Category Archives: Interviews
Gumby Central spent some quality time with Tom Sarnoff, Gumby’s Godfather. Tom, a young executive at NBC studios in the 1950s and ‘60s, greenlit the very first Gumby Show, and he’s been involved with Gumby ever since. He has made tremendous contributions to the television industry. Here’s the interview:
GC: When did you first meet Gumby creator Art Clokey?
TS: I first met Art Clokey in 1955. He had been referred to me by a producer named Sam Engel. At the time I was Director of Production and Business Affairs of NBC, West Coast. Art showed me his Gumbasia film and some film of the Gumby character. I was very intrigued by what I saw, and recommended to the Program Department, headquartered in New York, that we make a deal with Art to develop the Gumby concept. Gumby was first tested on the Howdy Doody Show, and he came across as a winner. As a result, I made a deal with Art for a series.
GC: Why are you called Gumby’s Godfather?
TS: I guess… because I recommended and made the first deal for the series, and because I have been with and have been making deals for Gumby for his whole 61 years. Also, even though Gumby was the creation of Art Clokey, I have always felt something special for him and that he was “a part of me,” too.
GC: You knew Art Clokey for more than 50 years. What was Art Clokey like?
TS: Art was completely dedicated to his creations and very serious about whatever was done with Gumby. On the other hand, he fortunately also had a very good sense of humor, which he used with great success in his Gumby episodes.
I very much enjoyed working with Art. I thought that he was extremely creative, so I gave him pretty free rein in his TV series deal; and, I think it worked out well. I was also very pleased and flattered that Art came to me after we were no longer with NBC and asked me to help him get Gumby restarted. Although we tried to get a movie made, we wound up making a deal with Lorimar for a new TV series.
GC: Tom Sarnoff has worked closely with other TV, Film and Music icons.
He negotiated all of the contracts with Bob Hope for his NBC TV specials and series and all of Elvis’ NBC deals. He worked at NBC for 25 years, and in addition to his television accomplishments, he was instrumental in producing NBC’s Disney on Parade and Peter Pan arena shows. He served as an executive producer for the Bonanza TV movies and a number of Broadway productions. After founding his own company, Tom produced his own world-touring arena shows, such as Yabba Dabba Doo, featuring Hanna-Barbera characters.
Sarnoff has been a keen participant in many activities within the television Industry—he served as Chairman of the Board of Trustees of the National Academy of Television Arts & Sciences (NATAS) and was instrumental in establishing the Television Academy Foundation, among other key roles. He has also played an active leadership role in many civic and community affairs, including the Special Olympics, for which he assisted his wife Jan (President of the California chapter, 1971-85).
GC: Your father David Sarnoff is a legend in the television industry, and he’s credited with founding NBC. He’s mentioned in all the film history books. I’m sure that he influenced your choice of career. Could you speak a bit about him?
TS: My father, who was responsible for the formation of NBC, was also the visionary who envisioned television, brought it to life, and established the television industry.
During the early years of TV development, NBC experimented with showing cartoons such as Felix the Cat. In 1931 they built a studio to experiment with live broadcasting. When they were ready to expose their accomplishment, my father gathered together a group of distinguished citizens including bankers, politicians, etc. and told them what they were going to see. He pulled off a black cloth that was covering the TV monitor and said, “Ladies and Gentlemen, the first broadcast of live television.” Unbeknownst to him, however, but with the collusion of my mother, I had been sneaked over to the studio. When the black cloth was removed, out popped on the screen a little four-year old boy who waved and said, “Hello, Daddy.” I’m sure that it took a while for my father to recover from that shock when he had expected some dancing girls.
I still can feel the extreme heat of the klieg lights that they used in the studio those days, and that experience will be etched in my memory forever. Unfortunately, they did not pick up my option so I never really became a TV star.
GC: You’re a star in our book. You have an amazing list of accomplishments, too numerous to mention here. We’ve heard you say that Gumby’s strength is his character, and that “he always leaves a place better than how he found it.” You’re definitely a Gumby kindred spirit.
