- Born
- Nickname
- The Godfather of Adult Animation
- Height6′ 3″ (1.91 m)
- Ralph Bakshi worked his way up from Brooklyn and became an animation legend. He was born in Palestine under the British Mandate, the son of Mina (Zlotin) and Eliezar Bakshi, and is of Krymchak Jewish descent. He was raised in Brownsville, after his family came to New York to escape World War II. Bakshi attended the Thomas Jefferson High School and was later transferred to the High School of Industrial Arts and graduated with an award in cartooning in 1957.
At the Terrytoons studio, he started as a cell polisher then graduated to cell painting. Practicing nights and weekends, he quickly became an inker and then an animator. There, he worked on such shows as Mighty Mouse, Heckle and Jeckle, Deputy Dawg, Foofle and Lariat Sam. At 28 he created and directed a series of superhero spoof cartoons called The Mighty Heroes.
In 1967, Bakshi moved to Paramount Studios. Working with producer Steve Krantz, Bakshi worked on episodes of the Spider-Man TV series and several short films. In the 1970s, Bakshi set out to produce films using his innovative vision for how animated films should be. Krantz suggested Robert Crumb's "Fritz the Cat" comic book as Bakshi's first feature. The two set out to meet with Crumb and get the film rights. In 1972, the film premiered and was extremely successful, as the first feature-length animated film to receive an X rating by the American rating system (when it was distributed worldwide, it generally received lower ratings the equivalent of an R rating, and was released as being unrated on DVD).
The success of "Fritz the Cat" allowed Bakshi to produce films featuring his own characters and ideas, and so "Heavy Traffic" and "Coonskin" were produced, both of which were extremely controversial, but were praised by critics. During the same period, he shot and completed another feature titled "Hey Good Lookin'" for the Warner Brothers studio, who didn't think that a combination of live-action and animation would sell, and forced Bakshi to go back and animate the live action sequences.
During this period, Bakshi also produced two very successful fantasy films, "Wizards" and part one of an animated film adaptation of J.R.R. Tolkien's "The Lord of the Rings." Although these films were financially successful, they were misunderstood by critics, and United Artists, the studio that produced "The Lord of the Rings" refused to fund the second part, or sequel to Bakshi's ambitious adaptation.
During the 1980s, animation went into a decline. "American Pop," done using the same style of realistic animation as "The Lord of the Rings" was not successful financially, and critics did not see the point of the film being animated. The finished version of "Hey Good Lookin'" was released during the same year as "American Pop," but was also unsuccessful financially. Bakshi's last film of the decade, "Fire & Ice," a collaboration with famed artist Frank Frazetta, was a flop.
Bakshi produced several television features with mixed results before returning to film with what would eventually become "Cool World" - the script was rewritten several times during production without Bakshi's knowledge until it came to the point where Bakshi did not recognize his own work. The film was critically scorned, and was a box office flop. Fans feel that the film is not a true Bakshi film.
Since then, the Internet and DVD releases of Bakshi's work have brought him a new generation of fans and increased interest, encouraging Bakshi to produce another film. "Last Days of Coney Island" is in production. Bakshi lives in New Mexico. A three-day retrospective was held at American Cinematheque at Grauman's Egyptian Theatre in Hollywood, California and the Aero Theater in Santa Monica, California in April, 2005.- IMDb Mini Biography By: Anonymous
- SpousesLiz Bakshi(August 18, 1968 - present) (3 children)Elaine Beck(1959 - ?) (divorced, 1 child)
- Children
- RelativesMiles Bakshi(Grandchild)
- Animated features specifically made for adults, often with a heavy use of rotoscoping
- Often blends animation with brief live-action backgrounds
- Distinctive, raspy voice
- At one time wanted to make an animated feature-film adaptation of Hunter S. Thompson's 'Fear & Loathing in Las Vegas'.
- Visualizes a scene by listening to music, which usually plays over the scene in the finished film.
- In the mid 1980's when Bakshi was depressed following the lack of support for his personal projects (i.e. Hey Good Lookin' (1982)) he read "Catcher in the Rye" and connected intensely with Holden Caulfield, and even figured out a way to make the narrative work cinematically by keeping the mental hospital scenes in live-action and the flashbacks animated. Bakshi wrote a letter to Salinger, a famous recluse who turned down many offers to adapt the book, where he poured out his heart about the book and his personal life. Bakshi ended up receiving a response in a letter from Salinger, where he appreciated the director's dedication and vision, but politely declined the offer since he could not see it becoming a film. Going through this process helped Bakshi get out of his creative rut, and he went on to do more work in the late 80's and early 90's before going into (semi) retirement from motion pictures.
- He left Hollywood and filmmaking to spend his remaining life painting pictures, but during the back-to-back recording for a guest appearance on Ren & Stimpy 'Adult Party Cartoon' (2003) and the DVD commentary for his 1977 film Wizards (1977), he was bit by the animation bug again, and has recently (2005) begun work on his latest feature, currently titled Last Days of Coney Island (2015).
- Greatly dislikes and is very critical of Don Bluth's films.
- I think it's impossible to do [J.R.R. Tolkien]. It's impossible to get the brilliance of what he wrote about -- just the medium, the book, the novel gives you other areas of imagination [that] film can't allow. Film has to describe and show. With the brilliance of his words and his scenes, you imagine whatever you want. I'm sure various people imagine different things.
- Sweetheart, I'm the biggest ripped-off cartoonist in the history of the world, and that's all I'm going to say.
- John [Kricfalusci] and a bunch of guys were working for me in my studio on storyboards before Mighty Mouse. Bobby's Girl (2012) was the project, Tri-Star bought the movie. John and a bunch of other artists designed it [the same guys who went to work on Mighty Mouse]. I was the producer/director. The studio would then have sequence directors, designers etc. as usual. The president of Tri-Star, Jeff Sagansky, got fired. The project was canceled by Tri-Star. In panic I sold Mighty Mouse and decided to make John a director to train him on a TV series. Roughly speaking, after that, John really wanted his own studio to produce and direct himself and never really felt comfortable working for anyone else. Even his giant friend Ralph.
- [on directing The Rolling Stones music video of "The Harlem Shuffle"] I cast everyone and hired everyone - but my main concentration was taking care of the Stones. It was a lot of work choreographing . . . it was also a blizzard in New York the night we were shooting, and after I returned that night at 4 or 5 am they thought I had checked out without paying, so I spent the night in the lobby. The rest was a blur. Oh yes, there were about 350 groupies on the sound stage and various hangers around - and someone delivered three cases of Scotch or bourbon to Keith's [Keith Richards] room. I do remember that. Never saw them again! Oh yeah, Keith Richards loved the zoot suit he wore. I had to buy the suits from the costume department because he took them back to England. I loved that. Mick [Mick Jagger] had his purple suit tailored especially for him, so he owned that.
- Louise Zingarelli walked into my studio from Chicago and said to me that the guys that she worked with on the newspapers in Chicago told her that she should work for me. She was an extraordinary illustrator and a real tough lady. I thought her best work was Hey Good Lookin' (1982) and American Pop (1981).
- Wizards (1977) - $100,000
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