The 30s one is actually pretty impressive! It certainly has to be the first screen representation of the Ranger, although I can see where theories of it being repurposed come from: parts of it looks suspiciously a bit like semi-"rotoscope" test footage…?
We had a VHS of the 60s TV shorts: I always assumed Filmation had made these as the tape was part of an early Filmation line, but that did also include some Eurotoons as well. Any idea where that hailed from?
YouTube Goodness
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Filmation's didn't come along until around the '80-'81 hype for the movie--
The 1966 series was from "Format Films", and IMDb lists Halas & Batchelor as one of the major animation studios.
H&B, the same people who gave us that great animated version of Gilbert & Sullivan, the same year:
The 1966 series was from "Format Films", and IMDb lists Halas & Batchelor as one of the major animation studios.
H&B, the same people who gave us that great animated version of Gilbert & Sullivan, the same year:
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This looks to be a rip of the BFI's DVD (or at least part of it), which is a bit of a no-no around these parts… They still need to update that disc to Blu-ray.
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Re: YouTube Goodness
You can’t just have your characters announce how they feel! That makes me feel angry!
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Re: YouTube Goodness
This is why the internet can be genius.
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Re: YouTube Goodness
The reaction from Rose is priceless. Absolutely hilarious.
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Probably already seen, since it's been abuzz across the Tube all week--
A former "Lost cartoon pilot" (which I may have posted the previously known secondhand short version in the Lost Cartoon Pilot thread) is now officially a Found Cartoon Pilot, as the Library of Congress and an extraordinarily devoted fan researcher
has finally dug up and declassified the ENTIRE missing proof-of-concept of what would have happened had the Power Rangers' Saban gotten that first offer of Sailor Moon in the 90s.
It's a major holy grail (no Sailor Moon S puns intended) for anime and afternoon-animation fans, and...it's worse than we thought:
(So, no, to correct the comment made for years, Saban's Moon doesn't "look like Filmation's She-Ra", she and the entire production look like one of those $5 GoodTimes VHS fairytale knockoffs...)
We also have a record of the determined effort said dedicated fangirl took to undertake the quest, for those interested in completism: https://www.youtube.com/watch?v=0L67YFwnQCQ
A former "Lost cartoon pilot" (which I may have posted the previously known secondhand short version in the Lost Cartoon Pilot thread) is now officially a Found Cartoon Pilot, as the Library of Congress and an extraordinarily devoted fan researcher
has finally dug up and declassified the ENTIRE missing proof-of-concept of what would have happened had the Power Rangers' Saban gotten that first offer of Sailor Moon in the 90s.It's a major holy grail (no Sailor Moon S puns intended) for anime and afternoon-animation fans, and...it's worse than we thought:
(So, no, to correct the comment made for years, Saban's Moon doesn't "look like Filmation's She-Ra", she and the entire production look like one of those $5 GoodTimes VHS fairytale knockoffs...)
We also have a record of the determined effort said dedicated fangirl took to undertake the quest, for those interested in completism: https://www.youtube.com/watch?v=0L67YFwnQCQ
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Re: YouTube Goodness
You can’t just have your characters announce how they feel! That makes me feel angry!
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Re: YouTube Goodness
Apart from the flashy flashy bit at the end, which is very much not in keeping with the thoughtful and languid pace of the film, that was really nicely done.
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Re: YouTube Goodness
Glad you enjoyed!
You can’t just have your characters announce how they feel! That makes me feel angry!
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Re: YouTube Goodness
The original AI trailer…so subdued and powerful at the same time.
The only thing I find a bit annoying is William Hurt’s unbelievably anticlimactic line at the end: “You are a real boy…at least as real as I’ve ever made one.” It rings of warmed-over Pinocchio-lite, instead of the very dark scene in the actual film, when we realize Hobby is as cynical and lost as all the other human characters in the film.
https://youtu.be/_19pRsZRiz4
Also been thinking a lot about the end…I have always had so many theories about it, but lately I think I see what might partially be its meaning.
The question asked by one of the technicians in the opening scene is, if a robot child can genuinely love a person, can a person learn to love them back? Of course Hobby replies: Who gives a darn. But I really feel that this is the film’s underlying theme….not concerning Henry or Monica (it’s clear from the outset that neither has truly bonded to David) but David himself.
Some viewers feel that the ending is too “happy” because the alien robots give David everything he wants; meaning Monica is once again alive, even if only for a day. But if one looks more closely at this situation, it’s actually very sad, almost devastating, because this Monica is not the actual Monica we remember, but the alien AI’s impression of what David wishes she was. (“Give him what he wants.”) She is basically a clone tailor-made to give him comfort, 2,000 years after her death. Conceptually, she is no different then David was at the start of the film, what Hobby envisioned every child mecha to be: “Caught in a freeze-frame of love, never changing.” Yet David bonds with her anyway, even after her “death.” Does this make him human, even though he’s basically just following his programming? In some ways, possibly.
