![]() They really didn’t want to participate at all. Let’s look at the facts – the Beatles themselves did little to foster the original project. ![]() Understand now? Zemeckis may sound like the wrong man to remake the group’s already established status, but why not let his techniques take the material to new, heretofore unheard of heights? Now take what technology does best and AMPLIFY that. Honestly, who wouldn’t love to see Pepperland rendered in three high resolution dimensions? Wouldn’t it be great to see the unlimited imagination of the modern artistic freely unleashed within an ‘anything is possible’ paradigm? The original is indeed a phenomenal bit of cartooning contrasts – rotoscoping incorporated into free form visions of a dying Victorian landscape, unusual villains whose horrors seem slightly surreal and almost laughable, the attention to detail, the broad-based over-stylzed sections. Sure, the eyes still seem kind of dead and the facial motion reminds one of a trip to Disney’s mechanical Hall of Presidents more than real movement, but as progress makes such advancements better – and more importantly, cheaper – and exercise like Yellow Submarine makes sense. Over the course of intriguing works like The Polar Express, Beowulf, and the upcoming Jim Carrey vehicle A Christmas Carol, the Back to the Future/ Roger Rabbit auteur has come close to mimicking realism within a completely fabricated realm. ![]() One look at Zemeckis’ attempts in the computer imaging arena would argue for the possibilities within such a project. Granted, it’s not the worst idea ever conceived. Now comes the threat of a Tinseltown treatment, the work of late ’60s artisans sacrificed for a few gigs of RAM and a more photorealistic look. Dealing with the faraway kingdom of Pepperland and Old Fred’s battle against the bad vibe aggression of the memorable Blue Meanies, there was something very twee, and quite terrific, about George Dunning’s Peter Max-inspired effort. The original project, completed without the pop phenomenon’s direct input (voices were impersonators, songs were leftovers along with some past classics), has remained a fixture of the artform, a post-modern Fantasia finding depth and meaning in the Lennon/McCartney songbook classicism. Everyone, from film fans to protectors of the Fab Four sonic flame are arguing over the implied heresy of such an idea, complaining that technology and a “fresh” approach can’t contribute anything to what is already a classic.Īnd for the most part, they are right. Less than 24 hours since it was announced that Robert Zemeckis was helming a motion capture 3D remake of the Beatles classic bit of animated psychedelia, Yellow Submarine, and you’d swear the State of New York was paroling Mark David Chapman (don’t recognize the name? Go read something else!).
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