Djsm~, AnJnj~' Frank Thomas and Olli ~ J

1-

The Illusion of life

Disney Animation

YSNEp
1:01'1"10:'

New York

Th~

Illusion of Lif~
Disn~y Animation

Frank Thomas and Ollie Johnston

Thi s book is ded icated to

Wa h Disney
~1Ild

the sta n' or artists

who brought the magica l qua lity of lire

10

character animation.

Cnpynghl"

19~1.

W lll),,,,"Y P,od""hOn.< a

"II ,iglll' """ ...."'01, 1'1" 1"''' of lh" b<~.l "lay he u""d or "'pf\~I"<,,," ," any "~",,,cr ,h"", the "nl"'" ]",.,,,,)Sinn of 110" 1'"hIo Shc(, Pri" ted i" 1 ",ly, I'm ;" fo r"" " ,,,,, ,~~I "'", D,>,,"}' !:"ILLlm,_ 114 hflh ,\w,,"'-'. Nc",,' Yo rl. r-. Y 100 11.

wi"""",", ,...

l.ibm!)' of(;01'11"''<' (,:"~I"it'ng-I".l'ubbc"i"" Dal. Tbom.,"<. Franl. 191 2 rile ,II","''' "f hr~ l)""C)' ""ima"O" I I ","k Tho,,,-,> "nJ Oil..: .k,kn,'on,
I <III YI"""" "I,

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K~". <', l. "r : I)i ,H ,\ ",,,,a,,,, l\. Pop" la, .'t!, I~"", . "y hld",I .." bibh~" I,j,,,:al 'de.e ....... ' 000 ",d<~.
ISUN (). 7 ~I\lI .tw07(1. 7

_ II"

I. \\"all lli>ll"Y Pn.d",'lIol\S. 2. A"""alc't! mm. L.n,'c't! Sllllc." I hstory and cr",c,"l1~ I JoIIo<1olL . Oll,~ . 1'11 2 II 1l1'Nua,. rml1k, I ')1 ~- Ui,,,,:y allll1\;l"()I1, III Til le
M '1 7 (,(,.U S2n~~

1'1<15

95_1'1427
e l l'
IO'J87 6~4J

Contents
Preface

Acknowledgmc ms
I.
An Art Fonn [s Bom

13
29
47

2.

The Early Days 1923- 1933

'111 Pri nciples of Anim ation C

3.
4.

Oiscowry 19J4- IY36

71
93

5. c.lnoon Comes of Age 6. Appea l and Dynamics

,. ,
10
II .

7.

Hyperion; l bc

E~ !lI()1;ion

"'
285

14 1

Burbank and The Nine Old Men

159

Our

Proccdur~s

How to Gel It on the Screen The Disney SourKIs

The Follow-up FUll(.1 ions

185 243
303 319 367 393
441

12.

13. The Uses o f Live AClion in Drawing

Human> and Animah

14. 15.

Story
C h~ractcr

Deve lupment

16.
17.

Animating bf'TC-...~ions and Dialogue

Act ing and Emot ions

18. 04her T )'pcs of Animat ionand the Futuro

'"
509

Notes Apf't'ndices
Index

<

Preface
Thi$ book is about Dimey chanw:~ animation . an an form !hat CTtaied such " 'OrkHamoos cartoon fi,u~s as Mictey Mou~ and Dornlld Duck . DiUICyanimae!lablin, us 10 gain perspective and insiglu 011 e~nlS lhat had gone: wh;u ing by ~k when ..~ wen roo busy 10 1\01; or appnise . Ottasion:llly _ individ ual disagrttd wich anorher over inl.rprtUlion and e~n Il'>lIccrions. buc. lhen. argum.ncs ...re Ih.ays daily (l("(:urt"tnS when we " "ell' mU ing chc pkwrcs . ThaI was an i"'ponanl pan of Ihe I.am effort . Many will loot. to Ihis book to teach lhem the SrctS of Disney animal ion SO Ihac lhey can become: huclnl $lICCU5eS. Unfoounac. ly. C craft canllOl be learned his by j use readi ng a book . and not ..... emighl under any c il'C\lnutancu. Our original intention had betn 10""';11: I book 00 how 10 animal hoping we could offer inspiration racher than _Ihing 10 ropy. bul as ..~ did our ,,"search ic became obvious C"'I c....... was I greacer need 10 record ju~ how this sp:eial kind of animacioo had dcvdoped . 'Those Ii""" ..ere uniqlic: and will never be dupl kaled : ~ nHath of " ...1 was lutnW had been valid in the lhealcr for 5Cvend hun dll'd yUIl a nd concinucs IQ be valuable where..r there is commu nicalion wilh an audience . We fcilihal lhis .... ahh of knQwledge in animalloo ~hould be prc5CrvnI. Ron Milkr. cxecu~ive head of all production I I the Oisney Studios. hoped 10 doobk ~ suff ofanimawrs by 198 1. bu~ he foond. e ven . flC1" an inlCnsi~ scam.. lhat " . lhe~ just m:n lIh.1 many people capable of doing Inimalion in lhe Disney seyle: Wlw ii the Disney style? Can il be uplained? We hope MI. This book is "Tillen for lhe SllKicnl who want~ IQ know how Dis.nc-y animalion was <ic:R: for ~ hi5rorian ...1\0 wants to know why il was 00nc W t " "ly: for the aniSl ".1\0 has ncv~r rea lized the pot.ntial of an;malion as I pro. fusion ; for the genera l publ ic who sli ll wonders. Whal really makes lhem move r We hope Ihal SOrTIC readers will be Slimulat! to carry on lhese lradilio ns and elevale Ihis art form 10 an ever-hi&hcr k~1.