Thank you for joining us Tom. It has been an honor to meet with you.Read More »
Gumby and The Little Prince have a few things in common, so it was with great anticipation that we watched The Little Prince feature film on Netflix on the opening night in the U.S. this month. >>Watch the trailer.
The film is based on the famous and timeless French novella, The Little Prince (published in 1943), which is one of the best-selling books of all time. The film is beautiful. This adaptation captures the wondrous spirit of the book with an amazing blend of stop motion animation and CG artistry.
Connections with Gumby
Gumby creator Art Clokey was acquainted with Antoine de Saint-Exupery, the author of the The Little Prince. Antoine was a pioneering aviator who had recounted his aviation experiences in the Sahara Desert in both his memoirs and in The Little Prince. Art Clokey was a reconnaissance photographer in World War II, stationed in North Africa. He had some similar experiences as Antoine, and even met him in the early 1940s. Art told us that the Gumby episode “Small Planets“ was loosely influenced by The Little Prince. You can see the kindred spirit of the little girl’s yearning for imagination, fun and adventure in Gumby.
Jumping forward to 2014-2016, our very own Gumby Animation Director Anthony Scott served as lead animator on The Little Prince. Anthony got his start as a stop motion animator in the late ’80s when Art Clokey hired him to work on the Gumby series. Anthony has gone on to work on other amazing stop motion films such as James and the Giant Peach, The Nightmare Before Christmas, Coraline, Corpse Bride, Paranorman, and many more.
Animator Anthony Scott Shares his Experiences
“The Little Prince was a once-in-a-lifetime project that I was fortunate to be a part of. Since I was a child, I was familiar with the book, especially its strange and fascinating illustrations. Our core team including Jamie Caliri (Stop Motion Creative Director and founder of Dragonframe stop motion software) and Alexander Juhasz (Stop Motion Production Designer) and myself, set up a small studio in Montréal, Canada. We put together a top-notch crew of local talent to produce the stop motion sequences in Mark Osborne‘s film.
Saint-Exupery’s story was told through the use of paper puppets. Like clay, paper is a beautiful material to work with in stop motion animation. These sequences have received world-wide acclaim and I feel, have effectively connected with the spirit of The Little Prince.”
Hear from the Team that Created the Film
For more details about the stop motion production, watch these podcasts:
AnimateClay Live Stop Motion Chat Podcast
- Alexander Juhasz (Character Designer/Production Designer)
- Anthony Scott (Lead Animator)
The talents behind the stop-motion in The Little Prince:
- Anthony Scott (Lead Animator)
- Corinne Merrell (Art Director)
- Jamie Caliri (Creative Director)
- Alexander Juhasz (Character Designer/Production Designer)
Enjoy The Little Prince!
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Gumby Central met with puppet maker Nicole LaPointe-McKay to get the inside scoop on making puppets and what it is like to have a career in puppetry and stop motion animation. Part Two: The Puppet Maker Career follows. Part One: Making Gumby appeared in our December 2011 blog post.
GC: Thank you for taking time to continue our conversation on puppet making and animation as careers. Let’s start with the basics. What kind of education is needed to be a puppet maker?
NLM: Going to college helps you to focus and push forward in the right direction. There are plenty of theater arts programs worldwide. Going to college helped me meet and team up with others, who helped me break into the industry. If you are highly disciplined and self-motivated, you may be able to learn on the job. Building your portfolio is critical as is doing volunteer projects that help get your name out.
GC: In our last interview, you mentioned some of the events in your life that inspired you to become a puppet maker. Where did you study for this career?
NLM: I started out as a theater major with a concentration in scenery and stagecraft at Radford University in Virginia. I found that I really enjoyed a sculpture class I took one semester too. For French class, I chose to write a paper on the French Punch and Judy puppets (Le Guinol). At the same time I wrote a report on Bunraku, (Japanese puppet theater) for a theater history class. While researching, I learned about the University of Connecticut’s Puppet Arts program. All of my research and writings on puppetry, in addition to my new found love of sculpture, pushed me in that direction. I auditioned and was accepted into the UCONN Puppet Arts Masters Program.
