Tony Goin West
American Pop: Sequence:Q. Scene:D7 Cell #5
Leg is a held cel and is printed on Background.
This very rare animation production cel is original, hand-painted, and the only one of it's kind in the world.
He will sign this animation art, if you wish.
Image size is: 11" x 13", and comes with a copy of the original animation background from the scene.
American Pop is a 1981 American adult animated musical drama film starring Ron Thompson and produced and directed by Ralph Bakshi. It was the fourth animated feature film to be presented in Dolby sound. The film tells the story of four generations of a Russian Jewish immigrant family of musicians whose careers parallel the history of American popular music in the 20th century.
The majority of the film's animation was completed through rotoscoping,a process in which live actors are filmed and the subsequent footage is used for animators to draw over.However, the film also uses a variety of other media including water-colors, computer graphics, live-action shots, and archival footage.
This artwork is original. Each piece was used in its own production, and is an historically significant part of each animated film. The cels come with a copy of the original background from the scene where available, or the sequence, or the film.
Following the production struggles of The Lord of the Rings, Ralph Bakshi decided that it was time to work on something more personal.[6] He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film with an extensive soundtrack of songs which would be given an entirely new context in juxtaposition to the visuals in a film.[6] While the film does not reflect Bakshi's own experiences, its themes were strongly influenced by individuals he had encountered in Brownsville.[6] The film's crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams, each of whom brought their own personal touch to the film.[6] Bakshi once again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story. According to Bakshi, "Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones.
