#Bob Pauley

[thebutcher-5]

Monsters & Co.

Benvenuti o bentornati sul nostro blog. Nello scorso articolo abbiamo ripreso a parlare della Disney e dei suoi classici animati, arrivando al loro 41° lungometraggio, un’opera secondo me fin troppo sottovalutata, Atlantis – L’impero perduto. La storia parla di Milo Thatch, un giovane linguista e ricercatore che studia da molto tempo Atlantide e cerca di ottenere finanziamenti dal museo per…

[warwickroyals]

re: recent posts, how has irene’s hair changed through the years?

I fucking love it when anons know what to ask me because how did you know I had an entire timeline dedicated to Irene's hair and how it evolved over the decades.

The 1960s - Introduction to Society, Marriage

When Irene first married Louis her hair was long and she had bangs. She really liked Pattie Boyd and that's who she imitated, although with a lot less volume. It was a very "youthful" look for her. She accessorized with headbands, flowers, and pigtails. It was fitting considering she was eighteen.

The 1970s - Early Married Life

Irene ditched the bangs after she got married. In the 1970s her hair was the longest it had ever been and she was experimenting with all sorts of crazy up-dos and high-volume styles. She never liked the bouffant, though, since that was her mother-in-law's style and she was still quite young Her hair was very similar to Queen Paola of Belgium. On less formal occasions she probably just wore a ponytail.

The 1980s - Maturity and Motherhood

So, Irene cut her hair to just above shoulder length in the early 1980s. She was thirty by this point so her hair, while still trendy, was getting a bit more functional. She had a shaggy bob for the better part of this decade. No more huge up-dos or girly accessories but she didn't ditch the volume. She was inspired by the type of hair you saw on Dynasty (she fucking loved Dynasty).

The 1990s - Stability

In the early 1990s, Irene's hair got even shorter with the same amount of volume, but as the decade went on she settled into something more sleek, finally leaving behind these high-effort, voluminous looks. By the time the nineties rolled around, she's not really trying to set new trends anymore, she's being overshadowed by younger women in the family. By 1998, she's rarely trying to make a statement with her hair.

The 2000s and onwards

Once she hit her 50s Irene settled on one final hairstyle and has stuck with it for the past 28 years. She might get a haircut every so often, but she's perfectly having just one, functional hairstyle. Her current hair reminds me of Jane Pauley.

[nine-frames]

"It's not a lot, but it's our life."

a bug's life, 1998.

Dir. John Lasseter & Andrew Stanton | Writ. Andrew Stanton, Don McEnery & Bob Shaw | DOP Sharon Calahan | Art Dir. Tia W. Kratter & Bob Pauley

[j4m3s-b4k3r]

BACK TO THE FUTURE: the animated series

I was working at Disney France when John Hays contacted me, looking for an overseas supervisor for a Saturday Morning cartoon that he'd be directing for Colossal Pictures. I’d done such things before. What interested me about this particular gig was that John wanted the supervisor to firstly work as part of the pre-production team at Colossal. I absolutely loved that idea. So headed to San Francisco to work on the BACK TO THE FUTURE cartoon.

I’d been introduced to John by mutual pal Tony Stacchi while backpacking in the USA a few years earlier. When Colossal diversified from special effects & TV commercials into longer form animation, John remembered me. Thinking my experience in Saturday Morning animation would fit with this new project, that both he & Phil Robinson would direct.. 

The crew had not fully assembled when I arrived in San Francisco. In fact, it was so early in production that even the look of the show had not yet been locked down. Many freelance artists, including Steve Purcell & Dave Fiess, plus Colossal staffers had a crack at design proposals, and I had a go too. 

Colossal had acquired a new building for long form production, but it was still being refit. So, a few of us worked in a cold drafty room at Colossal’s 3rd street building. As the crew expanded, we were housed in a cramped annex in their Custer Street sound stage. Until we finally moved into the facility on 15th street. (That building would eventually host the entire Colossal animation department).

When some designs of mine were selected for the main characters, the plan for me to supervise production in Taiwan was modified. Instead, I became one of two art director/character designers on the series. The mighty John Stevenson being the other. 

There was such a back & forth between Colossal & Universal over the main characters (even the actors got involved) that it was hard to do anything truly unique (although I was happy with how Doc Brown turned out). But we definitely had fun on the secondary character designs. 

Private Stevenson & Private Baker..

John & I both worked on designs for the first episode together, then took it in turns thereafter. I designed characters on even-numbered episodes, and John designed for odd-numbered episodes. We both sat side by side, cracking each other up with sillier & sillier designs. Joyfully competing as the series progressed. (In my opinion, John utterly killed it with his designs for his ROMAN episode..)