While working on my master’s degree at UCONN, I was influenced by my study of old style Italian performance Commedia dell’arte. There is a lot of slapstick comedy and clowning performance in this art and it is actually where the “slapstick” came from. By learning to use my own body in expression, I could better understand and transfer the motions to the puppets. I also studied Chinese rod puppetry, which is a very high energy and expressive style of Chinese puppetry. There was a lot to gain in going to school for puppet arts. I got to know the history of puppetry around the world, gained experience in woodcarving, mould making and met some great people along the way. All of our classes required performances, so we not only made puppets, but we performed them. This hands-on experience was great, and I would recommend it.
GC: How did you gain your first employment in puppet making?
NLM: During and out of college, I joined forces with my colleagues and fellow students to do work at a few different studios, making puppets and scenery on the east and west coasts. Some of the jobs started as volunteer projects or unpaid internships and ultimately turned into paying jobs. Puppet making led to doing stop motion animation. Many jobs are obtained by word of mouth, so it’s good to maintain a strong network of colleagues.
GC: How did you go from puppet making to stop motion animation?
NLM: Once the puppets are made, it’s only natural to take the next step into animating them. Puppetry is “bringing an inanimate object to life.” Animation is much the same thing—you bring a drawing, painting, or puppet to life, giving them breath, a personality and movement to tell a story.
I believe that it’s important to continually hone and expand my skill set. For instance, I experimented in the garage with my cousin and a friend a lot while at school to learn more about mould making and casting. We used a variety of materials to make puppets, life castings, and gigantic Halloween monster costumes.
GC: Do you have any heroes or mentors who inspired you?
NLM: Besides Arthur Clokey? Art was a man of few words, but when he spoke, we all listened and not just because he did the voice of Pokey and many of the narrator voice overs. He had a great sense of humor and loved word play. You can see this in many of the Gumby episodes. Jim Henson and Frank Oz were two more heroes of mine of course! All their characters have been part of my life since birth: Sesame Street, the Muppets, the Dark Crystal, Fraggle Rock and many others. There is so much life and personality in all the characters they developed and inspired. The humor appealed to me as a child and still holds my attention as an adult. Gumby is the same, especially the 1950s and 60s episodes; I loved them as a kid and still like to watch them now. There is magic in creating a character and stories that work on these various levels and age groups.
GC: What is the life of stop motion animator or puppet maker like?
NLM: You have to be flexible! Few studios hire for life. When one production is done, you may have to take another project in a different studio and city. Much of the work in this industry is freelance. It’s like a traveling circus. That makes it interesting—you never know what you will be doing next or where.
GC: What advice would you give to those who are interested in a career in stop motion animation or puppetry?
NLM: One thing that has helped me to gain employment is to be open-minded and continue to expand my skills. Having a broad skill set has opened many doors. An animator who can fix his/her own puppets, do lighting and paint sets is more marketable. Building a resume and portfolio are very important. You have to be willing to start at the bottom—cleaning up puppets, working as an intern for little or no pay, to get your foot in the door.
GC: Thank you again, Nicole!
You can see some of Nicole’s work and read more on her blog: http://www.nicolelapointe-mckay.blogspot.com/
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We caught up with Gumby puppet maker Nicole LaPointe-McKay to get the inside scoop on making puppets as a profession. Part One of our interview follows, and Part Two will appear in a future blog post, so stayed tuned; you’ll want to read the full story.
GC: Welcome Nicole. Thank you for taking time to join us at Gumby World today to tell us more about yourself and your experiences as a puppet maker.
NLM: I’m happy to be here. I appreciate the opportunity.
GC: How did you become interested in being a puppet maker?
NLM: I’ve been interested in puppets since I was a kid. I was obsessed with the Muppet Show and stop animation programs. I watched Gumby on TV with my little brother. My mother would craft puppets for me to use in plays that I made up. I put on shows with hand puppets, my favorite monkey puppet, and a few marionettes. I always volunteered to get up in front of people to perform and lead others, such as the Girl Scouts, in plays. I was a thespian in high school, and it seemed natural that I would go on to study theater in college.
GC: How did you get involved with Gumby?
