Original Cartoons Vol 2, March 2010 Draft

8/14/2019 Original Cartoons Vol 2, March 2010 Draft

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Original CartoonsVolume 2:

The Frederator StudiosPostcards 2006-2010

Edited byEric Homan & Fred Seibert


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Original Cartoons: The Frederator Studios Postcards 2006-20102010, JoeJack Inc. All rights reserved.

ChalkZone, The Fairly Oddparents, Fanboy & Chum Chum,Nickelodeon, My Life as a Teenage Robot, andRandom! CartoonsTM & 2010, Viacom Intl., Inc. All rights reserved. Used with kindpermission.

Adventure Time with Finn & Jake, Cartoon Network,: TM & 2010,Cartoon Network. A Time Warner Company. Used by kind permission.

Channel Frederator is a registered trademark of Channel FrederatorLLC. All rights reserved. Used with kind permission.

Frederator Studios and the Fredbot Frederator robot are registeredtrademarks of JoeJack, Inc. All rights reserved.

The Frederator Fredbot robot designed by Arlen Schumer.Frederator logo designed by Adams-Morioka, Beverly Hills, California.

The Meth Minute 39 andNite Fite: TM & 2010, Bellport CartoonCompany, Inc. All rights reserved. Used with kind permission.

All rights reserved, including the right to reproduce this book or por-tions thereof in any form whatsoever.

First Frederator Books printing 2010


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Frederator Studios v

Preface

By Bob Osher

Being an avid collector, the prospect of beingone of 200 people to receive limited edition Frederatorpostcards was intoxicating. Little did I know that I wasonly receiving every third card. I needed the others! E-bay

was tooexpensive and time consuming.

As usual, Fred had the solution: a monumental publicationchronicling the Frederator postcard. I realize that thoseof you unfamiliar with this collection will clamor for yourfair share of future mailings, but its all in the cause of thesimple postcard.

You will forever abandon your e-mail, SMS, IM, Twitteraccount and mental telepathy in favor of this simple,elegant form of communication.

BRAVO, FRED!

Bob Osher is the president ofthe Digital Production division of

Sony Pictures Entertainment


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Frederator Studios vii

Fred's intro

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viii Original Cartoons Volume 2


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Frederator Studios ix

The Eric Homan InterviewBy Michael GoldmanIf he were a cartoon character in a

Frederator Studios cartoon, it might be tempting toportray Eric Homan as Fred Seiberts sidekick. In truth,however, hes ar more than that, and crucial to all that

Seibert and his chums at Frederator have accomplishedin recent years. Homans work has also greatly impactedmillions o kids and adults who enjoy the cartoonsbroadcast by Nickelodeon and Cartoon Network everyday that Homan helped nurture into reality.

Seibert, o course, started Frederator in the late 1990sater frst resuscitating, and then exiting the broadcastworlds most legendary cartoon actory. Hanna-Barbera,

o course, had been swallowed up by the corporatebehemoth at long last, and it was time to go. But notbeore Seibert and his colleagues restored the originalspirit and intent o the place with the What a Cartoon!shorts program, which gave the world a new generation oshort cartoons to enjoy, some o which (DextersLaboratory andThe Powerpu Girls, to name just two)went on to carve out prominent places o their own in theworld o animated television.That philosophy was rapidly ported over to Frederator,and revolves around the notion that the art o the shortcartoon is not only something to be ondly celebrated asa reminder o a gentler eraits also a hell o a good way


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x Original Cartoons Volume 2

to fnd the worlds fnest, and unniest, creative talent andthen put them to work making commercially viable (well,sometimes anyway) cartoons or children o all ages toenjoy on television.Thus, Frederators Oh Yeah! Cartoons and, now, Random!Cartoons, were born to ollow in the ootsteps oWhat a

Cartoon! Long ensconced at the center o the madness thatollowed in the orm o shows like The Fairly OddParents,My Lie as a Teenage Robot, ChalkZone, Fanboy andChum Chum, Wow! Wow! Wubbzy!, Adventure Time withFinn and Jake, and many more is Homan, Frederators VPo Development and Creative Aairs. Hes a ormer Englishteacher, radio reporter, and more importantly, Homan isone o Seiberts co-conspirators in promoting theantiquated notion that talent frst, talent unettered, talent

encouraged, and talent unleashed is the best way to notonly have un making cartoons, but to engage responsibly(or, at least semi-responsibly), occasionally evensuccessully, in the cartoon business.