Gigalo Joe says earlier in the film: “Only humans believe in what cannot be seen or measured.” Despite the fact that Monica has gone to sleep forever, David still “sees” her…in his heart, his spirit. Perhaps in this sense, he has become human. The narrator himself says that David went to: “The land where Dreams are Born.” Dreams, spirit, soul, consciousness—all things humans believe in. Which David does now too.
This is just my theory…I don’t really know exactly what Spielberg meant (he wrote the screenplay too). Actually, it was Stanley Kubrick who wanted David to have one last day with his mother, Spielberg was the one who wanted David and Teddy to remain underwater in the amphibicopter for aeons until their batteries ran out. But still, he found a way to adapt Kubrick’s ending and make it work, at least in my opinion. I’m really glad that as the years go by, this film has become more and more respected and appreciated.
The only thing I find a bit annoying is William Hurt’s unbelievably anticlimactic line at the end: “You are a real boy…at least as real as I’ve ever made one.” It rings of warmed-over Pinocchio-lite, instead of the very dark scene in the actual film, when we realize Hobby is as cynical and lost as all the other human characters in the film.
https://youtu.be/_19pRsZRiz4
Also been thinking a lot about the end…I have always had so many theories about it, but lately I think I see what might partially be its meaning.
The question asked by one of the technicians in the opening scene is, if a robot child can genuinely love a person, can a person learn to love them back? Of course Hobby replies: Who gives a darn. But I really feel that this is the film’s underlying theme….not concerning Henry or Monica (it’s clear from the outset that neither has truly bonded to David) but David himself.
Some viewers feel that the ending is too “happy” because the alien robots give David everything he wants; meaning Monica is once again alive, even if only for a day. But if one looks more closely at this situation, it’s actually very sad, almost devastating, because this Monica is not the actual Monica we remember, but the alien AI’s impression of what David wishes she was. (“Give him what he wants.”) She is basically a clone tailor-made to give him comfort, 2,000 years after her death. Conceptually, she is no different then David was at the start of the film, what Hobby envisioned every child mecha to be: “Caught in a freeze-frame of love, never changing.” Yet David bonds with her anyway, even after her “death.” Does this make him human, even though he’s basically just following his programming? In some ways, possibly.
Gigalo Joe says earlier in the film: “Only humans believe in what cannot be seen or measured.” Despite the fact that Monica has gone to sleep forever, David still “sees” her…in his heart, his spirit. Perhaps in this sense, he has become human. The narrator himself says that David went to: “The land where Dreams are Born.” Dreams, spirit, soul, consciousness—all things humans believe in. Which David does now too.
This is just my theory…I don’t really know exactly what Spielberg meant (he wrote the screenplay too). Actually, it was Stanley Kubrick who wanted David to have one last day with his mother, Spielberg was the one who wanted David and Teddy to remain underwater in the amphibicopter for aeons until their batteries ran out. But still, he found a way to adapt Kubrick’s ending and make it work, at least in my opinion. I’m really glad that as the years go by, this film has become more and more respected and appreciated.
You can’t just have your characters announce how they feel! That makes me feel angry!
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Re: YouTube Goodness
Commodore 64 Bruce Lee re-done as augmented reality. (Looks as weird as it sounds.)
https://youtu.be/dcD1rqiiY9I
https://youtu.be/dcD1rqiiY9I
You can’t just have your characters announce how they feel! That makes me feel angry!
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Re: YouTube Goodness
Okay, well, that happened…! 
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Re: YouTube Goodness
sixty years ago today .. October 28, 1962 .. Fireball XL5 premiered its first episode.
There are several events and commemorative products to celebrate this.
Perhaps most exciting is the streaming broadcast "Space City Specials" .. featuring a couple of Fireball XL5 episodes (one of 'em In Colour!), along with other Gerry Anderson rarities.
Another is a deluxe 300+-page hardcover book collecting every Fireball XL5 comic strip from the weekly TV Century 21 magazine, from way back when. Also released this week is a new Fireball XL5 audio adventure on vinyl .. both available from the Anderson Entertainment collectibles store (natch).
There are several events and commemorative products to celebrate this.
Perhaps most exciting is the streaming broadcast "Space City Specials" .. featuring a couple of Fireball XL5 episodes (one of 'em In Colour!), along with other Gerry Anderson rarities.
Another is a deluxe 300+-page hardcover book collecting every Fireball XL5 comic strip from the weekly TV Century 21 magazine, from way back when. Also released this week is a new Fireball XL5 audio adventure on vinyl .. both available from the Anderson Entertainment collectibles store (natch).