A short documentary about a street puppeteer, his craft, and an unconventional friendship
How has it been so long since I’ve written anything here? Is anyone still reading me? If so, I have something new to show you. I’m really proud of how my latest short documentary turned out.
It’s about Ricky Syers, a street performer in Washington Square Park, and his friendship with Doris Diether, a local community activist who spends a lot of time in the park. The two of them are so endearing, and a couple of real New York characters. Check it out!
Whenever I’m in the 42nd Street A/C/E station, I notice that the tile number 42’s along the wall look like consecutive frames of animation depicting a jumping or sinking number. There are similar tile 59’s at the 59th Street A/C/E station. They may appear elsewhere, too.
Back in December of 1998, a friend handed me a role of 35mm color film and asked me to take photos of anything at all, and then give the roll back for her to develop. She wouldn’t tell me why, or what she planned to do with the photos. (I eventually learned that she planned to use the images as creative inspiration for a short story project, with me as her unwitting collaborator).
Yesterday, I 
have once again been adapted for the big screen. According to the movie’s opening narration and also the official movie summary, the movie takes place in New York City. But while it sure looks like it takes place in New York, something’s missing. See if you can figure out what it is.
I don’t want to go too much further into what happened, because the story was turned into the excellent 1975 movie 
There’s a lot of explicit sex in the movie 
Sometimes I get dangerous thoughts in my head, like “I wonder what it would look like to see every ad in Times Square all on one page.” So when I knew I’d be passing through Times Square this weekend, I made sure I had my camera. For the purposes of this nearly purposeless project, I considered storefront signs the same as ads if they were flashy and glitzy like Times Square ads tend to be.
My first year in New York, I lived on the top floor of an old building in Astoria, Queens, with rotted wood floors that creaked every time I took a step. I didn’t mind so much, because my schedule was so hectic I was rarely home. I got up early every day to get to my job by 9:00 a.m. I was happy to work in a photo studio, but it didn’t pay enough to survive in this town. So at 5:30 p.m. each day I left the studio and went to a bookstore across town, where I worked until 12:15 a.m. in order to make ends meet (and another 8 hours on Sundays). By the time I got back to Queens every night, hopefully before 1:30 a.m., I was beat. I’d take an hour to wind down before finally going to bed, getting a few hours sleep, and starting over.
You know how sometimes you see a movie that’s supposed to take place in Manhattan, but in order to save money they filmed it somewhere else, like Toronto, and since you’ve been to New York you can totally tell that there’s no way they filmed that in Manhattan, except for the one scene that takes place in Times Square? Well, that’s what The Wild was like. Except, being a cartoon without location expenses and made by Disney, they really have no excuse.
The movie is about a bunch of animals in a fictional New York Zoo who go on an adventure whose plot was ripped straight from Finding Nemo, then had all the humor and charm stripped out of it. When the animals leave the zoo to find a missing lion cub, I expected some amazing Manhattan humor before they left the city, just like in the nearly identically-themed movie 
Where are the other landmarks? Where’s the sweeping skyline? No Empire State Building? No Chrysler Building? No Brooklyn Bridge? The only recognizable buildings that jumped out at me were the Citicorp Building and 17 State Street, which I think might have been partially visible in one scene. The Wild might be the first cartoon I’ve reviewed that doesn’t have a scene at Rockefeller Center. Have the animators even been to New York?
It’s hard to depict New York City in all its glory in just 30 seconds, but for the opening sequence of Late Night with Conan O’Brien, a company called 
Finally, our ride comes to an end at Rockefeller Center. Presumably, because we’re staring at the statue of Prometheus, we must be standing in the Rockefeller Plaza skating rink. But before we have a chance to catch our breath, we pan up to the highest floors of 30 Rockefeller Center, where Late Night is taped. The sequence fades out as we fade in to Conan’s entrance and opening monologue.
A few weeks ago, a new animated TV series was launched called 
Like most New Yorkers who were here on 9/11, my memories of that morning are with me every day, and I have already said much on the topic over the past five years. But I don’t have anything specific to write today about the anniversary of the 9/11 attacks that wouldn’t get me worked up with anger as I write it. So instead, I’ll share this photo I just took of a garbage collector named Pelé in midtown, and link to these two 9/11 related entries I’ve previously written on this site:
In 1988, Walt Disney put out its first movie musical in 11 years, called Oliver & Company. Based on Charles Dickens’ book Oliver Twist, it told the story of an orphan kitten’s adventures in New York City.
When the family comes to America, they go through Castle Garden, pictured at right, which was the immigrant processing station at the time. Ellis Island wouldn’t open for a few more years. Today, Castle Garden is known as Castle Clinton, and it still stands in Battery Park on the southern tip of Manhattan.
If you don’t already know, you won’t be surprised to learn that Fievel does indeed find his family at the end of the movie. This happens to coincide with Henri’s completion of the Statue of Liberty. So he picks up Fievel and his sister and flies them around for an aerial view.
