What is your name and your current occupation?
Lyndon Ruddy. I’m a story artist currently working at Paramount Animation in Hollywood.
What are some of the crazier jobs you had before getting into animation? Â Nothing too crazy, mostly art related jobs, although I did work at an industrial laundry mat when I was 15. The ones with the giant washers and dryers. If I fell in, that’d be it.
What are some of your favorite projects you’re proud to have been a part of? I loved storyboarding on Gnomeo and Juliet, The Legend of Tembo ( the project was shelved) Tinkbell and Planes Franchie movies. Â The Pramount project I’m currently storyboarding on is going to blow people away. Its going to be really good.
Where are you from and how did you get into the animation business?
I’m from Toronto Canada. I went to Sheridan College and studied classical animation. My first job was as a layout artist on Ewoks and Droids for Lucasfilm. It was Continue reading
What are some of your favorite projects you’re proud to have been a part of? My favorite project of all was the 2nd season CBS “Timon and Pumbaa” series that I directed for Disney Television Animation back in the mid-90’s. At that time Judy Price still helmed CBS’s children’s programming division, and she called me in at the start of the season to “meet the new director.”
I got the word straight from her mouth tho take that show to the absolute limit, to the line of cartoon violence, innuendo, bad taste, potty humor, and sarcasm.
She said if I stepped over that line, however, she’d come down on me like a ton of bricks, but I’d better lean as far as I could over it because she was competing with a lot of
pretty “out there” stuff in those days from the competition. Well, I knew what she wanted, I knew what Disney would accept, and I set about making those cartoons with an
energy and relish I had never felt before. I remember calling a meeting of the entire crew after that meeting and telling them what she had ordered. As far as we were concerned,
we now had carte-blanche from our client to make the absolute funniest, whacked-out cartoons we could make. I remember telling everyone, “Enjoy this, we will most likely never pass this way again.” Prophetic words, because never again did I have the control or “hands-off” attitude from the Disney (or any other) execs and the network when creating or working on a show.
The closest thing was at Continue reading
What would you say has been your primary job in animation?
For most of my Computer Graphics career (Since the early 90’s) I have been a 3D artist. I have done my share of animation, video, short corporate films, and web media. The smaller the company I work for, the more animation I seem to do. I often have to wear an Animators hat when its called for. So, I would say I primarily do 3D Pre-Visaliaztion Animated films, well at lest I did for many years before I started working in the game industry. What are some of your favorite projects you’re proud to have been a part of? Sherlock Holmes in the 22nd Century (DIC-1999?) – mostly because it was early 2D/3D mixing on a project that was supposed to be another cheap DIC p.o.s. The show was typically short handed but everyone involved really got into it and I think it shows. It was Emmy nominated and still gets airplay 10 years later.
Curious George (TV series Universal 2006-2010) Kids and adults like it despite PBS’s educational mandate. Fun crew to work with. It’s a character I remember fondly from my childhood, so it’s been a privilege to ‘play’ in the world.
Teenage Mutant Ninja Turtles (Fred Wolf Films – early 90’s) It was my second job in animation. A real trial by fire because of the insane schedule that first year. I had to learn a lot fast to survive, so I guess the pride comes from that…survival. We did something like 95 1/2 hours of animation in one year – Turtles, James Bond Jr., Toxic Crusaders… it wasn’t all pretty – but it got done. How did you become interested in animation?
I was assisting doing comic books – which meant spotting blacks, doing backgrounds…doing grunt work. It didn’t pay shit but it got me out of the vacuum I’d been drawing in. One of the guys at the little studio we worked at was doing freelance props for DIC. I asked him how well it paid. He drew a quick ellipse inside of an ellipse and said, ʺ See that? That’s a plate. That’s $35.ʺ Continue reading
What would you say has been your primary job in animation? I’ve primarily worked as a writer.
An outrageously fun side job I had was doing a voice on a cartoon (“Detention”). Unfortunately, with so many incredibly skilled voice actors and celebrities in the mix, that work is wicked difficult for an average Joe comedic actor (like me) to get.
