Die Welt in 10 Millionen Jahren von Ralph Bakshi DVD bei lavitrecassee.com bestellen. ✓ Bis zu 70% günstiger als Neuware ✓ Top Qualität ✓ Gratis Versand ab. Original animation art from these Ralph Bakshi animated classics: Coonskin (Streetfight), Wizards, Lord of the Rings, American Pop. Ralph Bakshi (* Oktober in Haifa, Palästina, heute Israel) ist ein US-amerikanischer Filmregisseur, der überwiegend Trickfilme für ein.
Ralph BakshiRalph Bakshi, geboren am , ist ein Regisseur, der vor allem durch seine Animationsfilme Kultstatus erlangte. Zu seinen bekanntesten Filmen zählen. Ralph Bakshi ist ein US-amerikanischer Filmregisseur, der überwiegend Trickfilme für ein Erwachsenenpublikum und gelegentlich andere Spielfilme, zuletzt meist für Fernsehformate, hervorbrachte. ralph bakshi lord of the rings.
Ralph Bakshi Menu de navigation VideoRalph Bakshi Dec. 1988 intvw, \
American Pop. The Lord of the Rings. Director, Screenwriter, Producer. Cop with megaphone Voice , Director, Writer. 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. Though CBS passed on Tee-Witt , its designs served as the basis for Bakshi's film Wizards.
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.
Bakshi enlisted comic book and pulp fiction artists and writers Harvey Kurtzman , Lin Carter , Gray Morrow , Archie Goodwin , Wally Wood and Jim Steranko to work at the studio.
After finishing Culhane's uncompleted shorts, he directed, produced, wrote and designed four short films at Paramount: The Fuz , Mini-Squirts , Marvin Digs and Mouse Trek.
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.
While browsing the East Side Book Store on St. Mark's Place , Bakshi came across a copy of Robert Crumb 's Fritz the Cat. 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. Bakshi and Vita walked around the Lower East Side , Washington Square Park , Chinatown and Harlem , taking moody snapshots.
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.
Some, including Rod Scribner , Dick Lundy , Virgil Walter Ross , Norman McCabe and John Sparey , welcomed Bakshi and felt that Fritz the Cat would bring diversity to the animation industry.
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.
When the Motion Picture Association of America gave Bakshi's film an X rating as well, Cinemation exploited it for promotional purposes, advertising Fritz the Cat as "90 minutes of violence, excitement, and SEX 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.
Winlucky Short supervising. Rhinestone's Theory Short supervising. Short supervising. Ha-Ha Short. Show all 30 episodes.
Spicy City TV Series production staff - 6 episodes, voice director - 4 episodes, - Raven's Revenge Show all 7 episodes.
Fire Chief voice. Stevie voice. TV Series short Super Hero - Babe, He Calls Me Super Hero voice. BLUE APP. Subscribe to the Ralph Bakshi Newsletter!
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During the s, animation went into a decline. The finished version of "Hey Good Lookin'" was released during the same year as "American Pop," but was also unsuccessful financially.
Bakshi produced several television features with mixed results before returning to film with what would eventually become "Cool World" - the script was rewritten several times during production without Bakshi's knowledge until it came to the point where Bakshi did not recognize his own work.
The film was critically scorned, and was a box office flop. Fans feel that the film is not a true Bakshi film. Since then, the Internet and DVD releases of Bakshi's work have brought him a new generation of fans and increased interest, encouraging Bakshi to produce another film.
Bakshi lives in New Mexico. A three-day retrospective was held at American Cinematheque at Grauman's Egyptian Theatre in Hollywood, California and the Aero Theater in Santa Monica, California in April, All Titles TV Episodes Celebs Companies Keywords Advanced Search.
Sign In. Edit Ralph Bakshi. Showing all 38 items. Animated features specifically made for adults, often with a heavy use of rotoscoping.
Was the inspiration for the voice of the Comic Book Guy from The Simpsons Father-in-law of Jonathan Yudis.
Father of Preston Bakshi , Eddie Bakshi , Mark Bakshi and Victoria Bakshi. Mark is president of Paramount production. Comedian Richard Pryor , film directors Spike Lee and Quentin Tarantino and Wu-Tang Clan are credited as fans of Bakshi's film, Coonskin Tarantino wrote the forward to the hardcover book "Unfiltered: The Complete Ralph Bakshi".
Greatly dislikes and is very critical of Don Bluth 's films. Is an avid fan of Jean-Luc Godard. Visualizes a scene by listening to music, which usually plays over the scene in the finished film.
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