as well as Action Analysis Classes and many other vintage animation documents!
Monday, January 11, 2010
Friday, January 08, 2010
A bit more early Børge Ring
The clip in yesterday's posting was recorded with the band that can be seen on the center photo, with a close-up of Børge on the right.
What can I say... Hans Christian Andersen's parents were clever not giving their son any of the "special" Danish characters, Æ, Ø or Å...
I want to remind my readers that I have made corrections to the last couple of postings, especially in the story of A/S Nordisk Tegnefilm (based on new info from Børge and indirectly from the late Arne Rønde via his son-in-law) and in the posting on the Ring & Rønde film Party in the Forest (as Børge sent me a list on who animated what).
Thursday, January 07, 2010
Ring pre-Ring & Rønde
Here was a short clip of Børge playing rhythm guitar for Leo Mathisen. I did not think it did Børge justice, so I took it off.
I will see if I can put up something soon that puts a brighter light on Børge's musical talent!
Of course, Børge did not stop playing after going so wholeheartedly into animation - he played a lot, even, and you can hear him play guitar and bass in his own "Oh, My Darling" and "Anna & Bella."
(Both can be found on YouTube).
Wednesday, January 06, 2010
Party in the Forest - by Ring & Rønde 1950
I thought it would be nice to see an example of Ring & Rønde's production, so here is the 1950 commercial "Fest i Skoven" (Party in the Forest). Animation by my old mentor Børge Ring, Bjørn Frank Jensen and "grand old man of Danish animation" (sadly more old than grand) Jørgen Myller, who was asked to design the characters, set the colors and paint the backgrounds. Ring and Jensen later went to Toonder in Holland, remember? Here is the film, which I blatantly ripped from a 2007 Danish DVD that everyone should own anyway (though I do not right now recall its title), and color-corrected quite a bit - the original was badly interlaced, so my excuses for the quality.
The rhyme tells of a party in the forest that Mr. Eagle throws to please his children. Carpenter Mr. Woodpecker has to build a house. The original song has a fox and a starling as priest and parish clerk, and it ends with a drunk Mrs. Owl complaining that her days are numbered, but though we see her getting tipsy, we instead focus on Miss Field Mouse (who is not in the original song) who has to do - the dishes. "But who would complain if they could use Imi?" she says.
You will notice several things: first, the quality of animation, timing and general entertainment is much more advanced that done for Allan Johnsen's 1946 film Fyrtøjet (The Magic Tinderbox). Clearly the stork-cook was animated by Ring. The characters around the table were animated quite stiffly by Myller.
[Børge Ring adds: "I animated from the beginning of the film with the eagle at his dressing table until the sequence with the woodpecker building the house, which was animated by Bjørn. Then I drew the stork, the horn orchestra and the dansing couples except a scene with two yellow chickens, which was Per Lygum's debut in Vedbæk.
I also animated the Miss Field Mouse.
Jørgen Myller was irritated that the camera was so close to the mouse when she sang. "The scene with the big rat" he called it.
I learned my lesson on that one.
Jørgen drew all layouts and chose the colors, but he also animated the soap bubbles on the packshot using a template with circular holes in many sizes; he also animated the water circles around a pole of the landing.
I had at first animated the dance sequence as a jazzy jitterbug thing like The Cotton Club in Harlem NYC, where young dancers swing the girls around in the air above them. I liked it, but Persil got afraid when they saw the line test."]
Furthermore, it only becomes apparent that this is a commercial for the Persil detergent product imi "Foaming with Energy!" in the end of the film. This is how things used to be, folks. The beautiful Philips films that George Pal made in Holland in the late 1930s are in my opinion the best examples of this. The reason was, as explained to me, that advertising budgets for films were higher, since there were no TV ads to be produced. When TV came, the budgets were basically cut in two, and everyone suffered.
Tuesday, January 05, 2010
More on Walt at Nordisk Film
I originally thought it was a pity that these ancient wooden buildings, so important in film history, were destroyed, but it turns out that both original stages were already rebuilt completely after the war, as the original buildings from 1912 and 1915 were totaled in explosions in 1944 by the Schalburg corps, a group of Nazi-friendly Danes that destroyed many other famous landmarks in Denmark, like the Tivoli Concert Hall and the then famous Langelinie Pavilion close to the statue of the Little Mermaid.