I recently sat down with Eric to discuss this philosophyand how, and why, it works at Frederator, even on aradically evolving economic, social, and technologicallandscape. Eric warned me he is not used to interviews,but did concede he knew a ew things about the cartoonbusiness, and so, with some coaxing, I got him to impartsome o that wisdom here. He agreed this book was a goodhome or our discussion since, ater all, he is particularly

ond o both postcards and cartoons.


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Frederator Studios xi

Michael Goldman: How and why did you get togetherwith Fred Seibert and decide to spend your career dwellingin the world o short cartoons, o all things?Eric Homan: I met Fred when we happened to start atHanna-Barbera Studios about the same time in 1992. Ocourse, he was the president o the studio, and I was a

cel cleaner in the animation art department, so we wereat complete opposite ends o the employee spectrum. Butthats where I met him, and except or maybe a year anda hal break in the late 1990s, Ive been with him or thepast seventeen-plus years.At the point when Warner Bros. bought TurnerEntertainment at the end o 1996, Fred letHanna-Barbera, became an independent producer, and

went back to working with Nickelodeon [a network Seibertrst worked with in its early years ater helping to pioneerthe branding o its then fedgling sister network, MTV].I stayed with Warner Bros. or about a year and a hal,working or their studio stores, managing the productiono Hanna-Barbera collectibles sold in those stores back inthe previous century.But less than two years later, I was back with Fred. Bythat time, Oh Yeah! Cartoons was up and running with acouple o shorts already in production. He had just boughtan independent comic book company [the ormer KitchenSink Press] and wanted some help developing some othose properties or TV and movies, so I went back in the


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xii Original Cartoons Volume 2

summer o 1998. I was glad to be indoctrinated in Fredsdevelopment strategy, the same one we have today.MG: And what is that exactly?EH: Its the same shorts-show master plan Fred uses everyew years. At Hanna-Barbera, it was called What a

Cartoon! Its whereDexters Laboratory, The PowerpuGirls, and a bunch o other shows or Cartoon Network gottheir start. Then, around 1997, he went over to Nick andproduced the same kind o program, naming it Oh Yeah!Cartoons. The Fairly OddParents,My Lie as a Teenage

Robot, and ChalkZone incubated there over a three yearperiod.There was a bit o a break ater that and then, in 2005, we

went into production on whats now calledRandom!Cartoons. We did the same basic thing and its alreadygiven us the seriesFanboy and Chum Chum and

Adventure Time with Finn and Jake. Hopeully there willbe a ew others.The philosophy o any o these shorts programs is we cannd great new talents, and we can get them experiencedmaking lms by the time any o them have an opportunityto showrun a series. In the case o Butch Hartman, he hadalready made ten Fairly OddParents shorts as part oOhYeah! by the time Nickelodeon picked it up as a series.That really proved Butch had what it takes to be a creator,run a production, and get the job done.


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Frederator Studios xiii

MG: And you have other Butch Hartmans coming out otheRandom! program right now?

EH: Ill give you two examples. The Nickelodeon showFanboy and Chum Chum was created by Eric Robles whowas in his early 30s when we met him. He had worked atalmost every major studio in a variety o capacities, rom

design to development, and he was pitching things aroundtown. Fred and I were big believers in Eric whenRandom!Cartoons came up, and we invited him to pitch. And Ericsnot a guy to miss an opportunity. He showed so muchtalent with his pitch board. Once we gave it the greenlight,he just took o with it.Its a perect exampleon paper, his idea orFanboy andChum Chum didnt set the world on re, just the idea

about two crazy kids who are in love with being kids. Itwas hard to get excited just about the log line. However,ater his compelling pitch, and then his execution o theseven-minute short, you saw how unny it was, and howdeveloped the characters were, so we were able to use thatlm to sell the series. It was easy to believe in Eric and Imglad we got to help him get the show across the nish line,but it was his talent and passion and creativity that madethe whole thing work. In the end, thats what we try todobe a talent-driven studio.The other example is Pendleton Ward. In his case, youcouldnt not all in love with his student lms at Cal Arts,so I encouraged him to pitch orRandom! Cartoons, which


