- Erkunde Jonas Greulichs Pinnwand „Artist - Ralph Bakshi“ auf Pinterest. Weitere Ideen zu Zeichentrick, Comic kunst, Grafische illustration. Regie in Serien; Originalkonzeption in Serien; Produktion in Serien; Regie in Filmen; Drehbuch in Filmen. Ralph Bakshi – Bild: Heather Leah Kennedy. Ralph Bakshi (* Bakshi entstammte einer krimtschakischen Familie, die nach Haifa eingewandert war, aber schon in den New Yorker Stadtteil.
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Ralph Bakshi ist ein US-amerikanischer Filmregisseur, der überwiegend Trickfilme für ein Erwachsenenpublikum und gelegentlich andere Spielfilme, zuletzt meist für Fernsehformate, hervorbrachte. Ralph Bakshi (* Oktober in Haifa, Palästina, heute Israel) ist ein US-amerikanischer Filmregisseur, der überwiegend Trickfilme für ein. - Erkunde Jonas Greulichs Pinnwand „Artist - Ralph Bakshi“ auf Pinterest. Weitere Ideen zu Zeichentrick, Comic kunst, Grafische illustration. Unfiltered: The Complete Ralph Bakshi The Force Behind Fritz the Cat, Mighty Mouse, Cool World, and Heavy Traffic: ugamela.eu: Gibson, Jon M., McDonnell. In der Hauptrolle: Joseph Kaufmann, Beverly Hope Atkinson und Robert Easton; Regie: Ralph Bakshi und Robert Taylor. Die erotischen Kultfilmklassiker des Zeichentrickmeisters Ralph Bakshi in einer Box: Fritz the Cat Die Neun Leben von Fritz the Cat Starker Verkehr Inspiriert von. Die Welt in 10 Millionen Jahren von Ralph Bakshi DVD bei ugamela.eu bestellen. ✓ Bis zu 70% günstiger als Neuware ✓ Top Qualität ✓ Gratis Versand ab.
Pin und vieles mehr auf Artist - Ralph Bakshi von Jonas Greulich. Wizards - Mike Ploog / Ralph Bakshi Zeichentrick, Alt, Fantastische Kunst, Zeitschriftenkunst. Ralph Bakshi ist ein US-amerikanischer Filmregisseur, der überwiegend Trickfilme für ein Erwachsenenpublikum und gelegentlich andere Spielfilme, zuletzt meist für Fernsehformate, hervorbrachte. Ralph Bakshi. Ralph Bakshi. Coonskin von Ralph Bakshi. OFDb Filmworks / Ascot Elite. Kritik. Coonskin (Blu-ray). “Der Ärger mit euch Schwarzen ist, dass ihr.
Coonskin Heavy Traffic Kot Fritz Fritz the Cat. The Enlarger The Duster Martin Luther King, Jr. The Shocker The Drifter The Ghost Monster The Proton Pulsator The Stretcher The Frog The Toy Man The Mini Squirts The Fuz Mouse Trek Spider-Man serial - Loops and Swoops Give Me Liberty Winlucky Frozen Sparklers It's for the Birds Which Is Witch?
No problem! The racial segregation of local schools meant that the nearest white school was several miles away; Bakshi obtained his mother's permission to attend the nearby black school with his friends.
Most of the students had no problem with Bakshi's presence, but a teacher sought advice from the principal, who called the police.
Fearing that segregated whites would riot if they learned that a white, let alone Jewish, student was attending a black school, the police removed Bakshi from his classroom.
Within a few months, the family moved back to Brownsville, where they rarely spoke of these events. At the age of 15, after discovering Gene Byrnes ' Complete Guide to Cartooning at the public library, Bakshi took up cartooning to document his experiences and create fantasy-influenced artwork.
He stole a copy of the book and learned every lesson in it. After participating in a food fight and being caught smoking, Bakshi was sent to the principal's office.
In June , Bakshi graduated from the school with an award in cartooning. When Bakshi was 18, his friend Cosmo Anzilotti was hired by the cartoon studio Terrytoons ; Anzilotti recommended Bakshi to the studio's production manager, Frank Schudde.
