|Born||in Chicoutimi, Québec, Canada|
|Birth Name||Michael John Kricfalusi|
|Height||5' 11" (1.8 m)|
Mini Bio (1)
Canadian-born cartoon cartoonist Kricfalusi began his career by working on low end Saturday morning cartoons like The Jetsons (1962) revival and Fat Albert and the Cosby Kids (1972). In 1987, Kricfalusi's mentor, Ralph Bakshi, "saved" him by hiring him as supervising director on his show Mighty Mouse: The New Adventures (1987). The show was cancelled after a scene where Mighty Mouse sniffed a flower to get superpowers and some people thought he was using cocaine. Soon afterwards, Nickelodeon bought his twisted brainchild The Ren & Stimpy Show (1991). But after continuous battles over script content and control, he was fired from his own show in 1992. After he was fired, he furthered his fight for creative freedom by founding a website where he sold dolls of his other characters. He then hired some of his old Ren and Stimpy co-workers and produced the first 'made for the web' cartoon series The Goddamn George Liquor Program (1997). He also created and produced "Weekend Pussy Hunt" another 'made for the web' series. Other work includes directing a Yogi Bear short for Cartoon Network, directing a music video for Björk. And in 2001 he returned to TV with the Saturday morning cartoon for Fox Kids called The Ripping Friends (2001), which he created and produced.
- IMDb Mini Biography By: C. Allen Smith Spaz13_88@email.com
Trade Mark (4)
Personal Quotes (32)
Most cartoons today do not use the basic elements of what separates the cartoon from other mediums. They try to imitate other mediums and are not as good as the mediums they emulate. I realize these are very general statements, but in general there is a huge gap in quality and inspiration between today's cartoons and the classic cartoons.
Illustration from the late-1900s up through the middle of the 20th century was absolutely amazing. In general, American culture was at its highest skill wise in every aspect of human life in the 1940s. It's all been downhill since then. You just open an old magazine from the 1930s and '40s and look at the illustrations in it. There's nobody alive that could touch the way they could draw back then. In old movies, the cinematography is a thousand times better than anything today. Writing, a thousand times better. The standards in the 1940s were extremely high in all aspects of American culture. And they had schools that were like boot camp. They made you learn things. You couldn't walk into a school and say, 'Well, it's my style to draw badly.' You wouldn't get into the school. You'd have to be pretty damn good before you came to the school and then once you get there, they were extremely strict about your learning every technical aspect of art. Not only the obvious things like life drawing, anatomy, perspective, but elusive hard to teach concepts like composition and color theory. You buy any book on color theory today and it's just complete poppy cock. Everybody comes out of school painting pink, purple and green. The whole damn cartoon industry has pink purple and green on their mind.
That's the history of modern animation , the Scooby Doo mentality -- the most bland, ugly, lifeless characters in the world when it's so easy to do exciting-looking characters who're really fun and doing impossible things in animation. Instead, we do normal things. What's the point of that? And the normal things are much harder to do. To draw a realistic-looking human -- 12 of them for every second of film -- is insane. Why do the mundane when you could do magic?