1eI'$, ",ho$e ad,'enturc:~

makes audiences really believe in t~ charac and misfortunes make prople laup-and c"en cry. There is a t ped ingn:dient in 0\Ir type of animation thaI produces drawings that appear 10 think ;uwj make dec isions and act of their (I'MI volition; it is whal Crea lCS 1M illusion of life.
No stud;" Iw been able 10 duplicate this I0O$I ""I'OfWlI (but!fasc .. 11(\0:0100<1) clemen! in our fil ms.
~

be prodUd by Ifl(lney alone. When a proM15 he is coing") make a " Disney_type" film . IIr may thint (hil rull aninwion. nicc c:oIor. and I IaF 1ludgtI .e .U tlla! is n<kd . But Di sncy anima. is mort lIwI dra ..... ing, or animating. or storytcll. l1li. or p;iliMin,-~ is what this book is all 1000ut. In tracing the de~clopl1lcn l of cl\aracler an;nUllion ndIer than the stooio or the men in it , inevitably "'l' will leave OUt the names of many fine anim.. We ~ slighting anyone , but we n:~t even more ha y ilia over!ool:ed a key scene: in anim~cion hiscory or a IpKW SoeqIll:I'ICe in a piccull' chac WOtlld h3V~ helped apilin and clarify oo r meaning. h is. perrn.ps . mis ItIdiDg kl CTtdi! specif ar1iscs ,,ich lhe drawings we IC .... in me book. since Ihis mighc imply Ihac bach Che . . MId the ~ylc (I"", from one person: for this was Iddom me Cas( . So much of OUr o ,,n ...ark appears IItrt !.imply blIIse ;1 was aJl dIM was available after III lIIII'Iy yean . AnimalOf$ uwaUy do noc save lhe ~I $kdches. chuxler drawings. and uperimmcaI plans chat re~11 lhe mosc imporlanc slage, in dtvdoping I pmonalicy or piece of business. In any CIIIt. the tmphasii here is o n lhe research ralher Ihan lilt ptOpIc who did lhe drawings. One ofme mosl rcwuding pans of Ihis project has beat me inkrv~ws wilh old friends and colleagues.
b
~

Acknowledgments
This book bclong~ to the pn>ple. pas! and l'"'5I:nl . of Walt OilleY i'rodU('lions. wl'los.l: ooop:n lion and ass;sI.lo~ made it .11 possible. Speciallllanks muSt go!O Ed Aardal James N. Algar Ken Anderson William Andersoo Xavier Aleno;io An ll abbin Ted Berman Al 8enilK) Carleton (Jack) Bnyd Roger Bmggie Bob Broughton Les Ron ClementS Ufry Ci(mmons aaude CoatS Evelyn CnalS

Bill JU$licc: (ilen Keane

Richmond (I);ck) Kelsey

Kalherine Kerwin Belly Kimball Wan! Kimball Eric l..aJ$OII Fini Littlejohn Ann LlQyd MIS. Ham ( Frukic) Lusl:e Eustace: Lyecll Jim M",donaJd Bob McCrea Bill Mc FlIdlIen Bob MclntQSh Dave Mictr.cnc:r Oarence Nnh Grim Nal wick Maurice Noblc C liff Nordberg Ken OBrien Ken OCQnnor Dale Oliver Bill Peet Ken Peter$Oll Elmer Plummer Manin Provensen Wolfgani Rcilhtrman Leo Salkin Milt Schaff~ Ben Sharpstetn Mel Shaw

(he CAl.'CutivCJ E. CIf\lon Wilker. Ron Miller. and Vince Jdfcnls. for without lhei. continued suppon (lVe. the four 1<)Ili yeal'll we spc m puni!!g it together. this book wO\Ild neVer have been wrinen . We wi~h to Ih~nk the many <kpanments who Wen: ""'"' bclpful Illan their jobs mjui.w. In alphabctK:11 order, they an: : the Animation Research Tum. under Leroy Anderson. " '00 slorW the anwonc from each picture in the !lasemenl "catacombs"; in Archi vu. Dave Smith and Paula Sigman. who tracked down informalion. checked names and dates and spt"lIings and tides and locations; An Props, .....tJos,e skills and mo"'lrdgc in saJvagin& and ~nting mlIlerials ...-ere in,,,lulblc; the tidies In Ink and Paint who furnished uS Wilh illCll'dible work on the cels: the dedicated staff in the Library : Ihe crew in Merchandising and Publications. and Don MacLaughl in in particular; the cooperalh"c men in Still Ca mera and IMir indomitable leader Dive Speno;cr . We are indebted!O tMm all. Wc also a~ gr.udul (Of tM cno;ouragcment received. in N,.,. ~cmber 1979. from Diane D~ney Miller, ","arm reo sponse to our manuscript in its first rompktc fonn . We ".en: very (ortUNUC to ""~e (Of our cditOf the paUmi and scholarly Wahon Rawls . His sensitive COIIu;butions sho>o.ed a remar1cablc underslanding of our purposes that was boIh reassuring and apprttiated . Our !hanks abo go to our ~ympalhclic publiIDcr RCJbc,r"I E. Abrams. whose> persona! intcre ~t in the projt and detcrmination to makc a quality book of our writings and i kelchcs inspired us 10 an cven more critical approach 10 our work . "The day ancr Wah died. Woolie Reithemlan said. From this day on it will never be li ke it was. but only ascach person remembers it. We want tOe~pre5SOUr Iwm'ialion to the following peopi( who helped us remembor the way il was:

aart:

Ed Cool<
Bill Cottrell An Cruickshank Jack CUlling Marc F. Davis Lou Debney Al Dempster Don Duckwall Becky Fallberg Vance Gerry Blailll: (iib$on

"""" '""_
Joe: (iBnI Don (irifr"h

Floyd (iol1fre<bQn

Belly Ann (i""nther Dave lland Ed Hansen T. lice John t leno;h Did Il ue"",r Wilfred Jackson

A" S1evens
Sandy Slrother Hero Taylor Mary Tebb Ruthie Tompson T om Wilhite

1.