His low-level position required Bakshi to carefully remove dirt and dust from animation cels. After a few months, Schudde was surprised that Bakshi was still showing up to work, and promoted him to cel painter.
Bakshi began to practice animating; to give himself more time, at one point he slipped ten cels he was supposed to work on into the "to-do" pile of a fellow painter, Leo Giuliani.
Bakshi's deception was not noticed until two days later, when he was called to Schudde's office because the cels had been painted on the wrong side.
When Bakshi explained that Giuliani had made the mistake, an argument ensued between the three. Schudde eventually took Bakshi's side.
By this point, the studio's employees were aware of Bakshi's intention to become an animator, and he began to receive help and advice from established animators, including Connie Rasinski, Manny Davis, Jim Tyer, Larry Silverman and Johnnie Gentilella.
Bakshi married his first wife, Elaine, when he was Their son, Mark, was born when Bakshi was Elaine disliked his long work hours; parodying his marital problems, Bakshi drew Dum Dum and Dee Dee , a comic strip about a man determined "to get—and keep—the girl".
As he perfected his animation style, he began to take on more jobs, including creating design tests for the studio's head director, Gene Deitch.
Deitch was not convinced that Bakshi had a modern design sensibility. In response to the period's political climate and as a form of therapy, Bakshi drew the comic strips Bonefoot and Fudge , which satirized "idiots with an agenda", and Junktown , which focused on "misfit technology and discarded ideals".
Bakshi's frustrations with his failing marriage and the state of the planet further drove his need to animate. In , he moved his desk to join the rest of the animators; after asking Rasinski for material to animate, he received layouts of two scenes: a hat floating on water and a running Deputy Dawg , the lead character of a Terrytoons' series then being shown on CBS.
Despite threats of repercussion from the animators' union, Rasinski fought to keep Bakshi as a layout artist.
Bakshi began to see Rasinski as a father figure; Rasinski, childless, was happy to serve as Bakshi's mentor.
At the age of 25, Bakshi was promoted to director. His first assignment was the series Sad Cat. Bakshi and his wife had separated by then, giving him the time to animate each short alone.
Bakshi was dissatisfied with the traditional role of a Terrytoons director: "We didn't really 'direct' like you'd think. We were 'animation directors,' because the story department controlled the storyboards.
We couldn't affect anything, but I still tried. I'd re-time, mix up soundtracks—I'd fuck with it so I could make it my own.
Other animation studios such as Hanna-Barbera were selling shows to the networks, even as the series produced by Terrytoons which was owned by CBS were declining in popularity.
The network executives rejected all of Weiss's proposals as "too sophisticated", "too corny", or "too old-timey".
The executives loved the idea, and while Silverman required a few drawings before committing, Weiss immediately put Bakshi to work on the series' development.
Once Silverman saw the character designs, he confirmed that CBS would greenlight the show, on the condition that Bakshi serve as its creative director.
Bakshi received a pay raise, but was not as satisfied with his career advancement as he had anticipated; Rasinski had died in , Bakshi did not have creative control over The Mighty Heroes , and he was unhappy with the quality of the animation, writing, timing and voice acting.
Although the series' first 20 segments were successful, Bakshi wanted to leave Terrytoons to form his own company. On the way to the CBS offices to make his pitch, he was involved in a car accident.
At the auto body shop, he met Liz, who later became his second wife. While leaving the network offices, he learned that Paramount Pictures had recently fired Shamus Culhane , the head of its animation division.
Bakshi met with Burt Hampft, a lawyer for the studio, and was hired to replace Culhane. Marvin Digs , which Bakshi conceived as a " flower child picture", was not completed the way he had intended: It "was going to have curse words and sex scenes, and a lot more than that.
Bakshi served as head of the studio for eight months before Paramount closed its animation division on December 1, He learned that his position was always intended to be temporary and that Paramount never intended to pick up his pitches.