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xiv Original Cartoons Volume 2

he did. Because the shorts program was made up o anorder o thirty-nine cartoons, we were allowed to takebigger risks than, say, i the order was or just six. Thatallowed us to give Pen that opportunity without a greatexpectation about what might come out o it. In act, hispitch was very distinctive, very creative, but it sure didntseem too commercial. But it was so dierent, we knew we

had to give Pen the chance to make his lm. It was spe-cial and we wanted to see what would happen, but didntentertain a lot o hopes about whether it might become aseries. But he did a great job with his short, andCartoon Network decided we should put it intoproduction, and thats howAdventure Time with Finn and

Jake came about.MG: So, or you guys, whats the deal on how to balance

business with creative reedom? In this economy, I cantimagine you have resources to develop every unny thingthat passes across your desk.EH: Thats true, but keep in mind these are short,independent lms to start. Frederator runs the shortsprogram, but its the lmmakers who come in and makethem. Theyre ultimately responsible or all the creativedecisions. The creators will get the networks standardsand practices notes and well give them our two cents;whether or not they act on those suggestions is up to them.So, we give them enough rope to hang themselves creatively.We are trying to see what they will do with the opportunity.Its really more about nding special lmmakers than their


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Frederator Studios xv

particular shows. We are investing in the talent more thanthe projects. We are looking more or hit-makers than hits,i that makes sense.One o the things about doing a large volume o cartoonsis we know up ront that were not going to get thirty-nineseries out o them. When we produce thirty-nine shorts, i

we get our seriesabout ten percentthats a great success.So it pays to have this program up and runningto ndthat talent that can make up that ten percent.

And, I should add, just because a short doesnt go to seriesdoesnt mean it wasnt great, or the people who made itwerent great. Yes, the networks trust us to deliver themhits, but even i we get misses rom extremely talentedlmmakers, we know well have an opportunity to try

again with them later.The other thing to keep in mind is that, with these shorts,development work is done by the lmmakers. Theydevelop it and then pitch it to us. I we like it, we help getit made, and then, once it is made, thats when we reallyget to work with the lmmakers to help them try to selland then develop their property as series. But developingthe property initially as a short is not what were about;thats what the lmmakers do themselves. Its not likewere cartoon creators. We do our best to recognize talentand potential, and people willing to work really hard tosucceed. We are doing that both with our TV and eaturelm properties.


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xvi Original Cartoons Volume 2

MG: So, what has changed then in the years betweenOh Yeah! andRandom! in terms o nding new talent andproperties?EH: Im not so sure that nding properties has changedmuch at all. As independent producers, we have to nd

them, and then we have to sell them. Finding propertiesis the same just because there are always people out therewith good ideas and great talent. But selling their workhas become more dicult because o the economy andthe nature o changes within the industry. We are luckywe have a rst-look deal with Nickelodeon and they havegreat respect or new talent and or what we do. But thatsthe diculty.

As ar as talent goes, though, weve always brought in acetalent that has gone on to do terric things at Nickelodeon,Cartoon Network, and elsewheretalent that enteredthose studios through Freds shorts programs. For example,Seth McFarlanes rst proessional lm was an early versiono Family Guy back at Hanna-Barbera or What a Cartoon!The original What a Cartoon! program had cartoonistsincluding Genndy Tartakovsky (Dexters Laboratory,

Samurai Jack), Butch Hartman (The Fairly OddParents,Danny Phantom, T.U.F.F. Puppy), and Craig McCracken(The Powerpu Girls,Fosters Home or Imaginary

Friends) come in, and at that point, their original shortswere about showcasing them. Im biased, o course, but tome, Cartoon Network was built on the backs o the work


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Frederator Studios xvii

done by Genndy and Craig and the shows that came out othat original shorts program.But the way we nd them hasnt changed much. Obviously,when I started development work with Fred, I wasnt yetgoing online to nd independent lmmakers. But you stillgo to lm estivals and student lm nights at animation

schools. Plus, o course, we have a wide open door oranybody with an idea or any kind o cartoonthey canalways come in and pitch us.MG: Speaking o websites, what role has the Internetplayed in how you develop, make, or distribute cartoons?I notice a wide range o shorts are available atwww.rederator.com and elsewhere across the webhowhas that impacted your traditional approach?

