When I first read the press materials for Josh Melrod and Tara Wray’s documentary Cartoon College, I’ll admit that I was mostly interested in the prospect of seeing comix legends like Art Spiegelman, Charles Burns, Lynda Barry, Chris Ware, Scott McCloud, and Stephen Bissette discuss their craft. What Melrod and Wray deliver though is much more—an intimate and often very moving look at the lives of the young artists who attend the prestigious Center for Cartoon Studies. This is a film about passion, drive, commitment, and what it means to be an outsider.
In my review, I wrote: “Cartoon College offers an intriguing story about real people trying to do something that they love, and I enjoyed that. This is a film about the impetus, motivation, and hard, hard work that goes into the creative process. Great stuff.”
Josh was kind enough to talk to me about making the film over a series of emails.
Biblioklept: How did you begin the documentary Cartoon College? How did the project come about?
Josh Melrod: In 2006 my wife, then my girlfriend, Tara Wray, had just finished her first movie, Manhattan, Kansas, and was looking for her next project. She’s a huge fan of Chris Ware and she read an article about how he’d been a visiting lecturer at CCS, which had just opened a year earlier, and that was enough to get her thinking about a cartoon school documentary. She asked me if I’d consider moving to Vermont for a year–we were living in New York, and had been for a while–and I said ok. Then we had to convince James Sturm and Michelle Ollie, who founded the school, to let us film, which took several months of emails and a couple of face-to-face meetings and a trip or two to White River Junction. Once they gave us the green light we basically packed up and moved to Vermont. That was in August of 2007, and we’ve been here ever since.
Biblioklept: So you guys were shooting for like, three years? When you started did you have an idea of the kind of story you wanted to tell in Cartoon College?
JM: Our original conceit for the movie was a year in the life of a cartoon school. It was supposed to be more about the institution and how it was helping to revitalize White River Junction, which had been a town in decline for about a century. So we shot for the 2007-2008 academic year and then started working with an editor in New York that summer. It took about six months to get a rough cut put together, but when all was said and done we weren’t happy with what we had. Part of it was that the story of the school’s impact on the town didn’t quite come together–it was an arc that was unfolding too slowly to really be seen during the year we’d been filming. But we also realized that what really interested us, much more than the school itself, was documenting the creative lives of the students and witnessing these aspiring artists at a very pivotal time in their careers. We basically scrapped the rough cut, which was a pretty difficult decision, and went back to film for what turned out to be another year-and-a-half.
Biblioklept: Some of the students, like Blair Sterett and Jen Vaughn, for example, are on screen a lot more than others. Was this because they were more open to the cameras? Were there students who were reticent to talk to you?
JM: Jen is kind of a natural in front of the camera, so in a sense she was more open than some of the others. But there were only a very small handful of people during the entire production who told us they really didn’t want to be filmed. A lot of the cartoonists we spoke with are fairly introverted, and quite a few, both the younger and the more experienced artists, discussed how they express themselves best through their comics, but it doesn’t take too long for most people to begin to forget the camera is there.
Biblioklept: I like that the film is really about the career of cartooning, and that the film focuses on the arcs of these aspiring cartoonists. You’ve got all these great interviews with people like Chris Ware and Art Spiegelman and Charles Burns, but their comments ultimately work to illuminate or enrich, through their perspectives, what the students are going through. It seems like there’s a lot of restraint and wise editing on your end here. Can you talk about how you put the film together? I’m curious how intuitive the process of forming the narrative was . . .
