGRAPH, Norman shared, "I’ve been fascinated by computer graphics since I purchased my first computer. I began attending SIGGRAPH when a kiosk was all Pixar could afford. Since then, I’ve had the pleasure of working for this fine company and being a part of this amazing technology as it continues to mature. I’ve also enjoyed sharing insights I’ve garnered over the years in this fantastic industry. In recent years, I’ve spoken at several universities and even Apple. Creative imagination and technological innovation have always been a part of my life, and I’m delighted to share my enthusiasm with the fans at SIGGRAPH this year.”

Registration for SIGGRAPH 2017 is now open. Visit the conference website for more information.


About SIGGRAPH 2017
The annual SIGGRAPH conference is a five-day interdisciplinary educational experience in the latest computer graphics and interactive techniques, including a three-day commercial exhibition that attracts hundreds of companies from around the world. The conference also hosts the international SIGGRAPH Computer Animation Festival, showcasing works from the world's most innovative and accomplished digital film and video creators. Juried and curated content includes outstanding achievements in time-based art, scientific visualization, visual effects, real-time graphics, and narrative shorts. SIGGRAPH 2017 will take place from 30 July–3 August 2017 in Los Angeles. Visit the SIGGRAPH 2017 website or follow SIGGRAPH on Facebook, Twitter, YouTube, or Instagram for more detailed information.

About ACM SIGGRAPH
The ACM Special Interest Group on Computer Graphics and Interactive Techniques is an interdisciplinary community interested in research, technology, and applications in computer graphics and interactive techniques. Members include researchers, developers, and users from the technical, academic, business, and art communities. ACM SIGGRAPH enriches the computer graphics and interactive techniques community year-round through its conferences, global network of professional and student chapters, publications, and educational activities.

About ACM
ACM, the Association for Computing Machinery, is the world's largest educational and scientific computing society, uniting educators, researchers, and professionals to inspire dialogue, share resources, and address the field's challenges. ACM strengthens the computing profession's collective voice through strong leadership, promotion of the highest standards, and recognition of technical excellence. ACM supports the professional growth of its members by providing opportunities for lifelong learning, career development, and professional networking.

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Thursday, November 6, 2014

Review: "Sleeping Beauty" Not an Exceptional Disney Animated Feature

TRASH IN MY EYE No. 47 (of 2014) by Leroy Douresseaux

Sleeping Beauty (1959)
Running time:  75 minutes (1 hour, 15 minutes)
DIRECTOR:  Clyde Geronimi (supervising director), Les Clark, Eric Larson, and Wolfgang Reitherman,
WRITERS:  Erdman Penner (story adaptation) with additional story by Joe Rinaldi, Winston Hibler, Bill Peet, Ted Sears, Ralph Wright, and Milt Banta (based on “La Belle au bois dormant” by Charles Perrault, “The Sleeping Beauty” by Pyotr Ilyich Tchaikovsky, and “Little Briar Rose” by The Brothers Grimm)
PRODUCER:  Walt Disney
EDITORS:  Roy M. Brewer Jr. and Donald Halliday
Academy Award nominee

ANIMATION/FANTASY/FAMILY with elements of comedy   

Starring:  (voices) Mary Costa, Bill Shirley, Eleanor Audley, Verna Felton, Barbara Luddy, Barbara Jo Allen, Taylor Holmes, and Bill Thompson

Sleeping Beauty is a 1959 animated musical fantasy film from Walt Disney Productions.  It is the 16th film in the Walt Disney Animated Classics series, but it was the last animated Disney film based on a fairy tale until The Little Mermaid in 1989.

Sleeping Beauty is based on two similar fairy tales:  “La Belle au bois dormant” by Charles Perrault and “Little Briar Rose” by The Brothers Grimm.  The film also features adaptations and arrangements of musical numbers from Pyotr Ilyich Tchaikovsky's 1890 ballet, The Sleeping Beauty.  In Disney's Sleeping Beauty, three good fairies protect a princess from a malevolent fairy who placed a curse on her when she was an infant.

Sleeping Beauty opens in the 14th century in an unnamed kingdom, where King Stephan (Taylor Holmes) and the Queen (Verna Felton) have been childless for years.  Then, they welcome the birth of a daughter, Aurora, and they proclaim a holiday so that their subjects can celebrate her birth.  At that celebration, the infant Aurora is betrothed to young Prince Phillip, the son King Hubert (Bill Thompson).  Three fairies:  Flora (Verna Felton), Fauna (Barbara Luddy), and Merryweather (Barbara Jo Allen) arrive to bless the child with gifts.

However, an welcomed visitor, the evil fairy queen, Maleficent (Eleanor Audley), arrives, furious that she has been snubbed by King Stephan and Queen Leah (who is only called “the Queen” in the film).  So she places a curse on baby Aurora that will killer her on her 16th birthday.  However, the fairies are able to temper the curse, and later, they spirit the child away in order to protect her.  Sixteen years later, Aurora, now named “Briar Rose” (Mary Costa), meets a handsome young man (Bill Shirley) and falls in love with him, while unaware of the death curse hanging over her sixteenth birthday.

Sleeping Beauty is not one of Walt Disney's better animated feature films, but it features one of Disney's most memorable villains, Maleficent, a classic animated character because of her unique look.  In fact, the overall look of Sleeping Beauty is something that makes it stand out, in large measure because of the work of Disney production designer regular, Ken Anderson, and Disney artist, Eyvind Earle, who was Sleeping Beauty's color stylist and chief background designer.  Chuck Jones, the legendary Looney Tunes and Warner Bros. Pictures animation director, was a layout artist for Sleeping Beauty, but did not receive a credit in the film.  The musical score and the songs in the film are also a hallmark of this film and are also Disney musical favorites.

Another thing about Sleeping Beauty is that it is also a bit irregular as fantasy films go.  People may remember it as a fairy tale romance with its happily-ever-after ending about a Disney princess finding her prince.  However, Sleeping Beauty is also a comic fantasy with a generous amount of humor, some of it involving even Maleficent.  Sleeping Beauty is an oddity in the Disney animated feature film pantheon, but there are reasons to remember it.  Like most Disney films, those reasons are why it is shared from one generation to the next.

7 of 10
B+

Wednesday, October 29, 2014


NOTES:
1960 Academy Awards, USA:  1 nomination: “Best Music, Scoring of a Musical Picture” (George Bruns)

The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

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