EH: Actually, more than helping nd a hit, the Internet hashelped us sell a hit. A big reasonAdventure Time became aseries was because we put the original short online. It was,at the time, a very dierent type o cartoon that you didntsee on television. We put it on YouTube and it was aninstant successabout two-hundred-thousand views in therst weekend alone, up to several million views eventually.A huge Internet buzz ollowed and it became a success.But that also coincided with a time in which CartoonNetwork wanted to go, programming wise, in a bit o adierent direction and this cartoon worked really well withthat.


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MG: You mentioned eature lms earlier. Frederator, ocourse, is best known as an independent productioncompany or broadcast. Can you bring us up to speed onthe eature lm initiative and where you see that heading?EH: Weve recently signed a rst-look deal with SonyPictures Animation, so Fred and I, along with Kevin Kolde

and Carrie Miller, who make up the other hal o Frederator,are searching or lmmakers with eature projects to takein, just like were searching or talent in the shorts program.Like with the shorts, we want our lms to be very creatordriven, so were now investing in lmmakers we believe in.Were optimistic well have a couple o lms in productionshortly, with more to come.My guess is that many o our eature projects will involve

lmmakers weve worked with beore in the TV business.There has traditionally been a pretty strict line in animationbetween the broadcast people and the eature people. InTV, its not uncommon or artists to be journeymen andgo rom studio to studio, and project to project, but not asmuch crossing that great divide between TV and eatures.But, hopeully, well be presenting a lot o antastictelevision talent to the eature world.I should also mention were putting together nancing anddistribution or a slate o hyper-low budget eatures, too.Much more niche-oriented, but still creator-driven. Imreally excited about these.


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Frederator Studios xix

MG: So whats your advice then or all those cartoon geeksout there, talented but with no direction on how to create astory, pitch it, and pursue their cartoon dreams?EH: In the commercial world? Be passionate about whatyoure creating; though youll ultimately need to pleaseyour audience, dont create just or the sake o selling. I

also think its vital to learn as much as you can about theanimation process. Clearly, the creators behind most othe successul cartoons are artists or cartoonists at onelevel or another. I you look at your avorite cartoons romthe past twenty or so years, youll nd the creatorsromMike Judge to John Kricalusi to Genndy Tartakovsky toButch Hartman, or Matt Groening or Seth McFarlaneallo them are cartoonists. I cant think o too many successulcartoons created by people who couldnt be part o the

animation process.Thats not to say youre automatically discounted i youcant draw. I remember, or ChalkZone, (co-creator) BillBurnett came in to us as a writer. He had a stack o ideasand Fred introduced him to a bunch o directors. Bill wento and partnered with maybe ve dierent directors todo a variety o cartoons, and it just so happens the onehe developed with Larry Huber, who is a longtime anima-tor, was ChalkZone, and that one got to the nish line andbecame a series at Nickelodeon. But, even in that case, itwasnt until Larry Huber came on board to develop it asa cartoonist, and brought that cartoonists mindset, that itmoved to that next level.


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xx Original Cartoons Volume 2

Also, especially or television, ocus on strong characters.Audiences want to all in love with characters. The cool-est idea in the world wont mean much week ater weeki your audience doesnt care about your characters. Thismay not be the best analogy, but youd rather hang outdoing nothing with your best riend rather than spend timewith some dullard doing something thatd otherwise beinteresting, right?Finally, the odds against you selling a show are enormous.I I were out there trying to sell my own show, Id researchhow those who did get their shows made and learnlessons rom them. But still, its tough. Only get into it iyou really enjoy itbut then, I guess thats true o any

eld, right?Michael Goldman is a longtime entertainment industryjournalist who has interviewed most o the worlds leadingflmmakers, and covered animation, visual eects,cinematography, editing, and flm and broadcast

production and post-production or a number o majorpublications in print and online. Hes a ormer editor atVariety, the ormer longtime Senior Editor atMillimeter

Magazine, and the author o our books, with another oneon the way. He lives in Los Angeles with his gorgeous wie,Bari, and two cartoon-obsessed sons, Jake and Nathan.You can keep track o Michaels adventures at his web site,www.hollywood-scribe.com.


