Career
Some of Allen's earliest animation work can be seen in the 1970 16mm student film, "Equinox", expanded from a short film to a feature length film by Jack H. Harris, later re-titled "The Beast" for VHS video release in the 80s.
Although he had been working for years in animation, mostly doing commercials like the Pillsbury Doughboy, Allen made a splash on movie viewers when he animated the "Nesuahyrrah" monster who appears at the climax of the semi-porn low-brow parody comedy, Flesh Gordon, produced by Howard Ziehm in 1974. The film also featured an impressive animation sequence from long-time Allen friend Jim Danforth.
Allen's ground-breaking model animation opus contribution was a legendary Volkswagen commercial made in 1972 in which King Kong spots a giant version of the car from his Empire State Building perch in New York. Climbing down from the building, Kong puts his human "date" into the passenger seat, gets in the car, and drives down Fifth Avenue out of sight. The spot aired only once on network TV, and in spite of favorable public response, was pulled because VW executives decided that they did not like the image of an ape driving their car.
Allen joined with Jim Danforth, a long-time friend, to provide model animation for the low-budget horror film, The Crater Lake Monster (1977). Allen then did model animation for the independent feature film, "Planet of Dinosaurs" (1978), and animated the aliens in another low-budget science fiction film, Laserblast, (1980).
With Danforth, Ray Harryhausen, a host of other model animators, visual effects artists, film producers and directors, Allen helped organize an event in March 1983 at Mann's Chinese Theater commemorating the fiftieth anniversary of the release of King Kong, loaning his VW Kong model for display at the Roosevelt Hotel across the street from the theater.
Allen was also hired to animate the little flying saucers for the hit feature-length theatrical film Batteries Not Included (1987), a story that was originally intended to be an episode of Spielberg's Amazing Stories TV series. Allen and his crew animated the hallucinations and creatures in Barry Levinson's Young Sherlock Holmes earning an Academy Award Nomination in 1985.
His production company, David Allen Productions, also did visual effects and model animation for the bizarre monster movie, Freaked in 1992.
Up until his death from cancer in 1999, Allen was intermittently working on the stop-motion effects for the film "The Primevals", his own production. The film dates from early in his career, in the late sixties, when he pitched an epic fantasy to Hammer film executives. He developed the idea over the years, and in 1978 he began production with producer Charles Band. The film was the subject of a cover story in Cinefantastique Magazine that year, but despite the interest, the production was shut down, then briefly revived twice more, then shut down again. An Allen protégé, Chris Endicott, has done some further animation work on the film and is currently seeking to acquire the rights from Charles Band and funds to complete the film.
David Allen and his production company associates continued to nurture a long-term association with Charles Band, producing animation and other effects for a series of Band produced and/or directed fantasy films released either theatrically and direct to video markets by Paramount Pictures during the 1980s and 90s. Some of the films in this series are the ""Puppetmaster" films, the "Prehysteria" series, the "Demonic Toys" films, and various impressive one-shot productions such as the skeletons of dinosaurs that come to life and do battle in the film "Doctor Mordrid".
Allen's production company, now helmed by Chris Endicott, continues to do effects work on various films.
Read more about this topic: David W. Allen
Famous quotes containing the word career:
“From a hasty glance through the various tests I figure it out that I would be classified in Group B, indicating “Low Average Ability,” reserved usually for those just learning to speak the English Language and preparing for a career of holding a spike while another man hits it.”
—Robert Benchley (1889–1945)
“What exacerbates the strain in the working class is the absence of money to pay for services they need, economic insecurity, poor daycare, and lack of dignity and boredom in each partner’s job. What exacerbates it in upper-middle class is the instability of paid help and the enormous demands of the career system in which both partners become willing believers. But the tug between traditional and egalitarian models of marriage runs from top to bottom of the class ladder.”
—Arlie Hochschild (20th century)
“Clearly, society has a tremendous stake in insisting on a woman’s natural fitness for the career of mother: the alternatives are all too expensive.”
—Ann Oakley (b. 1944)