NLM: After college and having gained a few years of experience in puppet making, set design and animation, I applied to a posting on AWN.com (Animation World Network), not knowing what the studio was. I didn’t get that particular job, since it had already been filled, but I kept in touch with the studio—Clokey Productions. When studio producer Joe Clokey had an opening for a set designer, he called me. I worked on the Gumby Namco game commercial and have been with Gumby ever since. You can see some production photos here: (http://www.gumbyworld.com/gumbys-studio/)
GC: What kinds of puppets do you make?
NLM: I’m trained to work with just about any material and style of puppet. In my studies I was exposed to puppets from around the world and different time periods. Some of my favorites were the Japanese bunraku, the French Guinol and the Italian Commedia dell’Arte. Currently I fashion a lot of clay puppets for stop motion. I do have some personal projects in the works that involve hand-rod, big-mouth puppets (like the Muppets-type puppets.) I’m doing some new clay animation, too.
GC: How do you make a Gumby puppet?
NLM: Gumby is made of mostly Van Aken clay—a secret recipe! I whip up a batch following his unique recipe, mix, and boil it down in a double boiler to a unified color and the right consistency. I prep the silicone/stone mold with a floating armature. This is Gumby’s skeleton. I then pour the mixture into the mold and let it cool. Sometimes I chill it in the fridge to speed the process. Next, I pop him out of the mold and clean him up by trimming the seams and patching the bubble marks. Gumby gets an oil massage to make him smooth. I then drop a faceplate on him to mark where the features will go. Finally, I add the delicate clay features of his face.
GC: How many Gumby puppets does it take to make a Gumby TV episode?
NLM: More than you would think. The number of puppets needed really depends upon the storyline and type of morphing and movement that the puppet does. When Gumby morphs and changes shape, he needs to be replaced after every few seconds of animation, because the clay loses its shape. One minute of animation can require 20 Gumbys, sometimes more. The lights can also melt the clay, requiring a change of puppets. Because we go through so many puppets, it’s critical that they are all identical and made to the same specifications.
GC: You were involved in the Gumby Google doodle that appeared on October 12, 2011 to honor Art Clokey’s 90th birthday. Tell us about that.
NLM: It was a collaborative effort, involving a small subset of the Clokey Productions’ crew. We worked long distance—by phone, Skype and email. With the short deadline, I made puppets non-stop for a week before the animator could do his part. We used 3-6 puppets of each character for about 4-6 seconds of animation per character. The individual segments of animation were then sent to Google, where their programming team integrated them into their home page. It was exciting to see the characters come to life and move with the click of a mouse. The interaction was really fun! I think this was the first clay animation doodle that Google has used. The doodle was online around the world, so I hope that it inspired a renewed interest in clay animation. You can view it live and interact with it here: http://www.gumbygoogle.co.cc/
GC: What do you do for fun?
NLM: I’m always brainstorming and designing puppet shows and animations based on the interests of little kids that I know. I watch a lot of cartoons with my two-year-old daughter. I love to create (working in clay, painting…) and most enjoy brainstorming creative ideas with my artsy friends.
GC: What are your favorite recent animated productions?
NLM: I’m into watching Timmy Time, a stop motion animation with clay, foam, and rubber puppets done by the Aardman studio in England. I like this style of animation, because there is little speaking; it’s simple and tells the story through actions. Rather than a lot of words, they use onomatopoeia. Timmy Time is a preschool of animals, which children of all ages can enjoy watching. It’s cute, funny, has bright colors and teaches a lesson.
GC: What inspires you about the future?
NLM: Giving back is essential. I grew up in an area that did not provide many opportunities for kids to learn the arts. I still remember a week in my fifth grade class when our teacher had us make puppets and do a book report using them. That changed my life I think. You never know how you can have a positive influence on the next generation. To do my part, I teach stop motion animation classes and workshops at summer camps for kids.
Today, kids are animating with their phones and digital SLR’s. They have so many opportunities to create animations or other imaginative works. The tools are readily available. I love to help spark their imaginations.
GC: You can see some of Nicole’s work and read more on her blog:
Learn more about the career of puppet making in the second segment of our interview with Nicole. Look for it in a future blog post.
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