An Art Fonn Is Born

. 'Animolian elln f,rptnin .. 'I"II~,'er ",,, mind of ""m e,m COll(t;W . .. Walt Disney

MiUI always has had a compelling urge to make repr!:senlaljon~ of .he things he ~s in the world around him . As he looks 31 the creatures Iha. share his dai ly aclivities. he first Iries to draw Of sculp! or mold their f()l'm$ in recogniUlble f ..~hion. "Then. when he hewme. mon: ski llful. he anempu to caplllre some.hing of a
c<talu",'s movemcnls--a look. a leap. a strogglc . And ultimately. he :>ks to ponray the ,'cry spirit of his subject. For some pn:sumptoous Il'~. man reels.he neW'o creale something of his own thaI appears to be living.lhal has an inner 51I'1:n&,h. a vitality. a separate idenlil)'-SOrnelhing that speaks out wilh authority- a creation Ihal gives the illusion of life . T"~1I1y.five thousand yean ago. in the caves of

soothwestem Europe. Cro-Magnon man made ast<)Und

ing drnwings of ' he animals he hunted . His repn:scnt3. tions are no! only K\:urate and ""aU!ifully df'dwn. but many seem to have an inner life combined with a

suggestion o f movement. Since that time. we ha,'c been inundated with ani.lu a!!enlp\S to .hape some thing in clay or stone or paint thaI has a life of itsown. Cenain anists ha"" achieved marveloos Il'sults: sculptures that are bursting with energy. paintings that speak with slrong inner forces. carvings and dfllwinp and printS that have captured a living moment intime. Sut none can do n,OTe than suggest whal ILappcnedjUSt befon:. or what ...ill happen afler thal paI1icular moment has p;1SSCd. Yel, through all the centuries. anists cootinued to search for a medium of CX p"~ion tlLal wookl permillhem to capture Ihal elus ive spark of life. and in lhe late 18OC1s new invenlions scen>e:d allastlo mU:c Ihi s possible . Along with improvements in the moIion picture camera and the development of a roll f'lm capable of s urviving the harsh mhanisms for projecI. ing its images. a new art form was born, animation. Sy making SC<juential dra"'ings of a continuing action

.... 1lJIll'

JoIM S.......II. fir;~

~8ambi.

and I"..*,,,tin& their phmographs onto a screen al a con>lant ralC, an ani~t II(IW rould creatc ~II of the m(w."",nt and inner tife he " 'as capable of. An artl~t could rcp"'SI.'n! the actual figu .... if he c~. mcllculou,ly caplUring its mo"enICnts and aclions, 0.- tIC could uricalul'<: il . satirize, il . ridicu~ it . And he "'""15 OOIitmlted 10 me ... actions; hc could silovo' mOIlOlllo. fcelinl~. c,.n innermost fCar$ . Ilc could K,,t ..,alIlY 10 tilt d..,ams of Ihc visioNry . He could ..,al. a chuactcr on lhe scr<:cn thai not onty appeared 1(1 Itt li"ing but Ihinking and making dccision~ all by himSl.'If. MOSt of all. to c'.ryones su rprise. this ne w an of animalion had lhe pow.r 10 make lhe audience: :telually fCcllhl: CIllOlions of a ean""n figure . What an ama7.ing an form! Jt is aSlonishinglhut so r.", prof.nionalS h.,.., in~.Sligated ils possibililies. for ... he.., else don lhe aniS( ha~. such opponunitiu for self u",""ss ion? The.., IS a ne",' ueilemc:nl 10 the fanuliar e~mcnls of dl1lwing and design whcn thcy arc '""""'n heroi<." $i~c on a large screen. bul. Il"IOoR: Ihan !hal, the oddiuoo of n1(w.menl opI'lIS the ""ay 10 alll-' uftlimllW new Il'lalionohlps in all areas. And the ""00dol"$ continue on inlo color . E",n thc brightcSl pigments on a painling Can ..,nccl ~k 10 thc ~Ie""cr only a limited amount of light . Their appa..,nl brighlness is 1'<:13I i,'c 10 itsel f . nn~ fronl dark 1 light of aboul 20 10 I. But w'lh the light 0 intensily of III<' proj-eClion lamp ~nd a highly ..,ncctivc scfftn. Ihis brighlllCss factor inc..,ascs 10 an udtina 200 10 1_ II:n l ime~ a$ g..,at! Just as thc slained glaS> ,,'Indow had brwghl dluling brilli..... afttT cenluncs of ... Iat,,dy dull ffl'SCocs. tilt inlroduction o f lighl behInd till: film made .... hol~ new I1Inges of color ,,ail. able 10 till: artist . Add 10 this Ihc potenlial fOf building >lor ... IJIKlmhlpS in SoeqUCnce for wonger cmotional rcspoIIse. and till: artist has before him "" incrNib~ med,um for self e~",""ssion. BUI re .... arding as anima-

