By Kenneth W. Harrow
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Extra resources for African Cinema: Postcolonial and Feminist Readings
13 Red gouache painted animation drawing (#21) of Scene 207: the turtle “father” bites his younger son’s ﬁnger, which affects his wife and three children. JK: How did your actors prepare for The Moon and the Son, and what did you communicate to them about what you were trying to accomplish with the film? JC: I happened to have two great actors who required very little preparation. Eli Wallach loves what he does so much. I met with him after he agreed to do it. He came over to my apartment, and as he was walking across my living 54 Personal Documentaries: John Canemaker | room, the script was on the table, and as he was sitting down he was starting to read it in the accented voice of the character.
5 Rough idea sketches for the “1950s Dad,” dated December 31, 2000. 45 | A nimated Realism Interview Judith Kriger: In The Moon and the Son: An Imagined Conversation, you reveal a very personal, and at times, painful story. What was your purpose in making such an intimate project? John Canemaker: The purpose was to tell my story truthfully, in animation. Through the years, I have told other people’s stories in ten books and numerous periodical articles on animation history; in sponsored films, such as You Don’t Have to Die (HBO, 1988 Academy Award-winner), or Break the Silence: Kids Against Child Abuse (CBS, 1994, Peabody Award-winner), or John Lennon Sketchbook (Yoko Ono, producer, 1986); and in my own independently made shorts, such as Confessions of a Stardreamer (1978), or Confessions of a Stand-Up (1993).
Animation by Constance Wood. JK: Would you say you’re more of an experimental filmmaker? BS: Yes, I would say I am, as far as the animation goes. I’m more interested in adhering to a set of principles and not caring as much about what the film turns out as. It changes a little bit with each project. With my earlier projects, I didn’t care what the film looked like: I just did it in that way because it was the fun way, and those were relatively successful. But then as things went on, there was a little bit of pressure for things to look better.
African Cinema: Postcolonial and Feminist Readings by Kenneth W. Harrow