Other differences: the Nordisk Kortfilm (Shorts) building is no longer there, the "magasiner" (storage) buildings top right have made way for new editing and sound recording facilities, and outside of the map, top right is a new fascility called the Post House, housing Nordisk Film Post Production, as well as most of Egmont IT. The top "Regi Afd." (Direction dept.) is not there anymore either, it must have seen its ending when stage 3 was rebuilt.
A small building, much like a normal little house, was also removed from the area that the new stage 3 covered. As I understand it, it housed the script writers for the feature films, in the beginning including the writer I wrote about earlier, Fleming Lynge.
Currently, only stages 3 and 4 are in use, mainly for TV productions, while feature films and commercials are shot at Nordisk Film's other location in Risby, about 20 minutes away. Nordisk Film acquired Risby studios in 1982. Corporate info about all stages (like rental info etc.) can be found here...
Please note that I have made several additions and corrections to yesterday's posting, so if you are needing this info for your school paper, you had better check it out again!
Also please remember that the picture of Walt and Sevel is Copyright Nordisk Film, so don't go spreading it, now!
Monday, January 04, 2010
Walt Disney at Nordisk Film
Here is that building photographed today:
Former Disney producer/director Dave Hand worked at the Ring, Frank & Rønde studio in Vedbæk in Denmark for a few months starting in January 1950, after the closure of the Rank animation studios at Cookham in England where he produced the Animaland series. He had sent a letter to Ring and the guys in which he wrote
"If you want to know more, it must be now, as I leave England in three weeks." Producer Arne Rønde, who went to school with Børge Ring, suggested that Ring go and ask him to come to Denmark, which he did. The plan was to make a feature, directed by Hand and paid for by Nordisk Film. From the Rank closing sale, Hand had had Ring buy an animation camera stand with Mitchell camera, as well as a 9-head synchronizer/moviola, which cost, including shipping, Nordisk Film credited to Ring, Frank & Rønde. "I bought a camera!" said Ring - "Did you sign for it?" asked Arne Rønde - "Yes" - "Then we are now bancrupt." Hand himself had bought several animation desks, as his agenda was to start a studio in England with Ed Radage, Stan Pearsal and Ralph Ayres "and I wanted Ring and the guys [Bjørn Frank Jensen and Kjeld Simonsen] to come over.")
Hand not only wanted his cost of living reimbursed in cash but wanted a considerable sum for future use, which he then offered to invest in the project. Nordisk Film's revered and feared general manager Holger Brøndum finally decided that he would be too expensive - and he would only deal with "real people money" which sank the investment idea - shelved the project, then offered help to Ring, Frank & Rønde in the shape of 49% of the shares in the new company, A/S Nordisk Tegnefilm against their own company as repayment of their equipment loan, an offer they had to take. As Ring puts it, Brøndum's motive was that he also wanted the animation studio's lab business for all time. The board of the new company existed of Brøndum, lab head Bernhard Petersen and, it seems, Børge Ring. Then, after a year without much success, Nordisk Film took over the entire company, assets and crew (minus Arne Rønde Kristensen - our very own Karsten Kiilerich's late father-in-law - for they did not need another producer) and their own producer Jørgen Bagger demanded the cheapest possible product. In 1952, after demanding and not getting better conditions while the studio was negotiating a production for an American company in Paris, Børge Ring and Bjørn Frank Jensen left Vedbæk for Marten Toonder Studios in Holland, leaving Nordisk Tegnefilm as a paper company until Ib Steinaa and Kaj Pinal took up animation at Nordisk Film Junior in 1954, at the mentioned premises from July 1957, after which the company returned to its paper state at the end of December 1966 when Steinaa decided to leave and start for himself, taking almost all of the staff with him - the remainder went freelance. Pindal had left Nordisk Tegnefilm for the second time in 1958, when he went to Canada to work for The National Film Board.
I presume Nordisk Tegnefilm disappeared with some restructuring, maybe as late as the Egmont merger in 1991, but probably earlier, because I suspect that we would have heard about that after the collapse of Swan Film in 1987 when Nordisk Film Commercial hired a staff of artists who used to be our assistants to produce commercials for the newly started Danish TV2, not long before we ourselves started A. Film, but I admit that I am guessing here. (Around 1990 the Nordisk Film Commercial animation dept. was closed, as well.)