lion is, it i~ al:>o . m t:mdy difficult . Slill. once an an iSI sees his drawing,; conI< 10 life On lhe 5O; ... n. he .... il1 IIC,..,r again be quite p.lisfled wilh any OIl11:r I)'pc of upt<:ssion . "The unique challenge of Ihis an form "'"as aplly dc>e:ribed by Vladimir (Bill) T ylla. fir$! animltOr 10 brlnl Irw cmotlons 10 thc cartoon scfttn . ' It ..~ melMionc:d !hat the possibilities of anlmallon ...., Infi nile . It is alilhat. and y.t "cry simplc-bul Iry and do il ! There isn't a minI )"ou can' l do In il u far as composition i~ to ... emcd . Therc isn' t a carKaturist in Ihis country ,,'00 has as much liberty I S an animator here of t.... isting and .... ea'ing hi s lines in and 0111 But I can't Icil you how 10 do il- I wi .h [ (ould. Bill "'a~ spea king 10 a group of youn, animalors ....ho had boc:n asking how he achieved his wonderful rcsults on lhe Kreen. II. ans ..c...cl simply, "To me il' Ii jU>l as much a mysICry as cver bcfore-$Ol"l"lCtlmtS I g.1 il--somccill"lQ 1 don'l . I wool tncw . ItlCn I' ddo il mo: often . " "The problem IS IlOl a single Il1>Ck one . Anllnalion is IlOl just liming. Of j usl a ,",ell-dn,,'n CharaclCT. ~ is Ihc sum of aillhe facton ~med . No matter ""IIlU the de"i1 one talks aboul-wllelhCT fon:e or form. or ,,~IJ dn .... n chsl1lC'lers. liming. or 'pacilli- animacion is ,II lhese Ihings-not anyone . What you I S an animalor ~re intcreSled in is conveying a ctnain f~cling you h~ppcn 10 h~"c ~I that panicular time . You do all sons of Ihings in or<J<,r to get il. Whcrn..r you 1Ilt,c 10 rub 001 IIiouS:tlnd limes in order CO gel it is imltlOllCrial . COII,",)'i"l tJ cerrain Irrli"l IS thc cu<n of com munkation in any an form . The rnpoose mIlle vjc",'Cf is an emotional one. boc:ause an spcaki 10 lhe hean . This gh..,10 ""'mation an almost maenl abillly to ruch inside Iny audience and communicate " 'ith all peoples c~e'Y"lItre, ... gamless of language Il.arnen. It is one of an;malion 'li grcatesl slrengths and ,.nainly one of
n

lbe mosl imp<>nanl aspc'" of ll1i. an for the young animator 10 study and mast~r . As anisls. "'c 110.... h.,c new responsibilities in addilion to I~ of draflsman and designer: we ~ave added lhe d isciplines of lhe aclor and the lheater. Our tools of communical;on are 11-..: symbols thaI all men understand hecau:;e lhey go back hefore man df:veloped spcll.

Scicnlist and aUlhor Jane Goodall repons Ihal c'en les:;er primales. such as the chImpanzee. have a ....hole complex nonverbal communication based on touch, posture. and geslure. . ... The:;e ~clion s vary from an exchange of greelings ....hen mceling to aclS of submission. often ... ilh lhe arm extende<l and the palm lumed duwn . When a lopranking male arri,c, in any

poop. "!he OIlier chimps invariably hurT)' to plIy Ihdr

hIm ,01 ou!Stlffi:hed hands or bow ... ,ng. JU!'! IS courlieTS once bov'w befln lheir king . " Mll'Ii Goodall describe~ how a lone male passing I mOIher arod her family Il:!ponded 10 her gll:eling with a ''''''h. "as . himp eliq..eue demands. then greeled her lOfant. plIuing il gently on tile ""ad while it looked
~.lOUChlng

up al hIm wilh bil! staring eyes . 1 Some tWO hurodrcd ~ s Igns Ib.al clearly d,s.pLay chim~nzcc cmotiomi include preenIng. embracms. charging. kissing. and pounding . Chimps are apt 10 ning lheir arms around u.ch OIlier for runUnln<;'(:. throw Ihings in anger . steal objects funivcly. and scream wildly wilh excitement .' Most of these ex

I \

I ,

! !
J'l'cssions of fcding.! and language symbols are well
k""",'n In ",~n. W~It..r lhey "'" burk<J o.Ittp in his
WbronSCIO"~ Of

Slill xli.ciy mUnlc'II'"'' bc.>tla,-;or.

u~ In

h,s OWn com -

Dogs. 100. !la'-" a ""hole p;!uem of actions 001 only clearly un<krstood by OIhe, dogs bul by man as well. Even ",Wl<)\l( u~ing sounds. ~s can coovey all of 'h~
broad s!"'tlrum of (moll om and feelings, There i.< 1\0 doom wh<:n l dol!- iJ ashamed. or proud . or playful. or sad lot hdhllc,cm, .11')'. disgusted. ,ndillnant). He Sprats ""j,h his whole body in both attitude and

mo"cmc:nl
'Y'I1c XWr is trained 10 tnoYo ' '''~ )ymboh of com munica'io" becau'>C they are his 1001- In trade . BaSICally. the animator i. the actor in IIninkl'cd films_ . Ie is many othf.:r things as well : how ... ver. in his druns to cO""0unic:,lc his ideas. acting become:, his "''''' imporlanl dcvk.... Itut ,he animator ha, II ,pedal problem. On the " age. un of lho: fOl"C'goinll ~)mb()ls arc aerom panied by sonK' kllld of personal magn<:,isnl 'M' can ro.lU"unlU'C ,he flings and al1 i.OOes equally;o,. "ell as .he action lIsclf. n...re is a ' P"" .n . his kind o f rommunicalion .ha. is u.renK'ly ali'c and ,i!al . 110\0'cver. wanderful a.~ .he world af anima.ion IS. i. is crude la '''p'ure camplc.el) ,hal ki nd af ,uhliely. If in ~"ill1aliun we are tr)"inilla shu,,' Ihal "chamcIcr is sad. we droop lhe shoulders. slump lhe body. drop III<' 11<':.<1. add a long face _ and dlOlg lhe f1. YCI lhose s.omc: s)"mbols also can mean Ihal til<' d.arae"r is

