This is a monthly posting of excerpts from The Peg-Board, the newsletter of the Motion Picture Screen Cartoonists and Affiliated Optical Electronic and Graphic Arts, Local 839 IATSE.
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This issue of The Peg-Board is also available online in Adobe Acrobat format, as published in print. Click the icon at left for the Acrobat file. |
By a vote of 750 in favor to 145 against, the membership of Local 839 has ratified a new collective bargaining agreement, to be effective August 1, 2000 through July 31, 2003.
The new contract offers the same health and pension provisions and minimum wage increases (3% per annum) as the IATSE Basic Agreement that was negotiated and ratified last year. Passage of the new CBA guarantees that 839 members will receive increases in the Individual Account Plan pensions on the same basis as other unions covered under the Basic Agreement.
The contract includes higher increases in minimum rates and health and pension contributions for freelance animation writers and storyboard artists. The contract also features a name change for animation writers from "Animation Story Person" to "Animation Story Person/Animation Writer".
"This is the best contract settlement we've had in twenty years", said President Sito. "I want to thank our negotiation team and IATSE President Tom Short for their superhuman efforts. In this sad time of labor turmoil in L. A., the livelihood of Hollywood cartoonists at least is secure for the next three years. Now let's focus back on what we do best, bringing smiles to the faces of children."
The vote results, as certified by the American Arbitration Association, were as follows:
| YES.................. | 750 (83.6% of votes cast) |
| NO................... | 145 (16.2%) |
| Invalid.............. | 2 |
| ___________ | |
| TOTAL RECEIVED....... | 897 (38.6% of 2,323 ballots mailed) |
From the PresidentWill somebody please explain to me what the heck "independent film" and "independent studios" mean? I'm tired of reading about studios on exclusive contract to giant supra-giant media conglomerates producing mass-market television series for a global audience being referred to as "Independents".
I've seen Film Roman and Klasky Csupo described as "the largest independent studios in Hollywood". Is it that just not being a Disney or Warner suddenly makes you Andy Warhol?
I remember when an independent filmmaker was a man or woman who lived in an industrial loft in the Bowery with hot and cold running cockroaches. They survived off a meager stipend attached to a foundation grant and taught night classes so they could buy bond paper. They'd complete short films and hopefully get them screened at some festival. Maybe they'd win enough in a prize or a distribution deal to break even, but earning bupkis wouldn't stop them from starting another.
Frederic Back, Sarah Petty, Faith Hubley, Kihajiro Kawamoto, Alexander Petrov, now these are independent filmmakers exploring their art regardless of material reward.
This "independent" title when used on a studio doing mainstream Hollywood product is not just a PR ploy but something more insidious. It is a cloaking device intended to dupe young artists that what they are doing is somehow special and important so they can't afford a union contract.
The Simpsons, Futurama, Rugrats and King of the Hill are the richest, most successful animated shows on television. These shows rake in tons more income than the more modest shows issued and cancelled routinely by union shops. Yet the heads of these studios have convinced their employees that they are starving have-nots struggling for respect and chance to be free and independent -- hmmm, there's that word again.
If I have to work non-union to pay the bills, then I have to and be done with it. Just don't insult my intelligence that what I'm working on is somehow so "special", especially if I can't make a decent wage or get my benefits.
On my own film recently, I've had artists who've worked at these cool-hip studios remark how big the difference was between what they make now and the dirt they used to make.
This "independent" aura has created a social subculture of animators who only work the non-union houses, and almost consider it a badge of pride that they're marching around Hollywood with no union health plan or other safety net. They've swallowed all the rubbish that somehow having a union in their studio would destroy free expression and limit the flow of cool ideas. Yeah, and there's no such thing as global warming either.
They pass this weirdness to the newcomers from college and so perpetuate this Union-hating subculture.
There should be some standard in labeling like "natural" foods for what constitutes an Independent Studio and what does not. And once and for all, union membership has never and will never impact the personal creative freedom of any artist.
Whenever a studio head speaks of having the freedom to explore cool ideas and do stuff beyond the mainstream, your bulls**t radar should go off. It means you are going to sacrifice Money for Art, Your Money for His Art.
