November 29, 2003 |
They're a bunch of cartoon babies who consistently delivered top ratings over 12 seasons, nabbed four Emmys, spawned three successful feature films and created a huge merchandizing presence. Trouble is, real-life children grow up. Now the kids' network Nickelodeon and animation studio Klasky-Csupo have done something unprecedented in animation: allowed the characters to grow up too.
February 16, 2001 |
"Recess: School's Out" registers as complacent yet competent animation kids will enjoy despite its mundane nature. Based on the cartoon series "Disney's Recess," on ABC and also airing on UPN and in syndication, this animation piffle was originally envisioned as a video movie. And though "Recess," the feature film, is far from innovative, it is agreeable. This big-screen enlargement of the small-screen series presents T.J.
January 25, 1999 |
Michael Ovitz is diversifying his new talent management company to include representation of some of television's leading animators. In doing so, he has struck a deal with Ellen Goldsmith-Vein to merge her successful 5-year-old animation management company, Gotham Group, into his Artists Management Group.
November 17, 2000 |
Throughout their 20-year odyssey through Hollywood, Arlene Klasky and Gabor Csupo have remained fiercely independent artists with a sensibility so quirky it's the definition of cool. Meet the Rugrats' real parents. Longtime partners, formerly married, Klasky and Csupo shunned the corporate trappings that would have turned their unpronounceable animation outfit (Class-Key Chew-Po) into a cartoon factory.
August 16, 1998 |
If a baby could talk, and he happened upon a toilet for the first time in his life, what would he say? That was the rough premise of the six-minute animated short that the team of Gabor Csupo, Arlene Klasky and Paul Germain brought to Nickelodeon in 1989.
August 23, 1998
As the former senior story editor of "Rugrats," I was naturally delighted to see your cover story on the show ("Talk About a Baby Boom," by Paul Brownfield, Aug. 16). I was even more delighted to see that, for once, Paul Germain received due credit as a main creative force behind the series. I'm sorry that so much of your article was devoted to behind-the-scenes squabbling on the show. Sure, the writers had some creative differences with Arlene Klasky and Gabor Csupo, and all of us together, as usual, had to battle the inexhaustible determination of network executives to make sure that nothing funny, intelligent or different ever gets on the air. "Rugrats" may have been what is termed a "writer-driven" show, but its charm derives in large part from the distinctive Klasky Csupo art style (there was a reason Paul chose this studio over numerous competitors to produce "The Simpsons")