'00

,ired . or discooraged. or e,'en li . tlc" . We can add a lur and !,mpoint our ~llil udc a 1I11le he",'" but 1M' is ,he U lent of oor capabililies. "The: Ih'c actor lias anulher :.<I'-anl~J!<: m lhat he can imcrrelalc ..-nh others in the ca>l In racl. lho: producer relics ho:avily un Ihis. When ho: bc~",. a I"'e acllon pic. ure. he SlaM ..-ilh two "'''","S ofp""'cn "hili!) ,,110 S will gellcr~l c somc lhin g sp<:ci.1 JO" by being lIlgcther TIlere " 'i ll be a chemi,,'Y at ""'k Ihal will create charisma. a spc<.'iaJ cxci'ement Ih'" ,,111 dic., an imme diale re~sc from ,he audience The ",: l<", ",it each proj. a unH;jUC' cn<:rgy simply beea\>,"" the)" are re~1 prop . B)" ron'ntSl. in anima.ion " 'c , Ian "'Ih a blank pic of paper! Oul af nowhere wc h;,,c 10 00"", up wi,h chalOlclers 1hal ".., ..,31. that hc . that illtcm:lale. Wc ha,'C to work up Ihe chcmi>lry hc lwccn thcm I lf ;IIlY I< la ui,' ). find way' 10 creatc the cou nter!"'n of ella. "sma. ha,l' lhe ehar"",e", muvc in _ betic"able man ocr. and do il all wnh mere pcncil d ..~"",V . That" enough ehallenJl(' fur an) body TIlesc problems ,,-uuld SCCm ,u C .~~le COII,KIe",bkdiffoc:ullles For achl~~ing the c"mmonIC~lIon ct~lnK'd for ~nlltlal ian, . 1 0'" can 11 ,,'00 "" " ooo.rfully? It dncs il in ~ ~cry simple way Ihrough "h~t "'~ "all "auditnce ,"~ulv~mem .. In '~Ir ,,"n livc'. w~ find ,hal u we ge( (a know JlCU1Ilt ,,~ , ha.e their ex!"' ricnces-w~ sympathize. " 'e cmpath<l.(. "C cnjuy. If " 'c lu"c .hem. "l' bcconK' deepl) concerned ~bout

theu ...df~. We IIecome invol,w in their lives . We IRvol'l: the audi~nce, in our filnlJ lhe ~"'" way. WeMal1 with something they know and li ke_ This ... n bo either an idea or a characler. M Ionll as ;t is famIliar IIIId acrealing. 11 can he siluation everyone IIu c~prncncc<J. an cmoI:ional ruction un[\l:rsally sllartd fllC<'t of sonIWnc , personali ty ea$ily recog nized. Of any combinat ion of these . But lho: re mll.'il be KIIIlI:thlng tilat is kllOYln lI!Id un<k~ood if the film is 10 achlt'l: audience: in,oh"emcnt. In dlt g~at d~ys of ntdio. the~ ""C~ many pr0gram! presented in such a specia l. intimale w~y that lhey drew the li.lening audIence into lheir 'lotieS conlplct.-Iy . The myslery prognm~ ...en: p;IfIicul.trly good Ie Ihls. using VQKl:S tIIal ~lIChed oul to you-.and good sound eff~IS: h.:avy bru lh ing up close to Ihe

mlCTOphone. ~hoing footsteps. a creaky. door. you wc~ held spellbo<lnd . Tho bro;idcasts were prop,ted Ihmtlgh symbols inlO your imagination. and yo .. made: lhe s ituation ~al. It Wall "'" jusl " 'hat you toean!. it wa. what the sounds mad<: you bolie"" and fecI. It ...-as "'" the IICtOf' emotions you ,,'cre sensing anymore. Thcy "'e re y(;ur e motions . Fortul1;llcly . ~nima tion worh In lhe sa"", way . II is capllblc of gctllng ,",ilk the heads of 115 .lIo;he~. in10 their imaginations . Tho ulUljflKfS WIll make OUr little can<XIn character SJld-aclllally. far!-td<lcr Ihan we could ever draw him-beo ll!ie in their minds thai characler is uul. He lives In the" imaginaliom . Once the audience has hecome IRwlvw ",ilh your rnan.:. lers and your Story. almost anything i. pos. ible . Fm a char.Kter 10 be Ihat rcal. he muS! have a per

T IME CHART
1923

1923 to 1933

Walt maln "Ii. WnMt ,/,,1t/I W allSa. Ci ty. In " ug uS!. W.lt romcs 10 Holly.......,. " Coo,Tr\ for AI ~ Fonn. COn'Ipany ,, "h bIOthtr Roy.

.mes.

1924
J"incd by lib I...~fl< .nd fncnd< from " "n.., Cit y. Tum out ,,""
~tu fe

"""'th .

~rin 5"".. " ful.

19 25

... ff gro'n ". 12.

Ne'" cooll"lCl rot one picTu""

. '.ery

th"'"

",ee~ .

lJuy pl'Of'Cn) "" U)pelion A.e. Stan buildi"~.

1926
Mo .. e '0 ne"" "..clio 00 UYP"non .

192/ Complete I. .. Ioiia f,lm . !>!an new ... ie> .... i.h OM "hl
,h~ Lud~

R" Pt>JI.

1928
000$ rights to O, ... ld. S.an, new ""ie, ",ith Mickc) Moo .. Aftef 26 P;~l" t"I: ' . Wah 1

SOUN D COMtS I N - 1929

Nov . 18. St fflmboa, Will,.. open< in New Yor\<..

-- ---- - - -- -- -- -- - - - - -- -- - - --."1'''.

More Ira netde<l .

build; ~ e ~pa!>dod .

Use of soo nd m. k.. Di,,,,,y, f"", most c. l1oon stooio. Animato" flOm No" Yor\<. btli n ani,'mR Firsl Silly S)'mpbony--Sk" ~"" Dan<"~ . .IIid,y, 0 (1<) C/wo. anima.ed min

.oJ()
Staff in"ea.... '" 30.