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Frederator Studios 1

Series 6 Postcards

2007-2008


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2 Original Cartoons Volume 2

Series 6.1


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Designed by Lee RubensteinSeries 6.2


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Random! Cartoons logo designed by Michael LapinskiInspired by Darron MooreSeries 6.3


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Channel Frederator De-Lite

Series 6.4


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Designed by Lee RubensteinSeries 6.5


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Series 6.6


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Castlevania: Dracula's CurseConceptual illustration by James JeanSeries 6.7


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Series 6.8


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Illustrated by Eugene MattosSeries 6.9


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George Seibert, 1950Series 6.10


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Series 6.11


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Designed by Lee RubensteinCG Fredbot by MagimationSeries 6.13


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Frederator Bluebird

Series 6.14


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Series 6.15


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Series 6.16


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Series 6.17


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Ape Escape Cartoons produced by Kevin Kolde

Series 6.18


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Original Cartoon Inspirations Joe Barbera & Bill HannaPhotography by Je Sedlik, 1995Series 6.19


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Election Day, United States, 2007

Series 6.20


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Series 6.21


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Frederator LibertyDesigned by Lee RubensteinSeries 6.23


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Frederator Valiant

Series 6.24


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Frederator Double Neck SG

Series 6.25


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Series 6.26


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The Meth Minute 39 created by Dan Meth

Series 6.27


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Series 6.28


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Series 6.29


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Series 6.30


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Postalolio directed by Marv NewlandA Frederator Studios ProducionSeries 6.31


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Dan Meth & Frederator Studios presentDrinking and Drawing

Series 6.32


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Series 6.33


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Caliornia Primary Election Day, 2008

Series 6.34


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Adventure Time T-shirt Time!! with Pen 'n' FredAdventure Time created by Pendleton WardSeries 6.35


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The Fairly OddGamesThe Fairly Oddparents created by Butch HartmanSeries 6.36


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3rd Season Premiere!My Lie as a Teenage Robotcreated by Rob RenzettiSeries 6.37


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Election Day, United States, 2008

Series 6.38


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Poster designed & printed by Hatch Show Print


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Series 7 PostcardsRandom! Cartoons

2008-2009


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Solomon Fix created by Doug TenNapel

Series 7.1


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Moobeard the Cow Pirate created by Kyle A. Carrozza

Series 7.2


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Two Witch Sisters created by Niki Yang

Series 7.3


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The Finster Finster Show created by Je DeGrandis

Series 7.4


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Adventure Time created by Pendleton Ward

Series 7.5


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Mind the Kittycreated by Anne Walker

Series 7.6


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Ivan the Unbearable created by Andrew Dickman

Series 7.7


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Boneheads created by Polygon Pictures

Series 7.8


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Tianycreated by Adam Henry

Series 7.9


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Call Me Bessie! created by Diane Kredensor & Dana Galin

Series 7.10


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Teapotcreated by Greg Eagles

Series 7.11


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Hornswiggle created by Jerry Beck

Series 7.12


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Hero Heights created by Raul Aguirre Jr. and Bill Ho

Series 7.13


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Yaki & Yumicreated by Aliki Theolopoulos

Series 7.14


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Gary Guitarcreated by Bill Plymton

Series 7.15


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Krunch and the Kidcreated by Adam Henry

Series 7.16


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Bradwurstcreated by Jason Plapp & Angelo di Nallo

Series 7.17


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Dr. Froyd's Funny Farm created by Bill Burnett & Jaimie Diaz

Series 7.18


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Bravest Warriors created by Pendleton Ward

Series 7.19


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The Dangerous Duck Brothers created by 'Pat' Ventura

Series 7.20


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Sparkles & Gloom created by Melissa Wole & Anne Walker

Series 7.21


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The Infnite Goliath created by Mike Gray & Erik Knutson

