Words simply don't do justice to this book. It must be held in one's own hands to fully appreciate the investment that went into producing this masterpiece celebration of animation history.

John Canemaker has succeeded once again in bringing the creative process to a place where both a novice hobbyist and experienced researcher can find full appreciation in a single work.

Paper Dreams is filled to overflowing with original story sketches from the Disney Archives and Animation Research Library. The story sketch is the most primitive form in the process of animation, and yet is crucial to the development of both story and character personality. This process was invented at the Disney Studios in the early 1930's, and is widely used throughout Hollywood to this day, both in animation and in live-action production.

In particular, researchers of original animation art will appreciate this work as creating a permanent record of known storyboards and sketches from the Walt Disney Studio.

While most will never have an opportunity to visit the Disney Archives, Canemaker effectively opens the vaults for all to enjoy and appreciate.

Too often in animation titles, the storyboard element is relegated to a minor footnote. This book presents a wonderful insight to the creative process of animation film making. Many animators and students collect resource material from feature films, and storyboard examples are rare and treasured items. As a storyboarder myself, I was in awe of the beauty and clarity of these works, many I was seeing for the first time. However, anybody with an interest in art or animation will enjoy this book. It is an amazing and definitive collection.

I have most of the 'Art of' books and, though this is a little more pricey than the others, it is worth every cent. It is refreshingly reassuring to finally have a Disney art book NOT written by a Disney staffer, but by a film academic. It was great to read about the men who worked alongside Walt and knew him for all his faults as well rather than the godhead he has become to the company. This book, while showing page after page of behind-the-scenes miniature masterpieces that went into making the classic early features, also describes the not-so-happy endings that such chemistry produced among Disney and his storymen sometimes. It also covers the latter-day storyboard masters like Chris Sanders and the Brizzi twins. I have ambitions of being a Disney storyboard artist someday and this book is perfect inspiration. More than worth it.

This book should be considered a combination of art/animation history,as well as a bible for Felix fans!

Canemaker takes the reader through the amazing roller coaster ride that is the career of Felix the Cat. From the shady past of producer Pat Sullivan, to the brilliant career of Otto Messmer, this is a great read. Complete with rarely seen Felix memorabilia, this book has it all. It is just too bad that there aren't more books like Canemaker's out there for the dyed-in-the-wool fan. Pick it up!

John Canemaker has the rare gift of bringing the human side of great animation to life. He is at the top of his form in this book, which follows the story of Felix the Cat from his creation by Otto Messmer through the present day. Very highly recommended for anyone interested in Animation in any form whatsoever.

This is an absolute must buy. The story is totally delightful -- cat lovers, take notice! Lucy the cat migrates from the City to the country every week with her two big guys, and this story is about her (mis)adventures at their weekend party.

The fact that her big people are two men obviously in love and partnered is incidental to the story, which makes it almost unique (Anna O'Day and the O Ring is the only other one I can think of, and that story is pretty blah). The gay subtext is most amusing when one of the men is enamored of the adorable fireman who comes to rescue Lucy from one of her misadventures (while the other glares).

The illustratations are terrific! This book is on my holiday list to give to all kids in this age range.

Susan in Ann Arbor

Reviewed by Harriet L. Schwartz Recent news has confirmed that the battle over gay-related children's books in public libraries continues. Most recently, a Baptist minister in Texas attempted to keep "Heather Has Two Mommies" and "Daddy's Roommate" out of circulation by checking out and then buying the books, according to the Associated Press. However, publicity in the town's newspapers magnified local interest in the books, forcing the libraries to obtain extra copies. Soon, anti-gay advocate will have another book to battle when Alyson Wonderland releases "Lucy Goes to the Country"...a vividly illustrated book that follows the story of Lucy as she travels to the country with her "two Big Guys." Children will follow Lucy's funny encounters with birds, guests, and a dog, while adults will catch a second level of humor.

I thought no book about cats could equal May Sarton's marvelous "The Fur Person"...but I was wrong! Lucy is a rambunctious amber and white cat who lives in a New York apartment, which she shares with her two "Big Guys". The authors, the two "Big Guys" who are Lucy's family, paint a loving portrait of their favorite feline's adventures as she, in her dreaded red bag, goes to the Guys' country house for the weekend. Hilarious, charming, and beautifully illustrated, this book is a childrens' book but it'll appeal to anyone who loves cats, and appreciates loving families of all kinds. My partner and I just lost our 20 year old calico, Calliope, so this book was especially meaningful and touching for us! More of Lucy's adventures, please, Guys!