Chain G'JIIg. has OOi .hat later bee."", Pluto .

anim.",,,.
,tage.

Nt "" buildings added for plu ~ wund

19.31
U~ ly Duc*'in~ .

nample of .. mnger "ari es , Fi"t I'yoot mon hi red .

1932
n()~W'

nnd

T,,~ .

fi rlol eanoon in rolor . S,.n of.n s< hool al nigh,

193)
Thru Urr/t
Pi~. _

" M nd,ng """".. fi nance < e>pllniloo and man: ""dy. Bottom oIlJtprt:I,,,,,, ou

SOIIIIily. aoo. ~rerably. an intcre . ting 011<: . tl~ muS! be WIIIf..,.,:>bk ;b an old , hot . lCl "" exc iling as a -!fIriIIc OIIt(oI . Sptators ean laugh at a gaG. be daukol 11)' I lit... df""I. be ,n"'guN by 5<'fM' Wng ~kly (re. h. hul an of Ihi ..... in hold their Itlmlion r hardy leo mlnUl ... A ~ Ch.rlie Charlin ... aid of hi~ oUln beginnings in lhe m","e husiness, "uuk as I kno:w .1x.11 movie, . I k..., .... III" I\l)(hing t"nsntkd I"'r<o"ality . In addillo n to ~.8 s ami .fftc1S. there n\U,1 be a point of ~nlry through .... lIicll .....it.:" can liknlify ,,;tll \he tOf)" ~,"'ation. ~nd the ~ "'lIY I, ,hrou,h a ch:ll:lct. r "ho ;. like someone 1he)' 111," knovon . lie un be more he ..... c. Of biuer lIIan life .... "11"1<""'" Ihan sin : ' bUI b:I.~lCaU)" It<. ha. 10 be huma" c'K",!:h for lhe aud,ence 1 "mk:"laml 0 him and ;(\cnlif)' .... ;Ih \he problem s It<. be in Ihe

ar.: stuing tlnwn. You """Id be g~~rul . ~njoying c:och <"",I ..."'d. Or you cou ld be "rumphanl a, )w Ih;nt
o f benef . ~''''''ger . more biting ...... ds. Or you could be ''''mbling " -;Ih ragc a, , he ",hoi" idea or lhe lerriblc effrontery of Ihis mechanical age . Suppose lhe ",riter " -en: 10"csick and " riting IU hi, dre am girl- prohably the th;rd ~ uch rnM Ihal "I\If" ing . A ~ill)" smi le might become fi~cd o n his rae. a.. he rc,"Cicd in each sug~ry word . Wilh II;Ilfc kw:o.I ()'cs and heavy ' iglls. he wo.. ld gale inlo .\fIOCe _ing a mofM"tal"Y VISion of her precious fa. '1 "..,.., ..,,,,,Id be kiss,", o f the < rd ",hen he ",.;;tli fim. hN . ... a rel"",a~ III drop it inlll the nllllho~ unlll be Iu.d sighed onc lasl ,ifM and ki,><:d lhe bek'\"cd n~II"I< jn>!

""'1

,,'-en

OllCe mOr(" .

...,.

nc ,rnt AIIII.: , icall lIIime and an ise Angn. Enters' II!Cd 10 &i'~ ller d~ lhe "",i,nment ,,( " 'riting " po.!$4C..:I ....... r IllUIl:innl cire"m"aocr$. beea"", il i. III KIlon m' d of an)' inlere.' "h.b,,~'er wilhoul 1h<..scM.... of rc~nati')" . BUI once a , lfOl" 1"'......... ali\y is inlnxloced g'"" i""',ibili,ics sIMJdcnly bc<:OnlC

apparent.
To be,;n "i'h . i, hdps 10 tlc"dop a s ilualion in ...tlich )'011' im~glllcd personalit y ca" (uIICI ;lIn. Say thal)'llU'" .. .ning 001 on a too.; it is 1II01"l1l0g arnJ I"" ~! is fUlJy 10 kave . You ha'-e been urged to hurry lIP. but just lhen )ou "''''''mber IlI;It you r",gut 10 put tIw ~ 0lIl he(..re Ita" ing hom. ! You mu!>! "rilc a ""itt 110\( 10 )'' '''' neighbor "'ho Iu., It..; lc ~- . a,king her 10 ca'c uf Ihing,. Now. huw w""ld y,,... " 'rite lilt cud'! If )'011 h,,( chosen a ncr-.O\IS. in~cu.(. and dil<l<Pni~ed I'monalil Y in Ih~ 1i"1 place. you will h."I,c allnl'" ""lilllll,,11 hil' o( bus;nc ~~ 1 sho",' all 0 factll Ii the d",.r ""l.r~lt..; ""nf.,;,..... ,he p>nic . lhe I. . 01 be,o, left ,"",hi nd. lhe inability '0 phr.>-.c " o rd.s 10 II.- they n..Lc ~ny ''''''''''. the fluuc r o f inm"""nt .IIM. the Ik>rcrallon . 0.. ""PJK'St 11\0 po!.rotl .... ,,"og It..; card i, highly ind;,nant """",,, Ctlmpulcr in si.ls Ih:.\ It<. n", not p:lld a o:cn~i" b,lI antl has jn>1 scm him hI> 1;1\1 IIOliee . No ... tilt wool. mn>! be chosen w;,h c~re . T"" comPUI'" and lhot '"'"p.n)" Ih'" h.s bn . Iup,d ~ nQUgh to ....n it 1!III;t "" told "If in TIO unccn ain tcrms. There ... ill be 110 on..,."... (rom the ioc ",,,'c ,""eu, allons you

