![]() ![]() The second reason is how self-conscious the creators, Disney and Ub Iwerks, were in some of the visual gags. He's actually kind of a jerk, and it's refreshing in that Bart Simpson way. Here it's all about this: what will Mickey get Minnie into next, and will he wise up and not be such a jerk? It's great to see an early Mickey short like this for a couple of reasons aside from the sharp quality of the animation - the timing of it all makes it, well, timeless far as storytelling goes, even with the old-school iris - one is that Mickey is not the perfect, bashful gentleman/mouse of later cartoons. Actually in a way this has more character stuff than in Steamboat Willie, which in that case was a little bit of story (the set up of Mickey as a captain and being chased by proto-Pete), but then with a lot of gags involving the playing of animals as musical instruments. The gags come quick and fast, but the story is tight considering the suspense that happens once Mickey and Minnie get up in the air. And yet on the other hand it's easy to see how everything is told visually, without any real dialog being needed anyway (there is a moment where Minnie goes "Who, me?!" when Mickey asks her to go on the plane, but it could be left off just as well). ![]() On the one hand it's crazy to think that it would ever be silent considering how the music and sound effects and occasional voices for Mickey and Minnie (both from Uncle Walt) work so in sync and, really, perfectly with it all. And while the short was originally done as a silent short - from a biography I read, Steamboat Willie was the third Mickey Mouse cartoon - it can now be watched with sound. ![]() "I think for a lot of performers, it was kind of nice to have a big break because usually you're going at it non-stop and there's so much pressure… then suddenly everyone just couldn't do anything for a while, and I think it just it changes your mindset quite a lot.If you go on YouTube, you're bound to find or two uploads of Plane Crazy, the very first Mickey Mouse cartoon produced by Walt Disney productions in 1928 (his way of finding a new character after losing Oswald the Rabbit at Universal). "Personally, I've always preferred comedy that is saying something… when it feels like it's not really about anything, it's just not as meaningful, right?"įor some comedians, Zafar says, a little lockdown-induced introspection has been a chance to press reset. #CRAZY VIDEO SHORTS FREE#I'll be dead!' So he really gave us free rein to do what we wanted."Ĭomedian Bilal Zafar - who's Fringe stand-up set looks back at his time working in a care home post-university - believes comedy is at its best when it doesn't shy-away from the serious stuff. "And we were kind of a bit like, 'Are you sure?' and we asked him 'is there anything in particular that you'd like us to do?' and he said 'It doesn't matter. "He got a terminal diagnosis of cancer, and he asked us if we could do a ten-minute short piece about death to be performed at his memorial. While the company has always sought to tackle taboo topics head on, this particular show was created to honour their former comedy lecturer Tim Miles. "Sometimes there are no words to be able to communicate grief accurately, so watching something that's so ridiculous is the best way to kickstart the grieving process." "We haven't really had much time to talk about or think about what we've just gone through. Many a comedian has died a death at Edinburgh, but how about making dying the focus of your performance? Multi-award-winning physical comedy troupe Ugly Bucket's new material is, they say, a cathartic reckoning of what awaits us all told through clowning, personal testimony, all set to thumping techno.įor performer Angelina Cliff, it's about confronting the post-lockdown elephant in the room. Subscribe to the Backstage podcast on Apple Podcasts, Google Podcasts, Spotify, Spreaker ![]()
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