Style
Silverman's direction and animation is known for its energy, sharp timing, adventurous use of design elements and often complex acting, involving expressions and poses which are often quixotic, emotionally specific or highly exaggerated. It frequently recalls the works of Ward Kimball, Tex Avery, Bob Clampett and Chuck Jones. His most prolific period of work on The Simpsons can be roughly categorized as beginning with the "Tracey Ullman" episodes and ending in or around season eight of the series, for which he animated Homer's psychedelic dream in "El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer)". Other representative examples of Silverman's work on "The Simpsons" include the Homer's histrionic, spasmodic heart attack in "Homer's Triple Bypass", Homer's demented hysterics over the iconic painting of poker-playing canines in "Treehouse of Horror IV" and subsequent turn as an even-more-deranged appropriation of Jack Nicholson's character from "The Shining" in "Treehouse of Horror V", and Homer's archetypically cartoonish reaction to Bart's prescription of Focusyn in "Brother's Little Helper".
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Famous quotes containing the word style:
“One who has given up any hope of winning a fight or has clearly lost it wants his style in fighting to be admired all the more.”
—Friedrich Nietzsche (1844–1900)
“I shall christen this style the Mandarin, since it is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one. It is the style of all those writers whose tendency is to make their language convey more than they mean or more than they feel, it is the style of most artists and all humbugs.”
—Cyril Connolly (1903–1974)
“The difference between style and taste is never easy to define, but style tends to be centered on the social, and taste upon the individual. Style then works along axes of similarity to identify group membership, to relate to the social order; taste works within style to differentiate and construct the individual. Style speaks about social factors such as class, age, and other more flexible, less definable social formations; taste talks of the individual inflection of the social.”
—John Fiske (b. 1939)