To view individual cels from a Tex Avery cartoon is like a brief stop into an insane asylum. Fortunately, this book is chock full of film stills from vintage MGM cartoons such as Screwy Squirrel, Red Hot Riding Hood and lesser known but just as noteworthy cartoon shorts from the Golden Age of American Animation. The text by John Canemaker is just as light as it needs to be with some helpful intros. Avery changed how directors think about pacing, sight gags, and characterization while knocking off layers of the sugar-sweet Disney-stigma and this book does a fitting job paying tribute to that.

Tex Avery was and probably will be the king of the most wackiest animation the world has ever seen. Being the inspiration for future generations of cartoonists, Avery brought us such funny characters as Droopy, Spike the bulldog, Screwy Squirrel, and several Looney Tunes characters.

This book, originally published by the now defunct publishing branch of Turner Enterprises (now part of AOL-Time Warner) is an excellent tribute to the man who gave the cartoon world new ways to express comedy and feelings. From exploding cigars to eyeballs that pop out of their sockets, Avery gave many comedians and animators inspiration (the film "The Mask," with Jim Carrey and his facial expressions are a great example of this).

Most of the cartoons in this book are now owned by Ted Turner (president and CEO of Turner Enterprises, and now one of the executives at AOL-Time Warner) and Turner's preservation of Avery's works will give future generations access to some of the most wackiest cartoons ever made. Overall, an excellent book with beautiful animation cels and a wonderful history of Avery's life and contributions.

For us long-time fans of legendary cartoon director Tex Avery, we enjoyed the earlier Joe Adamson tribute, but were disappointed at the poor quality black and white photos included in it. Now at last the famous Avery shorts get the treatment they deserve, in this full-color, oversized coffee table edition straight from their proprietor Turner/MGM. Loads of famous scenes, model sheets and background designs are reproduced here, capturing the vivid color and style that we remember these cartoons for. Canemaker covers his subject mostly from a historical perspective, so you won't find any of the amusing anecdotal references here as in the Adamson book. Nonetheless, Canemaker covers Avery's cartoons with appropriate insight and reverence. If you haven't yet discovered the inimitatable style and hilarity of Tex Avery cartoons, you simply don't know what you're missing. And if you already know and appreciate the genius of Avery, your home shouldn't be without this book. It's a treasure.

The origins of the animation process at the Disney Studios are masterfully detailed in the research that author and animation historian John Canemaker brings to his work.

In "Before the Animation Begins", John Canemaker invites the reader to explore the hand of the artist as they prepare to illustrate what the mind has conceived. The "inspirational sketch artist" gives early voice to this process, and is the first phase in breathing life into an animated film.

Through both text and illustrations, Canemaker gives unprecedented attention to the men and women who first perfected this craft. Featured artists include: Albert Hurter, Ferdinand Horvath, Gustaf Tenggren, Joe Grant, Kay Nielsen, Bianca Majolie, Sylvia Moberly-Holland, Mary Blair, Tyrus Wong, David Hall, Eyvind Earle, and Ken Anderson.

The fact that Walt Disney was able to employ artists of this caliber speaks highly of his ability to mobilize even talented personnel to a level of achievement that was unparalleled, then or since.

Clearly, one of the finest books ever published on Disney's artists and illustrators.

Tex Avery was and probably will be the king of the most wackiest animation the world has ever seen. Being the inspiration for future generations of cartoonists, Avery brought us such funny characters as Droopy, Spike the bulldog, Screwy Squirrel, and several Looney Tunes characters.

This book, originally published by the now defunct publishing branch of Turner Enterprises (now part of AOL-Time Warner) is an excellent tribute to the man who gave the cartoon world new ways to express comedy and feelings. From exploding cigars to eyeballs that pop out of their sockets, Avery gave many comedians and animators inspiration (the film "The Mask," with Jim Carrey and his facial expressions are a great example of this).

Most of the cartoons in this book are now owned by Ted Turner (president and CEO of Turner Enterprises, and now one of the executives at AOL-Time Warner) and Turner's preservation of Avery's works will give future generations access to some of the most wackiest cartoons ever made. Overall, an excellent book with beautiful animation cels and a wonderful history of Avery's life and contributions.

Tex Avery was and probably will be the king of the most wackiest animation the world has ever seen. Being the inspiration for future generations of cartoonists, Avery brought us such funny characters as Droopy, Spike the bulldog, Screwy Squirrel, and several Looney Tunes characters.

This book, originally published by the now defunct publishing branch of Turner Enterprises (now part of AOL-Time Warner) is an excellent tribute to the man who gave the cartoon world new ways to express comedy and feelings. From exploding cigars to eyeballs that pop out of their sockets, Avery gave many comedians and animators inspiration (the film "The Mask," with Jim Carrey and his facial expressions are a great example of this).

