My heart just plunged."Ībout three quarters of the way through, apparently, Brodax figured out that the animators were trying to make a real piece of art - not just the commercial pap he had intended to produce. It wasn't completed and certain parts had to be kidnapped. And we were sitting in an Italian tavern and after about the 12th bottle of wine, one of them turns to me and says, 'There's something I didn't tell you, Bob.' And that something was everything. "I went to London to meet the creators and thought I had reached the end. But in 1997, when he had 250 pages and a publishing contract, he was forced to rethink the entire enterprise. That approach then segued into the oral history. Yellow Submarine by examining what he perceived as its mythological underpinnings. Although American producer Al Brodax was later dismissive of Dunning's contribution, Halley insists "the film would not have been made without George."Ī student of the work of Carl Jung and Joseph Campbell, Hieronimus began his exploration of Tom Halley, another Canadian who worked as a unit director on the project, agrees. The Beatles]nd they didn't want a feature done by the same people.
#Yellow submarine cartoon glove becomes love tv#
You see, the Beatles did not want to be involved because they hated the TV cartoon [ABC-TV's He had originally said 'I'll give you two months of my life,' but in the ensuing chaos he ended up staying for the entire 11 months. "Without them, the film would never have been made," Hieronimus said in a recent interview. Yellow Submarine saga: Czech-born artist Heinz Edelmann, among the 20th century's most influential graphic designers, and George Dunning, the National Film Board-trained Canadian who directed the film. Adopting the oral-history format that allows various participants to present their own version of events, however conflicting, Hieronimus - who will lecture tomorrow evening at the National Film Board of Canada offices in Toronto - spent almost 30 years working on the book, a long and winding road indeed.Ī muralist, radio broadcaster and environmental crusader, Baltimore-based Hieronimus identifies two principal heroes in the Inside the Yellow Submarine - The Making of the Beatles Animated Classic (published in 2002 by Krause). The most comprehensive account I've seen of this contentious backstory is told in the pages of Dr. The latter were an assembly of designers and craftsmen determined to make the film different from and better than the insipid, Disney-inspired cartooning into which animation had by that time descended.Īnd though the script had more than three dozen incarnations and passed through 40 different typewriters - including those of British poet Roger McGough, American sentimentalist Erich Segal and the original writer Lee Minoff - the final script was only created after the film was finished. (of which Beatles manager Brian Epstein - dead before the film's release - took $200,000 off the top for the lads), and patched together over 11 frenetic months of hard day's nights, it was marred by its very own epic battle between Blue Meanies (the American producers) and the life-affirming, mostly European artists.
Produced on a minuscule budget of $1-million U.S. What may be less well known is that the film was very nearly a major disaster, its successful completion something of a miracle. It plays (and may well have been meant to play) like a psychedelic drug trip - a piece of visual stream of consciousness, orchestrating a classic struggle between good (the denizens of Pepperland) versus evil (the Blue Meanies), preaching a feel-good, love-is-all-you-need message and infused, of course, with the lush harmonies of Lennon and McCartney, from whose rich musical imagination it sprang. Yellow Submarine has managed to achieve an almost iconic status, at once popular with critics and the paying public. For aficionados of animated films, the 1968 feature
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