Directors John Hays & Phil Robinson really assembled a mighty crew for this series. Dave Gordon & Richard Moore did the BG styling, with Dave doing a lot of great VisDev too. Robin Steele, and future Pixar heavyweights Bud Luckey, & Joe Ranft did the storyboards. Two more future Pixar legends, Bob Pauley & Bill Cone, led much of the layout & location design. Future LucasFilm directors Bosco Ng, & Steward Lee were stalwarts of the art department. Colour styling was by future CNN design director Dewey Reid, and John Pomeroy animated the title sequence! 

After years of living & working in countries where I struggled to learn the language, it was great to finally be in a city where I could actually socialise. I was very lucky to be working with utterly inspiring artists. We often worked late, as we were all excited to be working together.

The pre-pro team was enthusiastic and worked hard, with high hopes for the show. However, by this point in my career I had a pretty good idea of how the Saturday Morning sausage was made. Having worked in the bowels of the sausage factory myself for 10 years by that point. I was hopeful, but also knew that it was anybody’s guess if the show would get the same care at the other end..

A show about a kooky scientist, his young buddy and a time machine had the potential to be absolutely great. The best of Doctor Who and a (family friendly) Rick & Morty. But stories that went to a new time zone each week needed a lot of design. I kept hoping that the scripts would contain less characters & locations. So that we could really refine the model packets. But every script contained tons of NEW characters & locations. Plus new outfits/gear for the main characters too. SIGH..

We'd been promised the 'top floor' animators at Taiwan's Cuckoo's Nest studio, but "Uh oh.." early footage made it clear that we'd gotten the basement crew instead.. "DOH!" Back when I'd supervised outsourcing myself, I learned that if the good artists are already assigned to another project there wasn’t much you could do. So, despite an absolutely stellar design & storyboard team, and early optimism, the show itself came out merely 'OK'. It ran for two seasons on CBS.

It has been one of the counter intuitive aspects of my career that sometimes the fave projects are NOT the best projects.. Despite being merely a footnote in animation history, this was absolutely a linchpin project in my own career, and I have fond memories of it to this day. Many great opportunities that came later were thanks to this show. I met many wonderful artists, who became lifelong friends, who I still work with and/or socialise with, decades later. On this project, I fell in love with San Francisco. And, after living out of a backpack for years, made this kooky town my home. I’d later go on staff at Colossal Pictures, which became my favourite studio I ever worked at. Where I finally escaped from Saturday Morning cartoons, into TV commercials and other more challenging projects.

[emotionaldashtoons]

Here's my poster of my official version of my version for my DisneyElseWorld's Pixar's...

INSIDE OUT 2!

I saw the new Inside Out 2 trailer, and they made Anxiety, Ennui, Embarrassment, and Envy bad by betraying the old emotions. Lots of crazy stuff is about to happen! We don't know what's going on, lots of details are there too. But what would the ElseWorld version be like?

SO!

For my idea. I have 6 new emotions, the OC emotions like, Courage, Surprise, Pride, Trust, Shame, and Frustration.

MAIN VILLAIN

I am using on of my oc villains, Spite, to be the main villain of the AU second movie.

OTHER CHARACTERS

Characters like Nia, the assistant of Ego, she runs the business with him but she tries to avoid him to help others. Bud, Courage's blood cell buddy, he doesn't speak but he's sweet, nervous, cute and got some attitude. And Brain, the big boss of Riley's mind, and the emotions need his help to stop Ego.

What New Places Would the Emotions Go To?

In this AU, far from HQ and Long Term Memory, instead of the back of the mind being empty, there is a huge mind-filled city called Mindtopia, aka, The City of Riley, where everything in the mind has everybody for Riley's Inner Workings in her mind. That also includes Headquarters. And guess what, they're not the only company, there's also banks, council buildings, restaurants, malls, houses, apartments, and everything for Mind Workers after they work at Long Term Memory. And The Mind Councilman, Chairman, is the Mind Prime Minister.

Returning Cast like...

Amy Poehler as Joy, Bill Hader as Fear (YES! I'm bringing Bill Hader back! He's so much funnier then I expected), Lewis Black as Anger, Phyllis Smith as Sadness, Kensington Tallman as Riley, Diane Lane as Mrs. Andersen, and Kyle MacLachlan as Mr. Andersen.

Recast Alert!

I actually like Liza Lapira playing Disgust. After what Mindy Kaling did in Velma, it wasn't enough for me. Because the show and her are piles of shit to me.

With All-Star Cast like...