II is easy to !OCt: ht' .... Ihe dc"cioPIIICIl1 of '''' ill(iivi. dual pef5<) n~lil)" in a .Iory s ilualion ca n nwkc ewn lhe dulln t action bomc cntcnainin, . In addilion 10 (he personality . hO\O't'(r. the", . hould be ~ ( han1-'C in the initia l aclion that ..ill enable an ani ""'Ior to show mofl' than one side of 'his perwn;t]il). n.. ,nnsl ;nltr. es,in, e llaraclCr in ,"" ...orld is oot "e r)' u e i, in, ,,-hen ,il1;ng ~nd l islcnin~ 10 .. ~)' nlphon y (oneen _ Our \rue personalil;", arc bes, rc\"uled h)" uur feae,iu", 1<> a chan,c we d ,d nol e~pec' Take a . Imple example of .. goll"cl ~cuing ",ally 1 0 make a eruc: IaJ shot . He >hu>o.', conccnlrat'on and !l..1er

" ,'wAf(;lll

o.;,n,ld! C

"',lmJ;,,!
~'_li~

ella"",,," .

we

minalion as he prepares for the imponam swi nS. llien . suppose he misses lhe ball enlirely. His lrue characler will be revealed 31 once! If he is Donald Duel:. . he will fly imo ~ "'ge and blame lhe ball. If he is insecure and nervous. he will blame lhe club and promptly break it over hi s knee . Or. if he is a popular amateur who has been off his game but has 3 sympathetic galler)" trying 10 encourage him. his response will be biuer dejection. and you will have pathos in your slory . Our goal in these s tudies is to make the audience fulthe en>otioni of the ~ haraclCrs. rather than appreci. ate lhem intellectually. Wc want our vie .....crs not merely to enjoy the situation with n murmured. "Isn't he cu-ute?"' but reall y 10 feci something of ""h~tlhe char acter is feel ing . If ""e succeed in thi s. the audience will now Care about the eharactcr and about what hap. pens to him . and that is audience invohcment . With OUI il. a canoon feature will ne,'cr hold the anention of ils vic",ers. The various aspecls o( what animalion is. whal it could do. and how it worked were learned slowly over the years . lliey werc ccnainly not evident when lhe an form was flrsl di$Covered. c~cept in the epic works o( Winsor McCay. the N..,, York Hrmld' , s kill(ul canoonist. Working essemially alonc:. he turned oul several aSlou nding films between 1911 and 1921. with SOme canOOll figurcs so convincing that he was accused of tracing them from p/IoIogroph,. In responsc , McCay drew a dinosaur for hi s next film. and. incidentally. dis<;oyered the imponan<;e of a canoon chara<;tcr" s per. sonality in establishing rapport with the audience. Today his films arc historic clusi~s. but in their time chey "-':~ not commercially successful. and Chat forced McCay to return to ,",wspaper work . His c re.tions were vinually forgonen for fifty }-.:ars. OChers enlering lhe animation roeld lacked McCay's awel'llrne calents. and few autmpted anything more than whal was commercially aCttplable . Aflcr all. in those early days. movies wc~ Mill a novelty and car loons " 'ere added 10 the progrum only (or amu seme nt 11Iey were not an imponam pan of the shnw. and very liule ~y carne back to the studios thac made them . Audiences responded tO,he gags and preposterous sit uacions. so creative energies went into a search for different approaches. fresh angles. new tricks. rather chan into making hener pictures . When the men in a

Sludio f<IUnd a gimmick. that was successful, Ihey hung onlo itlenaci<IUsly , Max Fleischer had his "OUI of the Inkwell" series, and Pal Sullivan's slUdio produC<'d OIto Messmer's films of "Felix tile Cat." Animaled comic strips. illustrated jokes, live action relimed and combined with drawings. and a variety of othereffons were made to assure COntrao;t rene wal for a struggling "\ldio. Of aU tile early pictures. only tile films about Felix suggested 1M idea of giving a character personality. but his crealors had failed 10 develop Ihi s past rudimentary beginnings. relying instead on visual trick. that gOl audience response. Nothing then gave a due 10 what animation might someday become. and no promising artists were attracted 10 lhe studios_ Most people felt thaI by 1923 ju,t aboul everything had been done Ihal wos possible. and IIle exhibitors were I""king in OIher directions for something new to k.et:p lheir audiences laughing. This was the situation when Walt Disney enlered !he field. and he was nol an immediate succes . In fact. it is uen surprising Ihat he was able 10 get a toehold in this tough business of limited contracts and tighl money. BUI Walt was a fighler and had great detenninalion; he was no aeslhetic artist living in a drum world. As he said. "I have been up againsl tough compelilion all my life. I w<IUldn't know how 10 get along without it." Any man with Wah's talents 001 withoul his spirit and lenacilY would neVer have made il. 'There were conSlanl ballies. many defeats. endless disappoinlmenls: he losl the rights to his cart()()n character. his staff. his contracls. And then when he finally began 10 achieve a bit of sucC<'ss. his studio became a pri'-" 10 be laken over one way or anolher. or run <lUt ofbusi~ss! Union jurisdictional problems plagued him u he devtioped new te<:hnique<. new equipment. and new idea' in entenainmenl. Yet Ihrough il all he never losl bi,love for people or hi s faith in their judgment. " I am inlerested in enlenaining people. in bringing pleasure. panicularly laughter. 10 olhers. ralher Ihan being coocemed witb 'expressing' myself with obscure cre.tlive impressions Thn:M.Jgh those first years. Walt and his brother Roy struggled alone against the people who controlled tb. movie industry. In laler decades when Walt's back