JM: By the time we finished shooting we had something like 150 hours of footage. I don’t remember how it all broke down, but maybe forty percent was interviews. There was a lot to go through. But it was pretty clear what the character arcs were for Blair and Al and Jen. Actually, it’s kind of hard for me to remember the process in any great detail. I was just starting to work on the rough cut when Tara and I had our twins, so for the first six months of the edit I was working from around ten at night until six a.m., stopping every couple of hours to help with feedings and changing diapers, and getting a few hours of sleep here and there during the day. It’s all very blurry, and sort of miraculous that I finished the rough cut at all. My method of working was to cut the footage down from 150 hours to just 10, which is a manageable amount of material, and from there put together an assembly that had the basic structure of a movie, and then loosely refine that into a two-hour rough cut. Then I went to New York to work with another editor, Chris Branca, who came in with a ton of great ideas and further refined the story. As for the interviews serving to illuminate what the students were going through, that was pretty organic. The challenges that a person faces when they decide to become an artist are fairly universal–the self-doubt, managing your time, coming to terms with your own limitations, figuring how to make a living, etc.–so the experiences shared by the established artists were in-line with what we documented from the students.
Biblioklept: You brought up that Tara’s interest in Ware’s work kind of sparked the genesis of the documentary. Were you a fan of comics too? How much did you know about the cartooning world going into the filming process?
JM: As a kid I loved Calvin and Hobbes and Bloom County/Outland and The Far Side, but those all ended when I was in high school and I pretty much stopped reading comics at that point. Then, after Tara and I moved in together, I’d pick up some of the books she’d leave around the apartment–like Jimmy Corrigan and Hate, I remember in particular–but I knew virtually nothing about the cartooning world when we started the movie.
Biblioklept: Have you become a fan since then?
JM: I love comics, but I’m a very casual fan. I still gravitate towards non-graphic novels, and I’m not quite sure why that is. Comics certainly demand more attention from the reader, if the reader we’re talking about is me–the interplay between the pictures and the text require a level of focus that isn’t needed when you’re just reading words, although I’m not sure I ever noticed that when I was a kid–and so maybe it’s that I don’t always have the mental energy to pick up a heavy graphic novel. I am really interested in reading comics from the people in the movie–CCS graduates are doing just incredible work and a lot of the former students we followed are starting to put out books now. Katherine Roy just illustrated a book and has a couple of others coming out soon; Jen Vaughn released a book last week; Josh Rosen is going to start serializing the project he was working on while we were filming; Joe Lambert, who we interviewed but didn’t appear in the movie, although he designed the poster, made a book about Annie Sullivan and Helen Keller that’s just incredible.
Biblioklept: What kind of movie would you like to do next?
JM: I’m working on a short, a fiction movie, with a couple of guys who used to edit a literary magazine with me. It was called the Land-Grant College Review and we published for five or six years starting in about 2002. We wanted to work on something new, and I’m really interested in doing a narrative, and they’d been thinking of doing a screenplay, so that’s what we decided to do. We’re still writing, but we have some good advisers on board and the plan is to shoot next summer. And I’m in the development phase on a pair of new docs. They’re both about personalities, as opposed to being issue-based, which is a common denominator. One follows a semi-famous performer and the other involves a family on its summer vacation. It’s still pretty early to talk confidently about any of this stuff. I just have to keep plugging away and see what happens, but these are the projects I’d like to do next.
Biblioklept: The docs sound intriguing. I spent some time in the Land-Grant College Review archive just now—what a great collection of authors. Your little microfiction there is a good creepy laugh. What are you reading now?
JM: Thanks! We had a short but good run, and got to publish a lot of great writers. One of my most prized possessions is a postcard that David Foster Wallace sent me–in response to a letter I’d written asking him to send us a story–saying that he’s “just working on stuff that isn’t suitable for publication any place.”
As for what I’m reading, I just started [Erik Larson's] The Devil In The White City, which I’d been hesitant to open for a few years since I do a lot of reading before bed and I thought it would mess with my sleep. So far so good.
Biblioklept: Have you ever stolen a book?
JM: No, never stolen a book, but I have gone a long time without paying for a book. A lot of the books on my shelf I picked out of piles left on the curb or at the recycling center near where we live now. Sometimes I like to let the universe decide what I read depending on what I find in front of me, which is how I got to read The Universe And Dr. Einstein, a lay readers guide to general relativity that I still managed not to understand.