The closing credits of An American Tail have orange-tinted pictures of old New York City in the background, with the credits over them. I was immediately reminded of 
The radio station 1010 WINS is for New York City what CNN Headline News is for cable television. It’s just nonstop headlines, weather, and traffic, repeating every 22 minutes. Their slogan is, “You give us 22 minutes, and we’ll give you the world.” Their website, 
The crown jewel of the 1010 WINS Art Collection is Peace Grannies on Trial for Times Square Protest. For 
It’s a classic struggle for every artist. How do you illustrate a 
The influence of conceptual artist 
Nearly five years after the tragic events of September 11, 2001, audio tapes were released featuring conversations between 911 operators and people trapped in the World Trade Center. For the event, the 1010 WINS artist created this commemorative work. On the day the tapes were released, a cell phone was so clearly important — a modern technological luxury but also an icon of this day in history — that it seemed like an object as large as the towers themselves. Or perhaps slightly larger, in black and white, looking a bit like it was photocopied and then faxed a few times before being scanned in for a montage.
The ashy, veiny hand reaches out, gas pump nozzle in hand, a stream of “S”es pouring forth from its spout like precious drops of gasoline. Together, the hand and pump give off an eerie glow as Honest Abe looks onward, his gaze obstructed by an exaggerated dot screen. George Washington is barely visible, shrouded by an orange shadow of depression. The 
Am I the only person who looks at this IBM ad and sees a depiction of the World Trade Center after the first tower was hit on the morning of September 11, 2001? This explosive image that I guess is supposed to express creativity or something looks to me more like smoke and flames rising from the tower, just moments before the second tower was struck.
Madagascar tells the story of a bunch of animals at the Central Park Zoo who break out hoping to live a better life on the outside. So, naturally enough, the story starts at the Central Park Zoo. It’s rendered fine enough, I guess, but it doesn’t really have much character. Nearby buildings — the Plaza Hotel, Essex House, etc — are recognizable in the background. And I guess it looks like the Central Park Zoo. But it’s so sterile and just kind of bland.
You won’t be surprised to learn that the animals escape the zoo and have an adventure in New York City. There are a couple cute moments, like the one where the zebra sees the woman wearing zebra stripes outside Saks. But for the most part, I felt the renderings of the city were a little too real-world-photogenic. I mean, this is a cartoon where all the characters have definite style. So why doesn’t the city get any style?
Look at Rockefeller Plaza, for example. It looks… more or less just like Rockefeller Plaza. I guess I would complain if it didn’t, but it’s just a little too clean and sterile to look good this way. It just bothers me. It’s like they’ve found the 
The more I think about it, the more I think the uncanny valley metaphor is exactly what’s wrong here. They created a version of New York City that’s photo-realistic and accurate in most details. But they missed the mark in so many subtle ways that it ends up being disturbing more than anything else.
And they put benches in Grand Central Terminal. There are no benches in the main concourse of Grand Central Terminal in real life. But in the movie there are. But here’s one detail they did get right: They accurately depict the sign on the building as showing the words “Grand Central Terminal” and also accurately depict everyone in the movie referring to it as “Grand Central Station” instead.
The Critic aired on ABC in 1994 before moving to Fox in 1995 and eventually being cancelled. But in the meantime, I enjoyed watching the adventures of Jay Sherman, movie critic and single father.
Jay frequently spends time in the park, at restaurants, and around town in general. The attention to detail is incredible, even where it’s not necessary. In some general scenes when no specific real world location is intended, it’s amazing how the artists have captured the look and feel of the city with their brushes.
I had the pleasure this evening of attending the opening of a new exhibit at the 
On September 16, 2001, CNN.com 
On December 31, 1999, pizza delivery guy Philip J. Fry delivers a pizza to a cryogenics lab in Manhattan and through a series of unfortunate events is accidentally frozen for 1000 years. While he’s in deep freeze, we can see time passing visibly outside the window. We see New York City completely destroyed by aliens (except, for some reason, the building the cryogenics lab is in) and eventually rebuilt as New New York City, where Fry wakes up on New Year’s Eve, 2999.
In New New York, the subway system has been replaced with the New New York Tube System, which whisks people across town. In Fry’s first experience with the tube system, we see it snaking through the city. It goes underwater, passing a sunken Circle Line Cruise boat. It winds past the Statue of Liberty (was it recreated? or is it still standing?), which supports the tube where the torch used to be.
It took the Simpsons nine seasons to get to New York (as chronicled in a 
For Peter’s birthday, his son Chris gives him a painting. It’s not an especially good painting (it’s supposed to depict a “moo cow”), so Peter sticks it in the back of his car to replace a broken window. That’s where a gallery owner from SoHo in New York City spots it, and insists he can make Chris into an art star. So the Griffins pack their bags and head to New York.
They stay at the renowned Plaza Hotel in midtown. While Chris is in the able hands of his art dealer — a rather controlling fellow named Antonio Monatti — and on the road to fame and fortune, the rest of the family goes sight-seeing on to road to, uh, downtown by way of the east side.
