Oh, it's John Belushi. His brother Jim is still alive and kicking. Also, how did Weird Al manage to wrangle the guest star spot? Weird Al Yankovic in 3D was his big breakout album, and it didn't see release until 1984.
He didn't--one of the posts points out that he wasn't popular yet and appeared on a different show, which presumably the other posters misremembered as being The Muppet Show.Also, how did Weird Al manage to wrangle the guest star spot? Weird Al Yankovic in 3D was his big breakout album, and it didn't see release until 1984.
He was a minor figure, but known to Dr Demento listeners in '79-80, for _My Bologna_ and _Another One Rides the Bus_,and that got nationwide from his appearance on the Tom Snyder show after Carson in early '81He didn't--one of the posts points out that he wasn't popular yet and appeared on a different show, which presumably the other posters misremembered as being The Muppet Show.
Sorry, I was trying to summarize the posts--the point was that at the time The Muppet Show was filming he wasn't popular enough to be a guest star, but he did appear on what I gather to be a different, later show (presumably a Disney/Jim Henson production)He was a minor figure, but known to Dr Demento listeners in '79-80, for _My Bologna_ and _Another One Rides the Bus_,and that got nationwide from his appearance on the Tom Snyder show after Carson in early '81
Mostly original. Henson would insist on it. Weird Al was one of the guest stars.This sounds like a fun show once revamped- though it doesn’t sound like something we’d get in the UK Until Satellite TV kicks in anyway.
How much of it was just an ad compared to original material though?
Does sounds the sort of show Weird Al would be on though- is he a regular?
the outsourced nature of their work, and i don't mention from western animation, in japan itself, very few studios own the IP they adapt, unless they're anime first(and even them, ghibli have to release a manga of nausicaa first as people would not watch an anime movie than didn't have a manga first), plus as mention before, studios don't own the ip, the production comitte and the original creator is the one.Shame the Far Eastern animators cannot organise too
Being in a Union doesn't mean that the Company they work for is immune to the outside world: the company still has to be competitive to both domestic and increasingly foreign markets.Well the early 80’s was the time Unions where broken across all job markets it seems - miners, print workers, writers, guess animators are not immune.
Shame the Far Eastern animators cannot organise too.
A clever idea but probably a non-starter. Disney management was virulently anti-union since the days of Walt (seriously, look up the strike of 1941; ugly ugly ugly!). Things could change with time, of course, but as of '82 it's a hard sell. That said, they will certainly put out press releases saying something of the sort (always a chance to jab at the competing studios!).I wholeheartedly approve of the 'sympathy strike' (I've got a union job myself). What a PR coup it could have been if a couple of Disney execs had walked the picket line for a shift!
"Animation is part of the bedrock of Disney, if we don't support the people making it, what does that say about our company?"
- [insert board member here, making it sound like it was his idea from the start.]
Much of the poor quality of '60s/'70s animation was, from what I can tell, due to the "limited animation" born of cost-cutting. Recycled cyclical backgrounds (how many times can they pass the same tree?), filming on threes and fours (repeating each frame 3-4 times to cut costs, leading to that choppy look), using very simple lines and flat colors, and having only a small handful of poses and expressions for characters. TV animation was only marginally profitable at the time. Union hours likely added to this, and union costs likely further strained budgets and added to the need for cost cuts elsewhere, but the economics of TV animation were the principle driver (DIC-USA was non-union and still used Limited Animation). It's worth mentioning that even union animators really weren't paid much more than scale at the time according to Steve Hulett.In terms of the effect of the strike and the failure of the union to achieve its aims, it's hard not to see a net positive result for the quality and quantity of animation output as a whole - 1970s animation tended to run very limited series (22 episodes max was the typical Filmation run), almost as limited as the animation itself (Filmation notoriously so; Hanna-Barbera was little better). But in the 1980s television cartoons started to look good, or at least much better than what they had been before. I'm often amused by complaints the WB showrunners of the early '90s (Batman in particular, though apparently there were lots of problems on Tiny Toons as well) had with their overseas animators, when even the "terrible" work they would churn out was light-years ahead of what the cream of American animators were doing 15-20 years earlier.
Thanks, GrahamB. Yes, the animators producing mattered a lot here. If they'd been screwing off all afternoon then Henson and Gottesman would surely have a harder time. It's also worth mentioning that management was screwing off all afternoon too (according to Disney War): they all went off to the elite spa on the top floor of one of the buildings for masages and saunas. The lax culture of the early '80s extended across the board.I think you nailed it on the head by having Jim and Gottesman argue that if all the union wanted was to keep the existing contract then why risk a repeat of the disaster of the '41 strike.
I mentioned the 8-hour day example as a positive because if Disney animators were still haring off after lunch to play ball as you mentioned before (and now I can't find the reference, frustratingly) I'd probably agree with the board. Why pay full-time when they're only working part-time hours? However, if the animators were now motivated to put the full day's work in and producing results the board's antipathy based on memories from forty years earlier loses a fair bit of legitimacy in my eye.
 I note the references to The Black Cauldron and Basil of Baker Street snuck in there. Almost as soon as this thread started people pondered what a Henson-helmed Cauldron would be like, sounds like we're going to find out fairly soon. I'm also pleased to see Basil isn't butterflied away, here's hoping they can still get Vincent Price to ham it up in this timeline too!