-- Tom Sito
Questions, questions ...Questions for the Bidness Rep? Here are samples of the latest I've received:
Quite seriously, the future of the industry is bright. It doesn't seem so, when studios are down-sizing and down-sizing, but this has happened before. In '58, commercial houses for animation shuttered, M-G-M went under, Warners went down to a skeleton staff, Disney's laid off most of the Sleeping Beauty crew, all of the shorts crews and never brought most of them back. The industry was booming again by '60-'61. Our members organized a little studio named Hanna-Barbera and the rest is history.
In '88-'89, everything tanked. Filmation closed its doors. H-B cut back. Disney had its usual small staff. The union shrank to 700 active members and it was grim city. And six years later, we had record employment... which went on growing for another three years.
What about tomorrow? Next year? The year after that? Animation will be alive and well. I know that, for the past year, it seems as if management at every company has taken stupid pills, but downturns always end. (Just like upturns.)
So. The big prediction. A year from now, Disney will be in production with a CGI feature to replace the one they cancelled. PDI will be moving to Glendale. Warners will be gearing up for Spy Jam! starring Jackie Chan. A year from now, the industry will be buzzing about the tall grosses of Disney's Atlantis, and The Emperor's New Groove will be selling lots of videocassettes after its Christmas theatrical run.
DreamWorks will be finishing Spirit and have Sinbad in production. The new wisdom will be: "Hey. Maybe traditional animation isn't dead," even while more traditional animation is done by computers. More and more traditional animators will be retraining in Computer Graphic Imaging. Employment in teevee animation will make a comeback. A sizable chunk of it will be non-union, but we will be working to change that.
Five years from now? The third highest grossing movie of all time will be a CGI animated feature, produced right here in Southern California. (You heard it here first.)
Because we're like an 1850's wagon train on the Oregon trail. We only go as fast as the slowest wagon (i.e. member) allows us to. You work at a non-union animation studio, give us a call, mail us a rep card. Make your wagon go faster. Help the wagon train reach the promised land.
Because I wanted the contract to be ratified. Because I thought it was important for the membership, and I was elected to serve the membership. Because I was exercising my first amendment rights, as I do every month. As the letters are doing this month.
I'm doing several things: I'm chatting up members to know what's going on around the industry (and sharing what I know), I'm asking if people have any problems or issues they would like me to help them with, I'm trolling for grievances. The studios know I'm always walking around and it helps to keep them honest (some have told me so).
In this time of ups and downs, it's important to use all the resources at your disposal, including colleagues, Internet chat rooms, and your union.
Feel free to call us at (818) 766-7151. If we can't immediately link up with your next job, we can hopefully point you in the right direction.
-- Steve Hulett
I just wanted to comment on the last Pegboard. Tom Sito and Steve Hulett used their regular columns to once again advise everyone to vote for the contract. To paraphrase Patrick Henry: to avoid expressing an opposing viewpoint for fear of offending others would be doing a disservice to my fellow union members.
Hulett says in reference to the small increases we did get, that "... [they] would not have been possible without the writers' energetic participation in the negotiations." Damn straight. That is my point when I ask the membership to vote this contract down. Now is not the time to lay down, give up, or roll over. We need to keep up the momentum that the writers began for us and refuse to go along with the producers' lame offers.
If anyone is wondering why I am the lone artist on the negotiating committee "siding" with the writers, it is because of their "energetic participation". That is exactly what this union needs and I support it.
Hulett also refers to a SAG officer who told him that we were "doing good". One-third of our membership out of work and losing their health benefits is not "doing good"! Uncontrolled runaway production and no seniority and unenforced rules regarding immigration is not "doing good!" Let's look at the bigger picture here!
Sito refers to the negotiations as "lengthy and complex", and says, "After all the passion and arguments it is now time for cooler heads to prevail." Well, to my friend Tom, the lover of history, I ask, what would've happened if cooler heads had prevailed during the American revolution (or any other revolution for that matter!)? What if Art Babbitt, during the famous strike of the forties, had said, "[Let's] get this all over with and get back to work"? Things are not "fine", folks! I am very appreciative of the job I currently have, but I have not seen hard times like these in 18 years in this business, and it's time we take our problems into our own hands!
Believe me, I would certainly like to take the easy way, urge everyone to vote "yes", let "cooler heads prevail", not make waves, keep quiet, keep everything like it is, it's fine, etc., etc. That would be safe and nice.
Most of you have probably already voted. It'll be interesting to see how it turns out.
-- Lee Crowe
Attention Union:
In reference to wage rates in the current union newsletter (August issue):
In the whole of L. A. there are approximately 1,000 artists who draw animation for union studios.
