Now spending more time at home in Los Angeles, he launched his own production imprint as an outlet for other projects: “Nilsson House Productions”.
The Point‘s origins trace back to the early weeks of 1970, with Nilsson taking a brief hiatus from the album recording cycle. And rather than a theatrical release, The Point was literally made for the small screen. And while the two films shared a noncommercial visual style, The Point was distinctively Nilsson’s brainchild, with the animation being done by one individual ( Yellow Submarine boasted a traditional studio staff of over 200 artists). The hallucinatory, psychedelic world was crafted by designer Heinz Edelmann and animator George Dunning. The band, though, had little to do with the film. 1968’s landmark Yellow Submarine feature redefined animation as an artform that was anti-Disney in both visual sentiment and storytelling (it was the same year that John Lennon infamously answered Nilsson as his favorite “American group” at a press conference). Retrospectively, the idea of a Nilsson animated film conjures up thoughts of the musician’s well-publicized friendship with The Beatles. A sudden experiment in animation truly came out of left field. By the early seventies, the musician had been on a prolific trajectory, releasing an album a year since his 1966 debut. The elusive, charming quality of The Pointis as much a mystery as it is understood. It’s hard to imagine the musician’s legacy without it. Like a true passion project, Nilsson feverishly sold his concept of an unconventional children’s fable based around fictitious characters with pointed heads (and an archetypal “outsider” protagonist). Following a slew of canceled meetings, Harry Nilsson managed to secure an airplane seat next to an ABC executive to finally pitch his idea for an all-ages animated film.
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