Recently his credits include The Triplets for HBO, and currently he is in Turkey directing a TV series called Bay Dogs, a take-off on Bay Watch. After Yellow Submarine, Balser opened his own production company in Barcelona, Spain where he produced TV series like The Jackson 5, The Lion The Witch and The Wardrobe, Peanuts for CBS, Barney for BBC and many more. Bob and his wife, Cima, fondly recall an overnight "meeting" with Edelmann and his wife, and a bottle of Scotland's finest whiskey, when they hashed together one of the "final" scripts. One of the few American artists on the team, Bob Balser directed and storyboarded all the scenes that were pre- and post- Pepperland: Liverpool, the travel sequences through the various seas, and the return. In honor of this event, let's take a look at where many of these creators went after that day, and where they are today. Photos of this mob scene are always featured in good Beatles retrospectives, and it will be forever remembered by all the three dozen Yellow Submarine contributors I've interviewed. Jis the 30th anniversary of the debut of The Yellow Submarine at Piccadilly Circus in London. So with the contributions of a dozen or so talented individuals on the central crew, combined with Edelmann's avant garde design, The Beatles' Yellow Submarine sparked a new spirit in animation, and a whole new generation of artists were turned on. Thanks to Edelmann's knowledge of the classics, and to the writing direction of Erich Segal, a professor of Classics at Yale, The Yellow Submarine seems to flow like the classic/mythic Hero's Journey.
Edelmann is also the one mostly responsible for the storyline as it grew from the original simple script in the vein of the ABC Beatles children's cartoon series, to a psychedelic experimental animation landmark reinforcing The Beatles' essential message that Love overcomes all. Edelmann was responsible for every piece of the design throughout the film, all the Pepperland characters, all the monsters and Meanies, and most of the design of the other scenes. But if you had to single out one person for credit, it would have to be art designer Heinz Edelmann, definitely the leader of the parade. There were many times that they were literally making it up as they went along. Instead I learned The Yellow Submarine is more like what its art designer Heinz Edelmann calls, "the ultimate piece of white noise," meaning it was truly a composite of contributions of dozens of different talents. It didn't take long to realize there was no one great genius who created The Yellow Submarine from start-to- finish as a mythical "Hero's Journey" imbued with hidden meanings. Many of these interviews were broadcast on my radio program, 21st Century Radio (currently heard on WCBM 680 AM, Baltimore, 7-9 p.m. Although I began researching the film in late 1968, it was not until 1991 that I began to answer most of my questions with a series of interview specials with the primary creators. Being an artist myself, specializing in large city murals and commissioned watercolors, I was entranced with The Yellow Submarine, and determined to one day find out who was responsible for what I thought was a masterpiece of subliminal meaning and powerful symbology masked behind the exquisite color and ingenious design. It was a grizzled human who didn't leave the theater after the Yellow Submarine Experience feeling more positive about the world and the power that Love has to overcome all Evil. I sat through it alone, with groups of friends and fellow seekers, and watched a whole generation fall in love with the Yellow Submarine's bursts of color, its visual and Liverpudlian puns, and montage of mythic images that sweep over you to the tune of the most magical music The Beatles ever created. In 1968 when I experienced The Beatles Yellow Submarine, it was common to sit through several showings of the picture, watching it over and over. In order to be truly appreciated, The Beatles' Yellow Submarine is a film that has to be experienced rather than just watched.
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