In this establishing shot of the United Nations (left), I’m not sure why the animators chose to eliminate one of the UN building’s most recognizable features — the line of flags of member nations — but the omission is forgivable as they still captured the overall look and feel of the UN, one of the Griffin’s stops on their New York City tour. I’m guessing all those flags would just be too tough to animate.
Of course the Griffin family makes a stop at one of the city’s most famous sites, the observation deck at the Empire State Building, where Peter chooses not to go agsinst his wife’s advice and drops a penny from the top. Come on, you know you’d love to do it and see what happens. Well, whatever happens in real life is surely different than what happens in the show, which is just odd enough that if I told you I’d probably be accused of making it up. So rent the DVD or wait for the rerun in syndication to find out.
Two thirds of the way through the episode, Peter and Meg have a talk about talent. Sure, Chris is the art star, but surely there must be something Meg can do (eventually they realize that Meg’s hidden talent is her ability to do convincing bird calls). Peter sings a Broadway-worthy song to Meg about how mediocre she is, set to a montage of the two of them in a variety of New York City settings. So in honor of that song, here’s a mini-montage of other New York images from the episode:
Usually, the Tom & Jerry cartoons pit cat against mouse in an animated game of, well, cat and mouse. But in the 1945 short film “Mouse in Manhattan,” Jerry has his first and only solo adventure. He goes to the city where so many others have gone on solo adventures — New York!
The film opens with Jerry leaving a note under a sleeping Tom’s paw, explaining that he’s leaving their boring country life for the exciting bright lights of the big city. He’s heading to New York on what’s sure to be an excellent adventure.
During their ninth season, The Simpsons came to New York. And many of you will never see that episode again.
This episode first aired in 1997. At that time, the twin towers were still standing. Much of the episode takes place at the base of the towers, with some funny moments inside, also. But after the attacks of September 11, 2001, would anybody want to see this episode ever again?
Now that several years have passed, some stations are beginning to show the episode again. A San Francisco station only showed it last year for the first time since 9/11. And according to a 
It’s too bad, too, because there are some truly funny moments in this episode. I loved Homer dancing in a field of toilets, his imagination’s depiction of what Flushing Meadows (a neighborhood in Queens) must be like. Sure, there are some neighborhoods in this town that smell like a toilet, but it’s not that bad.
Sometimes when tourists come to New York, they avoid the subway at all costs, even when taking a taxi is the slower, more expensive way of getting around. They’re afraid they won’t be able to manage it, or they’ve heard bad things about it. But not the Simpsons. Bart even tries his hand at panhandling, before realizing that it’s best left to the experts.
The Simpsons even manage to fit in a horse-drawn carriage ride in Central Park. I would have recommended against the carriage ride, as an overrated and overpriced experience, but I’m glad the episode manages to get the Park in there somehow.
And I love this shot of the 
The 1983 Academy Award winner for Best Animated Short was a stop-motion claymation film called Sundae in New York directed by Jimmy Picker. It featured a then-mayor Ed Koch character singing “New York, New York” as he makes his way from scenario to scenario throughout the city meeting different people like Frank Sinatra, Rodney Dangerfield, Alfred E. Neuman, Woody Allen, the Statue of Liberty, and more.
Starting with a view of the Manhattan skyline, it’s easy to see that there’s not a lot of detail. But it was 1983, and Jimmy Picker didn’t have a huge set to work with. In fact, each shot shows barely anything wider than would be possible to fit on a small tabletop set. The opening, which pans down from the skyline to Central Park, shows more background than in any other scene. In terms of scope, this is clearly no Wallace and Gromit.
But the limited set doesn’t detract at all from the short film’s charm. The song is familiar so it hooks you right in. Even someone who isn’t familiar with New York politics will find the Ed Koch character entertaining. And the caricatures of various celebrities and personalities are usually spot on. The scenarios depict different stereotypes from New York life, so while the settings may not be expansive, the characterizations make up for it.
I remember back in 1983, Jimmy Picker was on a TV show (I think it might have been the Leonard Nimoy-hosted “Standby… Lights! Camera! Action!” on Nickelodeon, but I may be wrong) and he showed off the various clay characters which he stored in a normal kitchen refrigerator to keep from melting. The fact that it has stuck in my head this long shows how entertained I was by it that I remember it after all these years, diminished only by the fact that I have a sneaking suspicion my memories may have made the whole episode up.
So by now you must be wondering how on Earth you can get to see this short film. Well, it was put out on a DVD called The World’s Greatest Animation several years ago, but it’s now out of print. 
This time, we look at Antz, the computer-animated Dreamworks film about an ant named Z-4165 (called simply “Z” by the other characters) voiced by Woody Allen. Typical of Woody Allen characters, Z is depressed, in therapy, and feels pretty insignificant. This isn’t surprising, considering he’s one in a billion ants living together in a giant ant colony. It’s easy to get lost in the crowd.
Kicking things off: 1972’s “Fritz the Cat,” directed by Ralph Bakshi and based on the comic books by Robert Crumb.
