Production
In 1990, Ralph Bakshi decided that it was time to make another animated film. According to Bakshi, "I made 1,500 bucks in 10 years of painting; I thought it would be nice to pick up a piece of change. So I called my lawyer, who was still speaking to me because no one ever leaves Hollywood, and asked him where I should go to sell a movie." Bakshi pitched Cool World to Paramount Pictures (where Bakshi had worked as the final head of the studio's animation division) as an animated horror film. The concept of the film involved a cartoon and human having sex and conceiving a hybrid child who visits the real world to murder the father who abandoned her. Bakshi states that Paramount Pictures "bought the idea in ten seconds".
As the sets were being built in Las Vegas, producer Frank Mancuso, Jr., son of Paramount president Frank Mancuso, Sr., had the screenplay rewritten in secret, and gave Bakshi a new screenplay by screenwriters Michael Grais and Mark Victor that "was barely the same". In interviews at the time of the film's release, Mancuso, Jr., who was best known for the Friday the 13th franchise, stated a desire to move away from horror films, and wanted to produce a film "about what happens when someone creates a world, becomes defined by it, and then can't escape a film about being trapped by your own creation." Bakshi remembers that he got into a fight with Mancuso, Jr. and "punched in the mouth." Paramount threatened Bakshi with a lawsuit if he refused to complete the film. "I thought if I did the animation well, it would be worth it, but you know what? It wasn't worth it." Bakshi also stated that he "had a lot of animators there that I'd brought in and I thought that maybe I could just have fun animating this stuff, which I did." Bakshi had developed the film as a mix of comedy and horror that he described as "a hard R-rated story" but Paramount wanted a PG-13 film, one of the reasons for the doomed and angry relationship between filmmaker and studio.
Bakshi had originally intended to cast Drew Barrymore and Brad Pitt in the film's leading roles. Brad Pitt was cast as Frank Harris instead, with Gabriel Byrne as Deebs and Kim Basinger as Holli. The film's voice cast includes Maurice LaMarche and Charles Adler. According to Bakshi, Basinger had attempted to rewrite the film halfway into its production because she "thought it would be great if she would be able to show this picture in hospitals to sick children I said, 'Kim, I think that's wonderful, but you've got the wrong guy to do that with.' was sitting there with Kim agreeing with her."
The visual design of the live-action footage was intended to look like "a living, walk-through painting", a visual concept Bakshi had long wanted to achieve. The film's sets were based upon enlargements of designer Barry Jackson's paintings. The animation was strongly influenced by Fleischer Studios (whose cartoons were released by Paramount) and Terrytoons (where Bakshi once worked, and whose Mighty Mouse character was also adapted into a series by Bakshi). The artwork by the character Jack Deebs was drawn by underground comix artist Spain Rodriguez. The film's animators were never given a screenplay, and were instead told by Bakshi to "Do a scene that's funny, whatever you want to do!"
A soundtrack album, Songs from the Cool World, featuring recordings by My Life with the Thrill Kill Kult, Moby, Ministry, The Future Sound of London, and others, was released in 1992 by Warner Bros. Records. It included the track "Real Cool World", a David Bowie song written for the film. The soundtrack received stronger reviews from critics than the film itself, including a four-star rating from Allmusic. Mark Isham's original score for Cool World, featuring a mixture of jazz, orchestral pieces, and electronic remixes, and performed by the Munich Symphony Orchestra, was released on compact disc by Varèse Sarabande. It also received positive reviews.
Read more about this topic: Cool World
Famous quotes containing the word production:
“... if the production of any commodity necessitates the sacrifice of human life, society should do without that commodity, but it can not do without that life.”
—Emma Goldman (18691940)
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (18181883)
“Perestroika basically is creating material incentives for the individual. Some of the comrades deny that, but I cant see it any other way. In that sense human nature kinda goes backwards. Its a step backwards. You have to realize the people werent quite ready for a socialist production system.”
—Gus Hall (b. 1910)