What are some of the crazier jobs you had before getting into animation? Before coming out to Hollywood, I worked in the paint shop at a company that made those open refrigeration units you see at supermarkets. My job was to rub down sheet metal with solvent, hang it on racks, then wheel the racks into walk in ovens (which were always running) after the metal had been were painted. To say that job was a motivating factor in my move would be an understatement.
Since moving to Hollywood, most of my crazier jobs have been as an actor.
What are some of your favorite projects you’re proud to have been a part of? I presume you mean animation projects. Let’s see…Currently, I’m very much enjoying writing for “Scooby Doo, Mystery Incorporated”. The people there are great and they’re really putting a lot of thought into the series-wide arc and the whole re-invention of a classic series. Come on, it’s Scooby! What’s not to like?! In the past, I’ve enjoyed writing for “Histeria!” and Continue reading
Inspired by Jorge Louis Borges, Chris Marker and David Lynch, Dagher’s highly stylised monochrome visuals perfectly complement the music’s filmic style. He says of the piece: “Keeping it black and white and raw was important while trying to translate the feeling of each track into an animated vignette. The tracks are so versatile and eclectic and it was a lot of fun to try and tie them all up together visually.”　
*PRESS RELEASE*
　
‘If debut track ‘Friend’ is anything to go by then Model 86 might just be the most eclectic producer in London at this given moment.’ – NME
‘New EP ‘Self Help Dance’ recalls early 90s Warp – the woozy, hypnagogic realm of Scottish duo Boards Of Canada or the more blissful sides of LFO.’ – Clash
　
Emerging from the electronic music scene is Manchester-born, London-based producer MODEL 86, with his debut EP ‘Self Help Dance’, due for release on 18th September.
　
Enigmas in modern music are no new thing, but MODEL 86, the moniker of Matthew James Wilcock, takes things further than pseudonyms, masks and no shows. His minimalist facebook profile states his gender as neutral, and this refusal to ascribe to cultural definitions translates to his shape-shifting musical style.
　
Written over the past year, ‘Self Help Dance’ defies genres, taking influences from modern electronica, 90’s hip hop, film scores, unusual samples and sound design in a style that calls to mind the likes of Flying Lotus, Boards of Canada and Dorian Concept, while retaining a bold originality.
　
At times soaring and melodic, at others driving and percussive, ‘Self Help Dance’ is an EP of true sonic experimentalism. Whilst tracks such as ‘CTRL’ create an ethereal atmosphere with ambient chimes and progressive highs, tracks such as ‘LA’ and ‘Friend’ combine chaotic beats with melodic tweaks, fizzles and cinematic glitches.
　
Accompanying the EP is a hypnotic teaser video directed by the award-winning Ely Dagher, who also provides the full colour matte print artwork for the vinyl. Inspired by Jorge Louis Borges, Chris Marker and David Lynch, Dagher’s highly stylised monochrome visuals perfectly complement the music’s filmic style. The pair are no strangers to collaborating, having also worked together on the short animated film ‘Waves 98’, for which MODEL 86 composed the soundtrack and Dagher was awarded the highly acclaimed Palme d’Or award for ‘Best Short Film’ at this year’s Cannes Film Festival. A trailer for the film also featured on VICE/The Creators Project.
　
An artist who spent his formative years listening to NY hip hop artists such as MF Doom and Edan, and discovering a range of genres from 70s funk and jazz to Polish progressive rock, MODEL 86 began developing his style at a young age, when he first discovered Acid Pro and bought an MPC 2000XL. Dropping out of art school to pursue his desire to express himself through sound, he perfected his talent by producing music and sound design work for rappers, commercials, TV and film, for which he will produce several new scores this year.
　
Now finally coming into his own, this special 10-track EP features bonus track ‘Swell’ on digital, whilst the vinyl release will feature ‘Friend’ and ‘C.T.A.S’, alongside exclusive 7″ track ‘Hangin With Virginia’.
　
Seeing many people from his youth stuck with narrowed prospects from growing up in one of Manchester’s most　underprivileged areas, MODEL 86 places a strong importance on helping yourself. This, mixed with his own psychological and　physiological　experiences of anti-depressants and a fascination with mental health, is reflected here in the EP’s title ‘Self Help Dance’, making an intimate offering　which is sure to resonate long after listening.
