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David Poland

By David Poland poland@moviecitynews.com

Best Cartoons Ever: A Gift List From Jerry Beck

rabbitofseville.jpg Watch the 50 greatest cartoons of all time, from a poll of 1,000 animation professionals conducted by author/film historian Jerry Beck for a 1994 book.
Each cartoon should have an active link.
Bookmark this page. And go crazy.

The 50 greatest, according to Beck’s poll:
1. What’s Opera, Doc? (1957)
2. Duck Amuck (1953)
3. The Band Concert (1935)
4. Duck Dodgers in the 24th Century (1953)
5. One Froggy Evening (1956)
6. Gertie the Dinosaur (1914)
7. Red Hot Riding Hood (1943)
8. Porky in Wackyland (1938)
9. Gerald McBoing-Boing (1951)
10. King Size Canary (1947)
11. Three Little Pigs (1933)
12. Rabbit of Seville (1950)
13. Steamboat Willie (1928)
14. The Old Mill (1937)
15. Bad Luck Blackie (1949)
16. The Great Piggy Bank Robbery (1946)
17. Popeye the Sailor Meets Sinbad the Sailor (1936)
18. The Skeleton Dance (1929)
19. Snow White (1933)
20. Minnie the Moocher (1932)
21. Coal Black and de Sebben Dwarfs (1943)
22. Der Fuehrer’s Face (1943)
23. Little Rural Riding Hood (1949)
24. The Tell-Tale Heart (1953)
25. The Big Snit (1985)
26. Brave Little Tailor (1938)
27. Clock Cleaners (1937)
28. Northwest Hounded Police (1946)
29. Toot, Whistle, Plunk and Boom (1953)
30. Rabbit Seasoning (1952)
31. The Scarlet Pumpernickel (1950)
32. The Cat Came Back (1988)
33. Superman (1941)
34. You Ought to Be in Pictures (1940)
35. Ali Baba Bunny (1957)
36. Feed the Kitty (1952)
37. Bimbo’s Initiation (1931)
38. Bambi Meets Godzilla (1969)
39. Little Red Riding Rabbit (1941)
40. Peace on Earth (1939)
41. Rooty Toot Toot (1952)
42. The Cat Concerto (1947)
43. The Barber of Seville (1944)
44. The Man Who Planted Trees (1987)
45. Book Revue (1946)
46. Quasi at the Quackadero (1975)
47. Corny Concerto (1943)
48. The Unicorn in the Garden (1953)
49. The Dover Boys (1942)
50. Felix in Hollywood (1923)

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon