Beatle - Comics  

The Beatles cartoons were screened in the US  from September 25, 1965 to April 20, 1969 on ABC Television. They were then seen in syndication and overseas. The series was also repeated in the US in 1986 and 1987 on MTV

The animation was done by various studios including TVC of London, the same studio that later produced "Yellow Submarine", the Beatles feature-length cartoon.  Three other animation studios were also involved in the series. They were Artransa in Australia, Cine-Centrum in Holland, and CanaWest in Vancouver, BC. 

 SUBYELLOWMARINE

``Yellow Submarine'' was  embraced as a ``head movie,'' leading to an observation attributed to Ken Kesey: ``They say it looks better when you're stoned. But that's true of all movies.'' All of that was many, many years ago, and now here is a restored version of ``Yellow Submarine,'' arriving like a time capsule from the flower power era, with a graphic look that fuses Peter Max, Rene Magritte and M.C. Escher.

'Yellow Submarine' was written especially for Ringo to sing - most Beatles albums included a song featuring Ringo on lead vocal

The sing-a-long segments were very limited animation pieces, which showed The Beatles, most of the time, in "mini adventures" while the song lyrics were shown on the screen below.

Once upon a time, or maybe twice, there was a land called Pepperland. Eighty thousand leagues beneath the sea it lay, or lie (I'm not too sure).

This is from the book, The Beatles at the Movies by Roy Carr. When the Beatles cartoon series changed production companies, the first company sent the following animation instructions to the second company. The similarities with the actual Beatles are very amusing.John:
John, especially when delivering important lines, really looks the leader. Feet apart, hands on hips, chin up, looking down his nose. With a slightly mocking expression. (This pose can also be used when he is pointing.)
Notice distance between John's mouth and nose.
When facing front he uses a sly, sideways look to talk to somebody.
Pulls funny faces especially after giving order, which he immediately wipes off. He also looks the other way before giving an order
Slightly queer 'showbiz' gestures can be used in long shot. Mostly with hands. Gives feeling that John doesn't take his job as leader seriously.
John moves with fast, jerky, almost aggressive movements.
John never sits - he slouches
Paul:
Paul is the most poised and stylish Beatle. When he talks he uses his hands, with fingers spread to express what he is saying. He always looks straight at whoever he is talking to. He is the one who gets excited when John suggests anything.
He doesn't really walk - he skips
Paul is the same height as George
When Paul is in the background he stands with feet together and arms folded.
Paul sits as though he is ready to jump up and get on with whatever is happening.
When he is making his own suggestions and comments, especially ones suggesting mischeif, he covers up by assuming a mock innocent look, eyes wide and head tilted to one side.
He tends to put his hand to his mouth when he is excited.

In the town where I was born
Lived a man who sailed to sea
And he told us of his life
In the land of submarines

So we sailed unto the sun
Till we found the sea of green
And we lived beneath the waves
In our yellow submarine

We all live in a yellow submarine, yellow submarine, yellow submarine
We all live in a yellow submarine, yellow submarine, yellow submarine

And our friends are all aboard
Many more of them live next door
And the band begins to play

We all live in a yellow submarine, yellow submarine, yellow submarine
We all live in a yellow submarine, yellow submarine, yellow submarine

As we live a life of ease
Every one of us (every one of us!) has all we need (has all we need!)
Sky of blue (sky of blue!) and sea of green (sea of green!)
In our yellow (in our yellow-) submarine (submarine! ah hah!)

We all live in a yellow submarine, a yellow submarine, yellow submarine
We all live in a yellow submarine, a yellow submarine, yellow submarine

We all live in a yellow submarine, a yellow submarine, yellow submarine

 George:
Head always tilted forward.
George never looks at who he is talking to. But his shoulders, which are hunched when he is in a standing or leaning pose, can indicate the direction.
George is the same height as Paul.
George is very loose limbed and angular when he walks. Remember his legs are long and thin. An emphasis on the knees will help the angular appearance.
He often closes his eyes for short periods when he is talking.
George nearly always gives the impression of frowning. This is because his eyebrows thicken as they reach his nose. Notice the way the eyes are drawn.
George never stands. He is always leaning against something. Shoulders hunched, hands in pockets. Legs crossed.
Even when George sits, he looks awkward and angular.

'Yellow Submarine' was issued with 'Eleanor Rigby' as a double A-side single simultaneously with the album Revolver

Ringo:
Ringo is the nice gentle Beatle, although he always loooks rather sad.
Ringo always looks a bit disjointed whether walking or standing.
Ringo walks in a Groucho Marx pose.
Keep upper lip protruding. Keep Ringo's neck thin to help the disjointed look. Keep hair at back long and shaggy.
When Ringo stands he always droops forward. His clothes tend to look as though they are a bit too big.
Normally, Ringo is always deadpan but should an expression be required the main movement is arching the eyebrows. Keep the mouth in a wavy line.
Ringo sits normally, slightly hunched
Ringo is a head smaller than George and Paul

Yellow Submarine was released in 1968, after the Summer of Love but before Woodstock, when the Beatles stood astride the world of pop music, and ``psychedelic art'' had such an influence that people actually read underground newspapers printed in orange on yellow paper.

Though the Beatles never took part in the creation and production of the show, save for the fact that their original music was used, the series still remains a favorite among fans.

During the production of Yellow Submarine, the four celebrities visited the studio four or five times as a group. At least one visit was a publicity photo shoot. Members of the group did visit the studio as individuals from time to time. John and Yoko came by to see rushes, and Paul would drop by to see their progress and to say hi to friends who worked there.

The Beatles originally authorized the film under the misconception that the movie would fulfill their obligation to United Artist as the third film in their three-film contract.

The animation, directed by Tom Halley from Heinz Edelmann's designs, isn't full motion and usually remains within one plane, but there's nothing stiff or limited about it; it has a freedom of color and invention that never tires, and it takes a delight in visual paradoxes.