* If 80% or 800 get just above scale;
* If 18% or 180 get a little better;
* If 2% or 20 get the big money;
Well, that is the real picture!
Get us working at fair rates that keep us working (particularly in the international marketplace of animation).
And quit worrying about what twenty people make!
-- Sincerely yours, Stan Somers
As this issue goes to press, there are about 1,750 people employed at union shops under Local 839's jurisdiction (down from 1,900 when the survey questionnaires were mailed in mid-summer). The raw data from the latest wage survey, available on our website, paints avery different statistical picture from Stan's letter.
Without quibbling about numbers, the purpose of the wage survey is exactly what Stan advocates: to get us working at fair rates. We've seen that the survey helps people negotiating with their employers, by giving them objective idea of the "going rates" for their job categories. Before the survey, many people in the industry, especially newcomers, had little idea what to ask for.
As Stan points out, the maximum rates shown in the survey may seem unrealistic -- except that for those who feel they deserve to be paid as well as the highest-paid people in the business, even these numbers may prove useful. For the rest of us, the important numbers are the median averages, which are truly representative of what many people in the industry are actually paid.
-- Jeff Massie
The shelving of Disney's computer-generated Wild Life has sent big ripples through the animation community, as it apparently signals at least a temporary end to the studio's expensive attempt to launch an in-house answer to Pixar, the creator of the fantastically successfully Toy Story and A Bug's Life.
A number of animators with knowledge of events say Wild Life was dumped at the behest of Roy Disney, but not simply because he was disheartened by the weak performance of the extraordinarily expensive Dinosaur, Disney's maiden attempt at making a CGI film. Instead, say several animators, the project had an inappropriate adult sensibility -- including sexual innuendo and what one insider called a "gay-friendly" tone. For example, there are reports that there was a risque wordplay on characters descending into a "manhole."
Such material apparently led Roy Disney to declare, after viewing an early version of the picture, that Wild Life was "not a Disney movie." The central mystery is how a picture that one Disney insider calls "a massive train wreck" got as far along as it did -- and at a cost rumored to be about $20 million -- before the plug was pulled.
"The story is how management fumbled the ball and threw away the studio," says one insider. "There were warning flags all over. It just kept going and going." Animators say that in the wake of the debacle, Disney chief Michael Eisner has asked to review every project in development, including those in live action, signaling potential trouble for studio chairman Peter Schneider, who -- after running animation -- took over from Joe Roth last January.
The scrapping of the project has led to a spate of rumors in the always-chatty animation community, including speculation that the studio will cut back to one animated feature a year, alternating production between Los Angeles and Orlando. Previously Disney had been releasing two films a year.
While Disney has fared well in its relationship with Pixar, there was sentiment at both the corporate and artistic levels that Walt's studio should be manufacturing its own cutting-edge animation through computers. The company spent heavily to set up its so-called Northside facility, where Dinosaur was made. Some animators say Wild Life was hurried into production to help justify those expenditures. But Disney's attempt to run its own CGI facility seems to be over for now, with at least 110 animators being laid off from Wild Life and no other projects on the horizon.
"They rushed it into production because they needed something to back Dinosaur up with," an insider laments. "Now that it's dead, there's nothing ... The story is how management fumbled the ball and threw away the studio. There were warning flags all over. It just kept going and going."
A number of animators say that Wild Life directors Howard Baker and Roger Gould wanted to make what one called a "hip" movie that would appeal to adults as well as younger audiences. In this case, the project also "had something that gay audiences might respond to," as one insider put it. With its club-scene setting, one says, the film had some "tongue-in-cheek, wink-wink, nudge-nudge" jokes that were "definitely questionable" for a film that would bear the Disney tag.
A couple of animators said that animation chief Tom Schumacher has been distracted lately as he has devoted attention to Disney's theatrical ventures, notably the troubled Aida. Some blame him for not riding herd on the project more closely. "Since Peter (Schneider) and Tom won a Tony for The Lion King, they've been absentee landlords," says a former Disney animator. "It's hard for the animators to get ahold of them."
But some also say the directors resisted Schumacher's explicit instructions to change certain material in the film. Neither responded to queries about the project. Schumacher also did not respond.