Jake Johnson (the Spider-Verse films) as the new outside leader emotion known as Courage, Sam Richardson (Ruby Gillman: Teenage Kraken) as Surprise, Kate McKinnon (Ferdinand & Saturday Night Live) as Frustration,

Andrew Rannells (Trolls 3) as Trust, Randall Park (Paw Patrol: The Movie) as Pride, Eric Stonestreet (Modern Family and The Secret Life of Pets films) as Melancholy, Paula Pell (Saturday Night Live and The Cat In The Hat) as Aunt Feely & Mrs. Andersen's Anger, Henry Winkler (Barry, Monsters At Work) as the mind algorithm/brainiac boss of the mind known as Brain, Nathan Fillion (Monsters University & Cars 3) as the villainous and hilarious, but very evily whiny, yet hateful, Spite,

Zooey Deschanel (Surf's Up and Trolls) as Ego's sarcastic female assistant, Nia, Lucas Neff (Raising Home and Monsters At Work) as Yes Man, Will Forte (the Cloudy With A Chance Of Meatballs films) as Mind Gate Guard Jimmy, Peter Sohn (Ratatouille, Lightyear, and Spider-Man: Across The Spider-Verse) as the emotions new best blood cell companion buddy named Bud, Stephen Root (Barry, and King of the Hill) as Mind

Natasha Rothwell (the Sonic films) as Riley's middle school P.E. coach, Mrs. Hutch, Thomas Barbusca (Middle School: The Worst Years of My Life) as Jordan, Haley Tju (Amphibia) as Kelli, Beanie Feldstein (Neighbors 2) as Riley's bully, Frances, and Josh Peck (Drake & Josh and Drillbit Taylor) as Frances' friend, Nate.

CREW

Written & Directed by Josh Cooley

Co-Directed by Bob Peterson and Ronnie Del Carmen

Produced by Mark Neilsen, p.g.a.

Executive Produced by Pete Docter, Andrew Stanton, and Jonas Rivera

Story by Josh Cooley and Pete Docter

Edited by Kevin Nolting

Cinematography by Patrick Lin and Kim White

Production Designer Craig Foster

Story Supervisor Peter Sohn

Additional Dialouge by Dan Scanlon, Bill Hader, and Amy Poehler

Visual Effects Supervisor Bob Pauley

Supervising Animators Jerome Ranft

Music by Michael Giacchino

Score Cordinator Andrea Datzman

Casting by Kevin Reher & Natalie Lyon

[teragames]

Pixar celebra el 30 aniversario de "Toy Story"

Los creadores de "Toy Story" reviven las historias del exitoso filme para celebrar su 30 aniversario por parte de @Pixar.

Los creadores de ‘Toy Story’ revivieron este viernes las historias de uno de los filmes animados más queridos del estudio de Disney Pixar para celebrar por anticipado el 30 aniversario de la película de uno de los estudios de animación más reputados de Hollywood. En los años noventa Pixar “era una especie de empresa emergente rudimentaria”, dijo Bob Pauley, uno de los diseñadores de personajes…

[hunty627]

Clear the hallway. Here come the monsters! They’re on their way to scare kids right out of their PJs. There’s Earl “the terror” Thompson, Carla “killer claws” Benitez, “screaming” Bob Gunderson, Randall Boggs, Ted Pauley, James P. Sullivan, you name it. Oh, they’re so awesome.

[insideusnet]

No. 4 UCLA Beats No. 8 Arizona 81-73, Goes 17-0 at Home : Inside US

LOS ANGELES (AP) — The final buzzer sounded and the party was on at Pauley Pavilion. Jaime Jaquez Jr. rushed into the student section, his shaggy damp hair stuck to his face, and started bobbing up and down. He and his teammates celebrated with the fans after No. 4 UCLA beat eighth-ranked Arizona 81-73 on Saturday night to complete a 17-0 record at home in the teams’ regular-season finale. “We…

[reportwire]

"Sunday Morning" Full Episode 11/27

“Sunday Morning” Full Episode 11/27

“Sunday Morning” Full Episode 11/27 – CBS News Watch CBS News Hosted by Jane Pauley. In our cover story, David Pogue rides a submersible to the wreck of RMS Titanic. Also: John Blackstone sits down with Grateful Dead co-founder Bob Weir; David Martin profiles a wounded Ukraine veteran who travels to the U.S. for a prosthetic leg; Seth Doane talks with Italian tenor Andrea Bocelli, who had…

[krispyweiss]

At 75, Bob Weir Continues to “Follow the Muse and do Her Bidding”

- Dead man appears on “CBS Sunday Morning” to discuss symphonic concerts

Bob Weir is 75. And he’s not retiring.