By the way, Hand's camera was housed in a low "temporary" building onto which a turret was built to accommodate its columns. The camera is long gone - some say it followed filmmaker Per Holst, producer of our own Jungle Jack/Jungo/Hugo films, but its turret still exists, as witnessed by this picture I shot out of my window and which fits somewhat to the right of the earlier photo of the 1910 "Stage 2." Also, the ceiling is lowered and windows were added, so inside it's just an office - there is no trace of the camera stand.
Then, if you go nearly halfway down THIS page, you can see some previously not known photos of Walt visiting Nordisk Tegnefilm! Two-thirds down THIS page, we see Walt signing the Nordisk Tegnefilm guest book. I wonder if that still exists...?
Harry's Danish text explains that Walt was shown around Nordisk Film by Nordisk Film Junior's managing director Ove Sevel (who also corresponded on a personal level with Disney Foreign head Jack Cutting) and by Jørgen Jørgensen, at that time head of the Copenhagen "Metropol" theater (that had shown a Disney Christmas compilation since 1933 and now houses a H&M clothing store) and manager of the Danish "Walt Disney Mickey Mouse Co." Harry tells about Walt greeting all in the room, making some small talk, then when he seemed to get too interested in the current storyboard for a proposed feature film starring a ping-pong ball come alive, Ove Sevel insisted the company move to the next location. But before he left Nordisk Tegnefilm, Disney signed the guest book in the management office in the other end of the building.
Ove Sevel in his memoires tells that when Walt visited Nordisk Film, he found out there was an animation department and spent the rest of the day there. Personally, I am inclined to believe Harry, who tells me that Walt, who looked very tired, spend at most only about half an hour at NT.
I still need to get a good precise date on Walt's visit, though, as Harry in his website tells us it was June 1960, while the late Ove Sevel, who eventually became managing director of the entire Nordisk Film, in his memoires says it was July 1959. I myself previously found that Walt was in Denmark in July 1961, and based on his appearance I would venture to guess that this also was when he visited Nordisk Film...
Oh, while it is still allowed: Happy New Year!
I write "Ring, Frank & Rønde" though the studio was actually called "Ring & Rønde." It was soon known to friends as "Ring, Frank & Rønde," because the late Bjørn Frank Jensen quickly became an important partner in the studio, alongside my old mentor Børge Ring and Arne Rønde Kristensen. Also at the studio were Dave Hand's favorite artist the late Kjeld Simonsen ("Simon"), in Denmark now mainly known for his intro to the children's TV program "Bamse's Billedbog" and Kaj Pindal, who is widely known for his work at the National Film Board of Canada and as teacher at Sheridan College.
The feature film that Ring, Frank & Rønde wanted to make with Dave Hand through Nordisk Film was "Klods-Hans" (Jack the Dullard) based on Hans Christian Andersen's story, a story that Allan Johnsen, the producer of the very successful "Fyrtøjet" (The Magic Tinderbox, 1946) had intended as its follow-up. The Klods-Hans (non-)production story is a complicated one, found on Harry Rasmussen's site in Danish. It seems that a lot of work had been done on it before Nordisk Film contacted Ring, Frank & Rønde about the picture.
Furthermore, Ove Sevel in his memoires "Nordisk Film ...set indefra" ("...seen from within") mentions that putting Jørgen Bagger in charge of A/S Nordisk Tegnefilm was one of the few mistakes made by Holger Brøndum. Bagger later became equally unloved as stage head of a small film department owned by the publishing house Gutenberghus (that later became Egmont, which merged with Nordisk Film in 1991 and bought 50% in our very own A. Film in 1995!) and he then started his own company, Jørgen Bagger Film, mainly producing slide films with sound.
Finally, one could ask "don't you fear that Nordisk Film will do a similar trick with your own company A. Film as with Ring & Rønde?" to which I answer that Nordisk Film has a vested interest in the continued growth of A. Film. Through Egmont, it represents 50% of the shares in the company - while it owned 51% of Ring & Rønde. Nordisk Film, now an international conglomerate, must have learned from past experience: they would not want another paper company on their hands. Also, with productions like "Terkel in Trouble" and "Journey to Saturn," Nordisk has seen first-hand what we can do together, and is, as we are, proud of being part of A. Film!