BessLineberger
Geregistreerd op: 18 Nov 2020
Berichten: 186
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 Geplaatst: 29-06-2021 10:11:22 Onderwerp: Quality Waterproof Apron, william-lighting.com, APRON |
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Forty years have passed since The Chipmunks made their theatrical debut as animated characters (over sixty years after their debut) in a feature that many believe to be, with reservations, a film with a lot going for it. In particularly it boasts the work of a stellar group of artists—including Ron Dias, Glen Keane, Dave Pruiksma, Andy Gaskill, Corny Cole, Dan Haskett, Heidi Guedel, Susan Kroyer, Will Finn, Kevin Lima and Bill Plympton—who entered the project from neighboring Los Angeles area studios at various points, adding one brilliant touch after another.
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Some people have said this trailer looks a bit too “clean” for the 1930s, but according to art director Andrea Fernandez, the goal was to get as close as possible. “Everything, not just the paintings, but the color palette, the effects, the way we handle props, the linework, everything is looked at from a lens of like, could they have done this in the 30s? Could they have pulled this off? If it feels like it’s too modern or not possible for them to have done then we kind of pull back and reassess.”APRON
Fena is well on her way to becoming a pirate, but is she a princess? That’s a secret none of the promotional materials are willing to divulge. As she finds out more about her past, so will we, but until then, here’s the trailer:
One might not understand “what the big deal” is for this, but when it comes to voice acting, you need to have certain conditions present in order to have good recordings. Including having no background noise and being able to just have your dialogue heard without any issues. Plus, the equipment to voice record can be costly.
The Prisoner’s Song (3/1/30) – Spot gags on prison life, concentrating on the old rock pile. No songs appear other than the title tune, except for a musical counter-melody appearing at the opening of the film, which sort of sounds like the Anvil Chorus played sideways. The title song was recorded for everybody and his brother by Vernon Dalhart, recorded for Victor, Brunswick, Edison, Okeh (as “Tobe Little”), and a host of other minor labels. It was also recorded as a waltz by the International Novelty Orchestra on Victor, and by Ross Gorman and his Earl Carroll Vanities Orchestra on Columbia (still with Vernon Dalhart singing!). The song became a standard in country music, and would be revived over the years by various singers, including Hank Snow (RCA), and was even referred to in one song, “For No Good Reason at All”, by Cliff Edwards of Perfect/Pathe. There was also a concert version recorded by Reinald Werrenwrath for red seal Victor. Bunny Berigan also recorded a 12″ extended-length swing version for Victor (part of the “Five Feet of Swing” set, coupled as the flip side of Berigan’s biggeast hit, “I Can’t Get Started”).
A week passes. Cookie summons the platoon to the mess hall window in the middle of the night, to observe a strange phenomenon. Snorkel and Otto have begun sleepwalking at night, arriving at their usual place in the mess hall line. Though the kitchen is empty, they stand with outstretched trays before the serving station, then seat themselves at a table, and go through all the motions of devouring an imaginary meal that isn’t there. “What did I tell ya?”, says Cookie to Beetle and the others, informing them this has been going on every night since the diet started. Beetle gets an inspiration for an idea, and Cookie says he hopes it’s a good one, or they’ll all soon be having dreams like Sarge’s. Beetle whispers his plan to the others, and evething is subsequently prepared for the next evening. On schedule, Snorkel and Otto arrive in the kitchen. But instead of an empty hall, Cookie is standing at his usual serving position, with dispensing tubs full of freshly-cooked food. Instead of a mere dream, Cookie piles Sarge’s and Otto’s trays to regulation capacity again. The two sleepwalkers seat themselves at the table, and go through the motions of eating – but are now stuffing their bellies for real. Beetle and the troops creep up behind them, and yell “Surprise!”. Snorkel and Otto grunt into an awakened state, with fallout from the mashed potatoes still in their cheeks. “You broke your diet, Sarge”, says Beetle. “I did?”, responds Snorkel, observing the last of the mashed potatoes still on his fork. Realizing its is true, Snorkel admits, “And it feels good, too.” But as for the rest of the platoon’s diet, Beetle insists “We’re not breaking ours.” Falling for reverse psychology, Snorkel, in reflexive anger, retorts, “When I break my diet, EVERYBODY breaks their diet!” Sarge orders Cookie to serve food for everybody, and the troops cheer as their hunger strike is broken at last. Sarge concludes that, “If an army’s going to travel on its stomach, it’s gotta have a stomach to travel on.”
The Chipmunks had reemerged on Pickwick’s Excelsior label, then on RCA Victor and Kid Stuff/IJE before Disneyland/Vista. What made this visit significant was a story shared in a previous Animation Spin about how Walt Disney asked his record company to do a Christmas record about mice who form an orchestra. The resulting 45 rpm EP of Ludwig Mousensky and the All-Mouse Orchestra and Chorus did not become a phenomenon in 1957 for several reasons–some of which Ross Bagdasarian addressed and improved upon the following year as David Seville, first with “Witch Doctor” (a catchy hit with one unidentified sped-up voice) and then “The Chipmunk Song” (a classic standard with three distinct personalities telling a little story). |
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