Most of the cartoons in this book are now owned by Ted Turner (president and CEO of Turner Enterprises, and now one of the executives at AOL-Time Warner) and Turner's preservation of Avery's works will give future generations access to some of the most wackiest cartoons ever made. Overall, an excellent book with beautiful animation cels and a wonderful history of Avery's life and contributions.

A debt of gratitude is owed to John Cannemaker for his comprehensive book on Winsor McCay, and his many artistic endeavors. McCay, whose vivid perception has inspired artists and animators for decades, is captured in this exhaustive study. A rich range of his art complements many personal photos of McCay and his family, most notably perhaps, his son Robert, who was the inspiration for Little Nemo.

Once again John Canemaker has made me envious of his access to such beautiful artwork. The behind-the-scene stories of the personalities who created the characters we grew up with is wonderful. A gorgeous book with illustrations that make it worth the money all by themselves.

John Canemaker has given readers the Disney animation book that's been missing for decades. Only it's the Readers Digest version. Canemaker is forced to compact nine amazing biographies into one book. Each of his nine subjects - the core group of gifted animators who defined the look and feel of Disney animation from the 1930's through the 1970's - is deserving of far more time and space than a single volume can deliver. Nevertheless, he's done an amazing job, and he introduces us to these men with the same careful critical objectivity he did in "Before the Animation Begins", Canemaker's marvelous 1996 book focusing on the great Disney visual development and story artists.
The author gives us the best un-fairy-dusted glimpse of the real day-to-day workings of Disney's shop since animator Jack Kinney's 1988 "Walt Disney And Assorted Other Characters" (admittedly limited in objectivity, but still enormously entertaining in its candor.) It's impossible not to feel the same admiration and passion as the author. Even in his harsher analysis of temperaments and turmoil the author is writing about the best of times among a group of very real artistic heroes who were such extraordinary people that you'd have treasured any time you could have spent in their company. Sadly, Canemaker only gets to brush on topics such as how the old generation influenced the new. Many of the current generation of Disney artists are interviewed for this book and they have a great deal of insight to contribute (both Andreas Dejas and John Lasseter in particular)and one wishes that the author had been afforded the luxury of a more critical analysis of the older generation's influence on this generation -- both by their presence and their absence; e.g. - in the best chapter in the book, Milt Kahl is characterized as having had the greatest influence on the look of Disney characters. Questions about what affect Kahl's abrupt departure in 1976 had on the next generation - whether by way of his absence or his reluctance to be a true mentor - deserve more space than alotted. Similarly, the reader wants to know more about how veteran Eric Larson was treated by Disney executives who handed over "The Small One" to the ambitious Don Bluth, who later broke ranks and left the studio to start his own production company leaving the studio talent pool seriously decimated.
Canemaker is both the obvious choice and greatest risk for authoring this important animated version of "The Lives of the Artists" (Cainmaker states it was his hope to emulate Vasari's work) as he is admittedly very close to two of his subjects - animators and authors Frank Thomas and Ollie Johnston. Similarly, Ward Kimball and the late Marc Davis were friends of the author's, but he pulls fewer punches in his sharp but loving focus on the latter two. Even so, it would be hard to imagine any other author would have such an unprecedented level of trust from his subjects and their parent company, and thus such privileged access. And though his focus seems less sharp in the chapters on Thomas and Johnston, any biographer suffers from similar lapses when focusing on a living subject, particularly one whom they and the vast majority of the public hold in great affectionate esteem.
The book makes it clear that the memories of the living affect a much harsher view of the dead from among this old boy's network of disparate personalities who helped to define something as far reaching in popular culture as Disney's animated characters. Withered rivalries and carefully aged egos still pepper the perspective here and it only adds to the books ability to evoke something real, and not just the Halceon days of animation. The fact that the dead can't defend themselves even through living relatives and numerous ex-wives is a minor and admittedly unavoidable flaw, and in his preface Canemaker attempts to acknowledge it with a quote from a letter from Thomas to the author re undertaking the project. Even with obvious affection personal favorites, the author has done a terrific job of sharing insights into the passions of each of these nine men whose personalities were made immortal once filtered through such old friends as Captain Hook and Cruella DeVil.
It's to Canemaker's credit that we long for even more on each of these animators -- particularly Kahl and Larson -- and more examples of what made them great animators. Which brings us to the book's only glaring flaw: the illustrations. There simply aren't enough examples of scenes and sequences attributed to each artist -- particularly raw pencil drawings -- and the quality of photo reproductions from finished film frames and other archival material seems oddly yellow or green in tint and not up to the usual Disney publishing standards. e.g. a series of frames showing the Duke from "Cinderella" rolling his monocle between his fingers is so dark that you can barely see the referenced movement it serves to illustrate. This is greatly disappointing. Granted that many such sequences are found in Thomas & Johnston's "The Illusion of Life", but the book is out of print, and the vast resources of the Disney Animation Research Library as well as Mr. Canemaker's personal collection must be able to yield fresher and more fitting illustrations than what's found here. Again, Kahl's chapter gives us more to feast on than others, but it still isn't enough. After all, this is a visual medium we're discussing and a picture here only serves to give us reason to read another thousand written words. But, be that as it may, the book is both a MUST READ and a MUST HAVE for anyone interested in film history, animation, acting and/or Disneyana, and one hopes that Mr. Canemaker's upcoming book on Disney artist Mary Blair heralds a series of more extensive and more intimate (and hopefully much better illustrated) biographies on Kahl, Davis, Reitherman et. al. A long awaited and fine accomplishment, and easily the best book from Disney's publishing arm in 2001.