Series 7.22


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Kyle + Rosemarycreated by Jun Falkenstein

Series 7.23


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Garlic Boycreated by John R. Dilworth

Series 7.24


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Flavio created by Mike Milo

Series 7.25


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Samsquatch created by Adam Muto

Series 7.26


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Girls on the Go! created by Aliki Theolopoulos

Series 7.27


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Victorcreated by Niki Yang

Series 7.28


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The Bronk and Bongo Show created by Manny Galn & Alan Goodman

Series 7.29


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Squirly Town created by Doug TenNapel

Series 7.31


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Fanboycreated by Eric Robles

Series 7.32


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Hnadycatcreated by G. Brian Reynolds & Russ Harris

Series 7.33


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Sugarootcreated by Erik Knutson

Series 7.34


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Dugly Uckling's Treasure Questcreated by Guy Vasilovich

Series 7.35


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The Bronk and Bongo Show created by Manny Galn & Alan Goodman

Series 7.36


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Super John Doe Juniorcreated by Lincoln Peirce

Series 7.37


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The Bronk and Bongo Show created by Alan Goodman & Fred Seibert

Series 7.38


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Ratzaratz created by Jim Wyatt & Karl Toerge

Series 7.39


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Series 8 PostcardsBlack & White

2009-2010


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Fanboy & Chum Chum created by Eric RoblesIllustration by Eric RoblesSeries 8.1


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Adventure Time with Finn & Jake created by Pendleton WardIllustration by Phil RyndaSeries 8.2


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Series 8.3


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Illustration inspired by Lorenzo PetrantoniSeries 8.4


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Frederator Films logo designed by Floyd BishopSeries 8.5


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Perry & Alan GoodmanPhotography by Elena SeibertSeries 8.6


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Animated CartoonsBy E.G. Lutz, 1920Series 8.7


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Series 8.8


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Quotation rom Winston ChurchillSeries 8.9


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Series 8.10


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Series 8.11


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Illustration by Stanley RayonSeries 8.12


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Series 8.13


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Series 8.14


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1951

Series 8.15


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Series 9 PostcardsHistory o Frederator

2010


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Series 9.1


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Oh Yeah! Cartoons created by Fred Seibert

Series 9.2


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The Fairly Oddparents created by Butch HartmanAn Oh Yeah! cartoon seriesSeries 9.3


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ChalkZone created by Bill Burnett & Larry HuberAn Oh Yeah! cartoon seriesSeries 9.4


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My Lie as a Teenage Robotcreated by Rob RenzettiAn Oh Yeah! cartoon seriesSeries 9.5


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The Nicktoons Film Festivalcreated by Fred SeibertCurated & programmed by Eric Homan & Rita StreetSeries 9.6


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Wow! Wow! Wubbzycreated by Bob Boyle

Series 9.7


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Random! Cartoons created by Fred Seibert

Series 9.8


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Series 9.9


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Nite Fite created by Dan MethAMeth Minute 39 cartoon seriesSeries 9.10


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Ape Escape Cartoons produced by Kevin Kolde

Series 9.11


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Fanboy & Chum Chum created by Eric RoblesARandom! cartoon seriesSeries 9.12


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Adventure Time created by Pendleton WardARandom! cartoon seriesSeries 9.13


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Postcard Series

Wow! Wow! Wubbzy!

2007-2008

Wow! Wow! Wubbzy! A Bolder Media Inc. Production in association with Starz MediaBolder Media or Boys + Girls, a joint venture o Mixed Media Group + Frederator Studios


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Wow! Wow! Wubbzy! created by Bob Boyle

Power Partners Series 2007


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Power Partners Series 2007


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Series 2 2008


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Series 2 2008


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Non-series

Postcards

2000-2010


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Illustration by Ben Ross


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Drinking and Drawingcreated by Dan Meth

Logo designed by Lee Rubenstein


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Drinking and Drawingcreated by Dan MethBikini Zombies illustrated & designed by Elliot Cowan2009


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Channel Frederatorcreated by Fred Seibert

Submit! or Die! 2007-2008


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Original Cartoons Vol 2, March 2010 Draft

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