Mar
24
Oilspot and Lipstick
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Recent comments
- Philippe Tilikete: I am happy to have helped one of the greats of the animation world, i don't know you Corny but i wish you all the best! Great job Tina!...
- Chuck Rekow: Great interview! Thanks! ..and thanks Mr. Siepermann for all the inspirational work!...
- Jay Keating: Roland was a good friend of my parents, a very nice man and great artist. I know his friends and family will miss him. But his art will live on for ma...
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- Dorse A. Lanpher: HiTina... Another great job you've done displaying a burst from my past. Dorse...
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- Merry Clingen: I have always admired Bill, and his courage to launch out on his own, and compete against the big studios. It is good to see how all that hard work pa...
From Fred Cline:
Regarding Oilspot, I remember doing it, but I don’t remember any poignant or funny or painful stories regarding that project. Only that there was not a lot of enthusiasm for digital animation at that time - the artists just thought that it was a passing fad. Randy Cartwright, Tina Price, MIke Cedeno and a couple of others were smart enough to give it a chance. I bet a lot of the others are kicking themselves for not embracing it when they had the opportunity back then! I have that little framed memento hanging by my desk at home - of the two photo images from the project that Roy Disney signed for everyone who worked on it.
From Mark Walton:
I remember that film being released with all the cutting edge short films from around the world in one of the first “Tournees of Animation” when I was in high school and thinking,”Wow! There are some edgy, sophisticated people at Disney pushing the boundries and doing something really daring!” And now, here I am more than 20 years later working for Disney myself.
Like Fred Kline, I also have the signed 2 photo images that Roy Disney signed on my wall, or did have for years. I developed the story of Oilspot with Ward Kimball and Mike Cedeno when I was heading development for Disney Feature Animation back in the late 80’s. I left the studio to write while it was in production, but I can tell you that this was the first foray into computer character animation for Disney and they used this as proof of concept. Of course the executives were then hoping that the computer would replace all of us “creatives”. But that would have required true artificial intelligence - and the computers would then have asked for raises.