Instead, he plans to “follow the muse and do her bidding.”

The formerly Grateful, still-Dead man was on “CBS Sunday Morning” - the broadcast and a web exclusive - to discuss his long, strange career and his recent and forthcoming collaborations with the National and Atlantic Symphony orchestras, respectively.

Weir said he plans to keep on the muse’s tail.

“I don’t know what I’d do with myself if I didn’t have this … I’d be kind of lost if I didn’t have the music to chase.”

The broadcast segment features footage of the Grateful Dead in the 1960s, ’70s and ’80s; Dead & Company; and the symphonic Wolf Bros. “Playing in the Band” features prominently and viewers get to hear Jane Pauley declare: “What a long, strange trip it’s been.”

While Weir cops to being concerned with what people 300 years hence will think of Grateful Dead music, he’s also trying to wrap up some of Jerry Garcia’s “unfinished business.”

“I’m going to do my best to tidy some things up for him,” Weir said. “He was a dear friend of mine. That’s what you do for your friends.”

In the meantime, Weir’ll “be stir fried” if he misses opportunities to keep the Dead’s music alive.

The songs, he said, “stand up to considerable scrutiny.” And it doesn’t hurt that Dead & Company had the fifth-highest-grossing tour of 2022.

“I’m delighted that people like the music that we have to offer because it rings my lofty bells,” he said.

11/27/22

[stiles1978]

“It’s in my nature” -Scorpion (to Frog) No truer words have been spoken my dear #Scorpio Ruled by #Pluto ( #Hades ) or in some cases #Mars ( #Ares ), this bold water sign is known for its tenacity, and misunderstood passion. So happy birthday to all you amazing arachnids, and check out who you hold in your ranks! Björk AND Drake 🎶🦢 @bjork @drakerelated President Joe Biden & Theodore Roosevelt 🇺🇸 @potus Sylvia Plath AND Neil Gaiman ✍🏻 @neilhimself Walter Cronkite AND Dan Rather AND David Muir 📰 @thedanrather @davidmuirabc Jane Pauley AND Anna Wintour AND Emily Post 🗞 Bill Gates 💾 @thisisbillgates Bob Ross AND Pablo Picasso AND Georgia O’Keefe 👨🏽‍🎨 Gordon Ramsey 👩🏻‍🍳 @gordongram Whoopi Goldberg🎭 @whoopigoldberg Sean “Diddy” Combs🎧 Winona Ryder 🎬 Hilary Clinton AND Elizabeth Cady Stanton 🧑🏼‍💼 Bram Stoker AND Vlad the Impaler🧛🏼‍♂️ Marie Curie 👩🏻‍🔬 Charles Manson 😱 Peter Jackson 🎥 RuPaul 💅🏾 @rupaulofficial Plus so many more I did not even recognize…which means they are probably famous for doing something that I take completely for granted!!! So kudos to you Scorpio!!! 🎉🎉🥳🎊🎊 The sordid tale of Scorpio is less woeful than most, but nevertheless… There are multiple stories but in most a Goddess, either #Gaia or #Hera , summon forth a giant scorpion (as requested by #Apollo out of jealousy, or #Artemis in some versions), to kill an out of control #Phaeton using #Helios sun-chariot, or punish the boastful hunter #Orion (son of #Poseidon ). Scorpio died having completed its mission, now resides in the heavens, with the red star #Antares at its heart. #zodiac #astrology #horoscope #vectorart #adobeillustrator #adobephotoshop #artist #art #illustration #illustrator #illustratorsoninstagram #digitalart #digitalartist #digitalillustration #digitalpainting @adobe @photoshop @adobe___illustrator https://www.instagram.com/p/CkGlJN-rXX6/?igshid=NGJjMDIxMWI=

[capturingdisney]

Character Designs for Toy Story by Bob Pauley.

[wannabeanimator]

Cars 3 (2017) | character design by John Lee, Kristian Norelius, Bob Pauley, Jay Shuster, J Mays, and Matt Nolte (x)

[little-piojo]

I love me some concept art hopper, he looks so smug its perfect.

[pixarpedia]

Porsche 911 Sally Special

Porsche and Pixar Animation Studios have unveiled a very special Porsche inspired by one of the most popular 911s: Sally Carrera, the famous car from Disney and Pixar’s animated film Cars.

Like Sally Carrera, the 911 Sally Special is one of a kind. There will only be one 911 Sally Special – and it’s the first time that Pixar has supported such a project. The one-off car will be auctioned by RM Sotheby's on Saturday, 20 August 2022 as part of Monterey Car Week in California. Auction proceeds will be donated to two charities. A portion of the proceeds will benefit young women through a donation to Girls Inc. The second portion will go to USA for UNHCR, an organisation that supports refugees from Ukraine.