Several animators say that Disney would have liked to have its own in-house CGI facility to provide product, profit and bragging rights. Its failure in this regard to date has been far more expensive, if less heralded, than DreamWorks's fizzled attempt to conquer the Internet through Pop.com. The studio assembled an elite group of artists at the facility. "The brain trust that they threw out the door is phenomenal," says one close to the project. "They really did get the cream of the crop for Dinosaur." Many of those artists are said to be taking jobs working for Sony on the Stuart Little sequel, Spider-Man or the Harry Potter project.
Disney can rely on Pixar for four more pictures over the next five years. Though relations between Disney chairman and chief executive Eisner and Pixar chief Steve Jobs are strained, according to a Pixar insider, the partnership is locked in contractually. Creatively, this source says, the relationship is strong and Pixar is staunchly behind Schumacher. But Eisner and Jobs have quarreled, in part because contractually, sequels do not count toward completion of Pixar's obligation to Disney. Pixar hoped to amend that aspect of its deal after the surprise success of the second Toy Story. Disney would not budge on the point -- apparently because Eisner believes Disney needs potential new franchises more than it does successful sequels. Accordingly, the studio has sacrificed a third Toy Story in quest of new material.
What's left at the Northside facility is Disney's in-house effects unit, Secret Lab (formerly Dream Quest Images). Animators say the unit is having some difficulties of its own. Filmmaker Michael Bay, for example, resisted Disney pressure to do Pearl Harbor effects there, electing instead to use ILM.
The death of Wild Life comes as the animation community is facing a major downturn. Artists are nervous about weak buzz on the traditionally animated Emperor's New Groove, set for release at Christmas. "The feeling is they've oversaturated the market," says one Disney artist. "It's not such a special thing any more." While Disney still has a handful of projects in production in traditional animation -- notably Lilo & Stitch, which is said to look very promising -- the development cupboards are ominously bare.
While it may be a cold period for traditional and CGI animation, a Disney insider predicted that the studio will re-enter the CGI game. "The people in charge feel awful about (what happened)," this source says. "Eventually, they'll put the pieces back together."
-- Kim Masters, Inside.com, 10/4/2000
In a followup interview with the above reporter, Tom Schumacher said that he -- not Roy Disney -- made the decision to pull the plug on Wild Life, and that he did so simply because the story "just wasn't strong enough."
Schumacher confirmed that after spending heavily to develop its Northside animation facility, Disney has no computer-generated film in development. But he said there is no pressure to move forward with a feature since Disney has the luxury of its partnership with Pixar. "I don't need to make one until there's one that's a good enough idea," he said. "I'm not in need of more animated product. If Pixar does a picture every year and I have (studios in) California and Florida going, I don't need to put a CGI film into production."
Everyone needs to read this. Please. The major advertisers of this country -- the United States of America -- are literally trying to destroy the actors' unions. They are trying to destroy the ability of American middle-class actors to make a living.
There are hundreds of thousands of actors and their families who have been on strike for almost six months now; and the advertisers, headed primarily by McDonald's, Procter & Gamble, General Motors and AT&T, couldn't care less about the people in these families.
The advertisers are telling actors that they will not pay pension and health benefits to them for commercials made for the Internet -- which is the major future of advertising. The advertisers refuse to address issues of monitoring commercial use, while they continue to steal from actors and their families by "forgetting" to pay actors for commercials that are running. They have been paying actors only $11 per day for unlimited use of actors' commercials on cable television -- a figure that the actors agreed to for years to help give cable TV "time to grow." Well, the cable baby is a big kid now ... and advertisers refuse to give actors any meaningful increase to that measly $11 per day use.
These are the issues. My wife and I, both actors, are now going into our savings. We are scared. And angry. In the next few weeks, and perhaps months, you will be asked to help American union actors survive. You can do this by participating in boycotts that will be called for by major stars who will be helping their middle-and lower-class fellow union members. One of the first boycotts may be against Procter & Gamble ... please stay tuned to help when the call goes out -- and please help by participating in the Procter & Gamble boycott. (Remember -- McDonald's, General Motors, and AT&T are some of the main companies behind this as well ... so avoiding purchasing their products would help as well.)
Go to this website if you'd like to help -- www.idotvads.com. This is such a wealth of information, including the Corporations, Ad Agencies, Negotiators, etc., that we're on strike against. Thank you!
-- Brian Hamilton, Actor, SAG & AFTRA Member
September 29, 2000
MEMORANDUM
TO: All IATSE Locals involved in the Production of Commercials
SUBJECT: Can IATSE Members Honor SAG/AFTRA Picket Lines?