Although Hampft was prepared to offer Bakshi a severance package, Bakshi immediately ripped up the contract. Hampft suggested that Bakshi work with producer Steve Krantz , who had recently fired Culhane as supervising director on the Canadian science fiction series Rocket Robin Hood.
Unknown to Bakshi, Krantz and producer Al Guest were in the middle of a lawsuit. Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series' model sheets and return to the United States.
When the studio found out, a warrant for Bakshi's arrest was issued by the Toronto police. He narrowly avoided capture before being stopped by an American border guard who asked him what he was doing.
Bakshi responded, "All of these guys are heading into Canada to dodge the draft and I'm running back into the States.
What the fuck is wrong with that!? Vita was detained at the airport; he was searched and interrogated for six hours. Bakshi soon founded his own studio, Bakshi Productions, in the Garment District of Manhattan, where his mother used to work and which Bakshi described as "the worst neighborhood in the world".
His second child, Preston, was born in June He soon developed Heavy Traffic , a tale of inner-city street life. Krantz told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience, and would likely consider it if his first film was an adaptation.
Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film. Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation.
Impressed by Bakshi's tenacity, Crumb lent him one of his sketchbooks for reference. Preparation began on a studio pitch that included a poster-sized cel featuring the comic's cast against a traced photo background—as Bakshi intended the film to appear.
Despite Crumb's enthusiasm, the artist refused to sign the contract Krantz drew up. After a week, Crumb left, leaving the film's production status uncertain.
Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights through Dana, who had Crumb's power of attorney and signed the contract.
After Bakshi pitched the project to every major Hollywood studio , Warner Bros. Bakshi hired animators he had worked with in the past, including Vita, Tyer, Anzilotti and Nick Tafuri, and began the layouts and animation.
The first completed sequence was a junkyard scene in Harlem, in which Fritz smokes marijuana, has sex and incites a revolution.
Krantz intended to release the sequence as a minute short in case the picture's financing fell through;  Bakshi, however, was determined to complete the film as a feature.
They screened the sequence for Warner Bros. Bakshi refused, and Warner Bros. Despite receiving financing from other sources, including Saul Zaentz who agreed to distribute the soundtrack album on his Fantasy Records label , the budget was tight enough to exclude pencil tests, so Bakshi had to test the animation by flipping an animator's drawings in his hand before they were inked and painted.
When a cameraman realized that the cels for the desert scenes were not wide enough and revealed the transparency, Bakshi painted a cactus to cover the mistake.
Very few storyboards were used. Artist Ira Turek inked the outlines of these photographs onto cels with a Rapidograph , the technical pen preferred by Crumb, giving the film's backgrounds a stylized realism virtually unprecedented in animation.
The tones of the watercolor backgrounds were influenced by the work of Ashcan School painters such as George Luks and John French Sloan. Among other unusual techniques, bent and fisheye camera perspectives were used to portray the way the film's hippies and hoodlums viewed the city.
Many scenes featured documentary recordings of real conversations in place of scripted dialogue—this too would become a signature of Bakshi's.
In May , Bakshi moved his studio to Los Angeles to hire additional animators. Other animators were less pleased by Bakshi's arrival and placed an advertisement in The Hollywood Reporter , stating that his "filth" was unwelcome in California.
By the time production wrapped, Cinemation had released Melvin Van Peebles ' Sweet Sweetback's Baadasssss Song to considerable success, despite the X rating it had received.
By the time Fritz the Cat was released, Bakshi had become a celebrity, but his reputation was primarily based upon his having directed the first "dirty" animated film.
This became a tradition, and Bakshi wrote poems before beginning production on each of his films.
The first of these poems was "Street Arabs", which preceded the production of Heavy Traffic in Inspiration for the film came from penny arcades , where Bakshi often played pinball , sometimes accompanied by his year-old son, Mark.
Bakshi pitched Heavy Traffic to Samuel Z. Arkoff , who expressed interest in his take on the "tortured underground cartoonist " and agreed to back the film.