The project began in November 2021 and united members of the original Cars team that brought both the film character and life-size Sally Carrera to life more than 20 years ago. The team included Jay Ward, Creative Director of Franchise at Pixar Animation Studios, and Bob Pauley, the Production Designer who first drew Sally Carrera for the Cars film. They were assisted by members of the Sonderwunsch team at Porsche Exclusive Manufaktur in Stuttgart and designers from Style Porsche in Weissach. The team worked together for ten months – the result is a unique factory one-off.

[tabloidtoc]

TV Guide, March 2-15

Cover: Supernatural series finale sneak peek 

Page 1: Contents 

Page 2: Ask Matt -- Prodigal Son, 68 Whiskey, Your Feedback, Coming Next Issue -- Milo Ventimiglia and Mandy Moore of This Is Us 

Page 4: Upfront -- XFL brings football to Spring

Page 5: Tribute -- Robert Conrad, CSI comeback in the works 

Page 6: Jerry Springer on Judge Jerry 

Page 8: The Roush Review -- Devs 

Page 9: Hunters, Dispatches from Elsewhere, Cherish the Day 

Page 10: Jensen Ackles and Jared Padalecki in Supernatural 

Page 11: Spring Preview -- The Undoing 

Page 12: Pauley Perrette Q&A on Broke 

Page 13: Run, Defending Jacob, The Baker and the Beauty, Baptiste 

Page 14: Julianna Margulies Q&A on Billions, Penny Dreadful: City of Angels, She Walks With Apes, Let’s Go Crazy: The Grammy Salute to Prince 

Page 15: Hollywood, Mrs. America, Fargo, I Know This Much Is True 

Page 16: Aaron Paul Q&A Westworld, Hightown 

Page 17: What’s Next on Your Favorite Returning Series -- Roswell New Mexico, One Day at a Time, Ozark, Man With a Plan, How to Get Away With Murder, The Good Fight, Killing Eve, Homecoming 

Page 18: Deadwater Fell, Filthy Rich 

Page 19: Spring TV calendar 

Page 20: What’s Worth Watching -- Week 1 -- Volcano Live With Nik Wallenda 

Page 21: Monday, March 2 -- Martin Freeman and Daisy Haggard on Breeders, Friends, Manifest, Stranger Among Us 

Page 22: Tuesday, March 3 -- The Resident, Empire, Miracle Workers: Dark Ages, NBA Basketball, Wednesday, March 4 -- Chicago Med, The Deed: Chicago 

Page 23: Thursday, March 5 -- Better Things, Young Sheldon, Save My Skin, Flipping 101 With Tarek El Moussa, Friday, March 6 -- MacGyver, The Most Dangerous Animal of All 

Page 24: Saturday, March 7 -- Yesterday, House Hunters, Critter Fixers: Country Vets, Sunday, March 8 -- Rob Riggle: Global Investigator, Ride With Norman Reedus, NBA Basketball, NASCAR 

Page 42: Streaming Guide -- Netflix -- The Coldest Game, Lost Girls, Spenser Confidential, Arrow 

Page 43: Prime Video -- ZeroZeroZero, Agatha Christie’s The Pale Horse, Hulu -- Devs 

Page 44: New Movie Releases 

Page 45: Series, Specials and Documentaries 

Page 46: What’s Worth Watching -- Week 2 -- Patricia Heaton on Carol’s Second Act 

Page 47: Monday: March 9 -- Cosmos: Possible Worlds, The Bachelor, 9-1-1: Lone Star, Bob Hearts Abishola, Black Lightning 

Page 48: Tuesday, March 10 -- Council of Dads, DC’s Legends of Tomorrow, If Loving You Is Wrong, Wednesday, March 11 -- Star Trek: The Next Generation, S.W.A.T., Year of the Rabbit, The Nanny 

Page 49: Thursday, March 12 -- Mom, The Unicorn, A Year in Music, Project Runway, Friday, March 13 -- Strike Back, Flack 

Page 50: Saturday, March 14 -- Fast & Furious Presents Hobbs & Shaw, Say Yes to the Dress: America, Sunday, March 15 -- Duncanville, Zoey’s Extraordinary Playlist, Black Monday, Indycar, College Basketball 

Page 74: Horoscope 

Page 76: Cheers & Jeers -- Cheers to Cheer, Lego Masters, Chilling Adventures of Sabrina, A Million Little Things, Jeers to Station 19, Showtime for showing Ray Donovan the door, the Oscars