The IATSE has successfully negotiated a new four year television commercial agreement with the Association of Independent Commercial Producers ... Nonetheless, our brothers and sisters at SAG and AFTRA are still attempting to negotiate a fair commercial agreement. Many IATSE members have asked whether and how they can support the actors' strike.
The new IATSE agreement does contain a "no strike" clause. The IATSE and the local unions are complying with the contract. The IATSE is not and has not called a strike. However, the contract does not prohibit individual IATSE members from honoring SAG/AFTRA picket lines to express sympathy for the position of their SAG/AFTRA brothers and sisters. United States labor laws give individuals the right to withhold services in support of another Union's picket line. Of course, you have to know that the commercial producer has a right to replace you on the commercial. But you may not be terminated or penalized for honoring the SAG/AFTRA picket line.
The IATSE is not on strike and is not ordering any IATSE member to refuse to work where there is a SAG/AFTRA picket line; you will have to your own conscience and make that decision for yourself.
-- Thomas C. Short, President, IATSE
The August Peg-Board featured an article about $3 million in CGI training funds awarded by the U. S. Department of Labor to Glendale College, to train entertainment industry workers in high-tech skills needed to remain competitive in their industry. This money will come from a pool of funds derived from fees for H1-B immigration applications.
Although the grant and the retraining are not in doubt, we are awaiting details to be worked out by the Federal government; thus it seems unlikely the training will begin until early 2001. We are involved on a committee that will determine the curriculum of classes offered, but details are not yet available. Although the grant will cover seventy-five percent of the costs, it is not yet determined how the other twenty-five percent will be covered, and thus we don't yet know if the classes will be free to union members or if there will be a small charge.
If you need immediate CGI retraining and cannot wait for the grant classes, contact the union office and we can refer you to local schools and organizations that offer CGI training.
Dreamworks assistants and effects animators are still on "furlough" while story-work continues on Spirit ... Meatball Animation's Whitey and Davey continues to hire artists and ramp up into full production (many Osmosis Jones staffers have settled in.) Call Jan Kunesh at (310) 244-7787 ...
There's way too much generic animation product for sale in the children's market. According to The Hollywood Reporter, that was the overwhelming message coming out of MIPCOM Junior, the kid-focused sales market held in September in Cannes. Of the product available, the vast majority -- some 730 titles -- was animation based, while the remaining genres of children's documentary, education, fiction, games, music and sport in total accounted for less than 250 shows.
In conjunction with its announcements of plans to outsource Internet animation to foreign studios, non-union Stan Lee Media has laid off nineteen animation artists, appreoximately forty percent of its total artistic staff.
"This is an opportunity to maintain the highest quality animation, while reducing internal overhead costs. Outsourcing portions of the production process to overseas animation production companies will also allow us to direct added creative resources and focus more attention on creating additional branded content and developing the type of strategic partnerships and licensing agreements that will culminate in revenue generation." stated Kenneth Williams, Stan Lee Media President and CEO.
In other words, it's cheaper.
Disney has agreed to sell animated children's programming producer DIC Entertainment, in a management buyout led by longtime DIC president Andy Heyward.
The pending deal is valued in the nine digits. Details were not available, but it will be backed by investment firms Bain Capital and Chase Capital Partners, which will get substantial equity stakes in DIC.
Disney picked up a majority stake in Burbank-based DIC in its 1995 acquisition of ABC/Capital Cities. But the company has been something of a poor stepsister to the Mouse House's own animation operations ever since. "It's the kind of thing where every now and then somebody says, 'Oh, do we own DIC?'" a source said.
This month, oral arguments were heard in a Washington, D. C. court on a lawsuit filed by the National Labor Relations Board charging that DIC has refused to negotiate a contract with Local 839. Since Local 839 won a representation election in June 1999, the company has failed to bargain in good faith with the union.
The family that owns the rights to those adorable singing rodents, Alvin and the Chipmunks, has taken Universal Studios to court.
In a $100 million lawsuit, the family-run corporation Bagdasarian Productions accused Universal of reneging on its promise to actively license Chipmunks products and develop the Chipmunks brand through its motion picture, television and theme park concerns.
Painting a picture of complete corporate dysfunction and lack of communication between divisions, the complaint alleges Universal let the Chipmunks brand languish to the point that annual revenues dropped to $70,000 from $4 million.