So much has been written and said about several of these nine legendary Disney animators that I very much doubted a lot of new ground was going to be broken, especially in a Hyperion release, but Canemaker rises to the task here, and then some. I was most interested in artists like Les Clark and Johnny Lounsbery, who have received less attention than some of the others. Canemaker not only brings them vividly to life with meticulous research, but he also manages to bring new information and fresh insight to all nine of his fascinating subjects. No matter how well you thought you knew the Nine Old Men and their work, there's plenty here for you. This book reveals the lives and personalities of these men, analyzes their contributions extraordinarily well, and also their working and personal relationships with each other, and presents great new visual material from their lives in and away from the studio. The Kimball stuff is a special treat.

Who could have imagined that Marc Davis' early life was as interesting as his work? Or that Kimball and Kahl were even crazier than you thought (and even more brilliant)? Ot that the master, Frank Thomas, actually struggled with his draftsmanship? Canemaker captures the promise of each of these men's pre-Disney careers and the spark in the work that caught Walt's attention is always evident. He also captures the human quirks that played a tremendous role in the golden age of the studio and often found its way onto the screen as well.

Much of this information and all of Canemaker's excellent insight would not have come to light without his diligent effort and research, and the result is a well-written, revealing, tasteful, and very visual masterpiece.

PS We lost the great, one-and-only Ward Kimball recently...only Ollie Johnston and Frank Thomas are still with us now. God bless you both.

I have the book by Canemaker: "Before the Animation Begins : The Art and Lives of Disney Inspirational Sketch Artists" and I like it very much because is very visual. I saw this book "Storytelling in Animation" and I bought one used and certainly it was not what I had imagined.

The book edited by The American Film Institute, is an anthology edited by John Canemaker. In his words this book is a monograph of the "eclectic overview of animation's potential that was presented on june 11, 1988 in los Angeles at the AFI's Second Annual Walter Lantz Conference on Animation". He acted like the Guest Curator of the Conference, serving like a moderator in some Conversations and finally he was the editor of the works of the conference into this book.

The table of Contents of the book is:

- Disney's PIG IS PIGS: Notes from a journal, 1949-1953.- Leo Salkin

- Some Observations on Non-Objective and Non-linear Animation.- William Moritz

- In the Matter of Writers and Animation Story Persons.- Harvey Deneroff

- Frustation .- Shamus Culhane

- Storytelling as Remembering: Picturing the Past in Caroline Leaf's THE STREET.- Thelma Schenkel

- A Conversation with Caroline Leaf.- Moderated by John Canemaker

- Computers, New Technology and Animation.- Moderated by James Lindner, with John Lasseter, Tina Price and Carl Rosendahl

- Studio aproaches to Story.- Moderated by John Canemaker, with Bill Peet, Joe Ranft, Jerry Rees and Peter Schneider

- Still is the story told: Disney and Story.- Robin Allan

- Animation is a Visual Medium.- Charles Solomon

- Who Framed Roger Rabbit: The presence of the Past.- Susan Olmer

- The little Girl/Little Mother Transformation: The American Evolution of Snow White and the Seven dwarfs.- Karen Merrit

- Walt Disney's PETER PAN: Woman Trouble on the Island.- Donald Crafton

Certainly this book doesn't have a lot of images because this material was presented in Conferences, but I think that the title of the book can be missinterpreted. This is not an instructional book but anyone interested in film history and animation can be interested in this book afterall contain information and the point of view about Storytelling in Animation of people inside the Industry in that moment.

NOTE: My book said "Volume 2" then exist a "Volume 1" that I don't have.