Krantz had not compensated Bakshi for his work on Fritz the Cat , and halfway through the production of Heavy Traffic , Bakshi asked when he would be paid.
Krantz responded, "The picture didn't make any money, Ralph. It's just a lot of noise. Bakshi did not have a lawyer, so he sought advice from fellow directors with whom he had become friendly, including Martin Scorsese , Francis Ford Coppola and Steven Spielberg.
He soon accused Krantz of ripping him off, which the producer denied. As he continued to work on Heavy Traffic , Bakshi began pitching his next project, Harlem Nights , a film loosely based on the Uncle Remus story books.
The idea interested producer Albert S. Ruddy , whom Bakshi encountered at a screening of The Godfather. Bakshi said, "I can't talk about that", and hung up.
After locking Bakshi out of the studio the next day, Krantz called several directors, including Chuck Jones , in search of a replacement.
Arkoff threatened to withdraw his financial backing unless Krantz rehired Bakshi, who returned a week later. Bakshi wanted the voices to sound organic, so he experimented with improvisation, allowing his actors to ad lib during the recording sessions.
Although Krantz, in an attempt to get the film an R rating, prepared different versions of scenes involving sex and violence, Heavy Traffic was rated X.
Newsweek applauded its "black humor, powerful grotesquerie and peculiar raw beauty. However, it is also an authentic work of movie art and Bakshi is certainly the most creative American animator since Disney.
In , Bakshi and Ruddy began the production of Harlem Nights , which Paramount was originally contracted to distribute. Its structure was rooted in the history of the slave plantation: slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat.
Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap ". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography.
Bakshi hired several African American animators to work on Coonskin ,  including Brenda Banks, the first African American female animator. Coonskin , advertised as an exploitation film, was given limited distribution and soon disappeared from theaters.
Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together.
After production concluded on Harlem Nights , Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact.
Making it work almost drove us crazy. An initial version of Hey Good Lookin' was completed in A three-minute promo of this version was screened at the Cannes Film Festival , and the film was scheduled for a Christmas release, but was moved to the summers of and later , before ultimately being postponed indefinitely.
Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards , The Lord of the Rings and American Pop. This is an example of what Bakshi did best—using the medium of animation to comment on society.
Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree.
This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin , Heavy Traffic , and Fritz the Cat.
Returning to the fantasy drawings he had created in high school for inspiration, Bakshi intended to prove that he could produce a "family picture" that had the same impact as his adult-oriented films.
The crew included Vita, Turek, Sparey, Vitello and Spence, who had become comfortable with Bakshi's limited storyboarding and lack of pencil tests.
As the production costs increased, Fox president Alan Ladd, Jr. Bakshi and Lucas had negotiated contracts entitling them to franchise ownership, merchandising and back-end payment, so Ladd suggested that they fund the completion of their films themselves.
Bakshi chose rotoscoping as a cost-effective way to complete the movie's battle scenes with his own finances.
Because he could not afford to hire a film crew or actors, or develop 35mm stock, Bakshi requested prints of films that contained the type of large battle scenes needed, including Sergei Eisenstein 's Alexander Nevsky , and spliced together the footage he needed.
Short supervising. Ha-Ha Short. Show all 30 episodes. Show all 7 episodes. Fire Chief voice. Stevie voice. Super Hero voice.
Bird of Steel! Untouchable Documentary special thanks. Documentary Self. Alternate Names: Bill Schneider. Edit Did You Know? Personal Quote: The art of cartooning is vulgarity.
The only reason for cartooning to exist is to be on the edge. If you only take apart what they allow you to take apart, you're Disney.
Cartooning is a low-class, for-the-public art, just like graffiti art and rap music. Vulgar but believable, that's the line I kept walking.
Trivia: Is friends with Dave Spafford. Star Sign: Scorpio.How much of Ralph Bakshi's work have you seen? Beginning his career at the Terrytoons television cartoon studio as a Triple 9 Stream polisher, Bakshi was eventually promoted to animator, and then director. Retrieved January 2, Superman Vs. That's Blaxploitation!