The Chipmunks -- Alvin, Theodore and Simon -- were created in 1958 by the late Ross Bagdasarian, who operated the enterprise a one-man shop, drawing the characters, writing the music to their songs and even recording their high-pitched singing voices.
Simultaneously, Fox and Saban are suing Universal over the latter's plans to release videos of the X-Men TV series in competition with the planned video release of the feature this Thanksgiving.
TV Loonland AG, a German animation production house and rights buyer, has paid $20.5 million in cash and stocks to acquire Sony Wonder, the children's production arm of Sony Music Entertainment. As part of the deal, TV Loonland also obtains animation studio Sunbow Entertainment, which Sony Wonder bought in 1998. Sony will retain North American home video rights and international audio rights to their catalog of programming, which includes Clifford and Generation O!
We
spoke to PAULINO GARCIA who has voluntarily retired at forty-seven,
and who told us of his gratitude for the union wages and benefits he received
over the last twenty years. Thanks to some prudent investing he's able to take
time off and travel -- in fact he's been to ninety-seven countries already! ...
Warner assistant EDDIE GORAL has a new addition to his family:
Fiona Claire Dunne-Goral was born September 3, 8 lbs. 3 1/2 oz. ...
Congrats to RAY POINTER on being named president of Inkwell Images, producers of the Ken Southworth Animation Instruction video series and the upcoming silent animation series, Animation Anthologies ...
The September 14 issue of Phoenix New Times features one of the best media articles we've seen on the effects of unemployment in animation. We regret that we don't have room to run it in the Peg-Board, but you can find it online at:
http://www.phoenixnewtimes.com/issues/2000-09-14/feature2.html/page1.html
Animation and computer pioneer LES NOVROS died in September at the age of ninety-one.
After studying painting at the National Academy of Design in New York, and at the Prado in Madrid, Novros was recruited by Disney in 1938. In 1941, he founded Graphic Films Corporation (later located on Cahuenga Boulevard West across the street from Hanna-Barbera), and joined the faculty of the USC School of Cinematography.
Novros was a prolific writer, director and producer, and a pioneer of space films and the use of CGI effects. He produced numerous informational films for JPL, NASA and the military and received an Academy Award nomination for the film Universe. For the 1964-65 New York World's Fair, he produced or directed four films, including To the Moon and Beyond, a hemispheric dome presentation. This special effects film caught the interest of Stanley Kubrick, who later enlisted Novros and Graphic Films to help with the visualization and storyboard development for 2001: A Space Odyssey.
Animator and teacher WALT STANCHFIELD died on September 7.
Once in a lifetime, a truly special teacher comes along who can change your life forever. To me and to many. many of our colleagues in the industry, Walt Stanchfield was that very special teacher.
Part artist, part poet, part musician, part tennis pro, part eccentric savant, part wizened professor, Walt inspired a generation of young artists not only with his vast understanding of the animator's craft, but with his enthusiasm and love of life.
Walt started in the animation industry at Mintz in 1937. He also worked for two years at Lantz. In 1948 he went to work for Disney and with the exception of four short retirements, had worked there ever since. Walt worked on every full-length cartoon feature from The Adventures of Ichabod Crane and Mr. Toad (1949) to The Great Mouse Detective (1986).
Throughout those years Walt developed an insatiable enthusiasm for teaching the craft. He supported his numerous drawing classes with weekly hand-outs that taught not only animation and drawing principles. but philosophy, attitude and life lessons.
Walt's personal work was full of vitality. He was a tireless sketcher, a painter of landscapes, seascapes, still lifes and people. He was an avid writer, penning hundreds of pages of notes about the art of animation as well as poetry and stories. He also loved music and spent an inordinate amount of time at the piano - that is, between caring for his vegetable garden and playing his most beloved game: tennis.
Walt has touched many lives, not only with his endless enthusiasm for animation but with his love of life, art and people. His work will live on forever in the hands and hearts of his students and we will all miss him.
-- Don Hahn
1987 Golden Award winner EVELYN SHERWOOD died on August 27 at the age of eighty-six. From 1935 until her retirement in 1981, she worked as an animation checker for Disney, UPA, Snowball, Format, Ray Patin, Sutherland and Hanna-Barbera.
Contents ©
2000 by MPSC Local 839 IATSE. All rights reserved. Publications of bona fide
labor organizations may reprint articles from this newsletter so long as attribution
is given. Permission is also given to distribute this newsletter electronically
so long as the entire contents are distributed, including this notice.