was 10 the wall he had Ihe strong suppon of his staff, whose loyalty and dedication to both lheir boss and their wort kept lhem mak.ing sacrifices Ihrough dllJls of uneenainty When it came right down to it, most of uS were more interested in keeping animalion alive Iban we were in making money. We were beginning 10 sense lhe magnitude of the an form that we were discovering. and ils polential held us like a magnet. Wall was basically a communicator. and in the ani, mated film he found astounding potential forexprening his ideas_ The cart()()n drawing always had been a very simple and direcl graphic form. and whether it WitS for social comment or just amusement it had 10 pcescnt a unified. single idea with nothing complicated ..... traneous. or contradiclory in its makeup. When IIle cuIUUO was transfem:<! to film these elements .<till applied, and nOlhing was dra",'n Ihat was no! part of lhe idea. Background, COStume. character. and e . pression were all de.igned for a sucdncl statemenl. Behind lbe character there was only a horizon. or a house. or a rocklo run into. but Ihat was all. To include only objttts Ihal Were needed for the idea became the basis for a language of drawings on film, Walt t()()k to this nalurally. and if any of his staff introduced something wrong or confusing or "ague. he was quick to nOliC<' and to educate the offender. Walt gradually added lhe more sophisticated graphic symbols of acting. presenting complicated ideu that had 10 he underslood very quickly . We used to indio cate how successfully drawings communicated these Ihoughts by saying Ihal they either "read" or '"didn', read . " John Heneh .' one of lhe studio's most gifted anists. said "We don ' t really know how much we learned here aOOut using images to communicate-to develop a kind of visual literacy ." At the time, oone of us lhoughl in Ihose leoos Or stopped long enough to gain perspective on what was happening. The language of imagery was emerging as II _'eparate an form of its own, fC<juiring skills and disciplines different from those of related craf~~ . NOI every artisl could masler the demands. and mosl failed to realize Ihal they were invol,'.d in something quite different and exacting. '" I Ihink Ihis is a lillie hard for people 10 understand. ,. John continued. "the fact that yOU are devel, oping a kind of language, and a very precise one. They figure thaI graphics are no! precise al all-they're

TIME CHART
Aoolh<:r building
[(If

1934 to 1943

1934
character 'kinks ! Donald Duck .

anim.,;,,"

New wave of .11,,, , ",ns com ing. A,'t i"n .naly,;'_ cia',"". Icrlu", . Pla'full'I"", . FI.\;n~ Mm"~, G""Id~>5 of Spring . Wiu I.i lll~ 11m in'reklLl"

Buildi"l\ fOf In k &. Pa'n!.

Person",,1 passe. 400.

1935
C"""i~

Band Conca'.

fi,,,, Midcy' in color.

/j,<>k,." Toys.

Cam;,."I.

Goi<lrn r""'h. Who Kil/,d Cod ROO;" '

19J6
Mick~,,' ,

Grand Op<"' . Elme, t:l~rh,,"' . W,,/>-.... Thru 1M Mim)' . A'pi"t Climb". Cmlnln, COO"" .
Thru
Liltl~

Another anim.lion
bu ildi ng
~"""""l

1937
1I"~<lii(/n

" r~,,")
Holid"."_
Smwr~' s

pas,.. 800.

Clock C/~,,"us . The Old Mill

A.pl'renli,y grow,

I.n ,n"'",,, I
I
,. ,""""'" "Of'

Animation on
Wall
~itk,

IJr",'~ UII/~

raj/"r.

in'o

to make one

1938

f~al u ",

a yo.r.

Anima, i"n

(l" Prac,imi Pig.

r,,,,uui,,

Thf I'oimfr. Goofy & 11'j/b"r.

""'"Y
lI"mbi
"Of)"

Ugly V"dNnl/

Personnel p..... Ioc)). 1939

eurb.nk Studio fln ishcd:

.nima"""

"''''' _ ,1,"1 ".otl< , ",n,,'K'" ,,,no

n"",ho
"or)"
1940

""rerimen,,1 oni",., ion

full c'rew

stafr mov .. a, work i.

compl.,ed on

Fa"'''',,,.

I
Nn\"Cmbc, I'M()

anima'm"

,,..,
Warin Europe lake, f""'ign

market . Staff cui to 700. Or,obc, I'M I

1'M2
PirlOCChio, Fanlasia. Bambi .11 I"", money II box office . Golden Age i. over.

1943

ju~ SI)rI

IIIe(re pleasanl 10 look 3t. dlty"re ~helic-;n'lead of understanding ..'hal the bait mini is about image .' [don ' t know how e~ anyone could ~ this e~"pt in motion pictures. and . panicv.I;arly, in cartoons-you sure don't He! il in an

of

droJnli~e.

111 school," II ii impossible to judge the films that were m.de, or 1he animation that was done , or e ven whal is worth
Jft~ing in tile mcthodli that " 'cre used, without an

undef'Ualldin, nf this language of imagery th.l1 spol::c flQ!!lihe K tte.. no! drawings by tho:tmel,"eS 01' paintin,~....- i!lOla' cd M iles, oot tile v;wal symbolS o(_io;~tion , When the oulSl.nding violinisllsaac Stem 10';1> ;l>kcd tho: difftfCllI:e bctw~"<!n the great and !he truly great, he replied, "Tho ahil ily to communi ca\C ," It i tho: key illgrcdicn. in eve ry an fmm and "nlinly tile' gNat strength of Wah Ois llC(s gen ius, Wah also a gambler wilen it mattered most, If he believed in I n idea, he would risk lmolulelyevery. thing In Jd it before lhc public, D UI he WilS also prnc. lial tnough to work wilh " 'hat he had, rather than ~t (Of " 'hat he wishe([ he had , Ilc would ""'y, "[ don't know if it's an, but [ know [ like it." and he ftil intuitively that if he liked it IIIe rest of the world would like it, loo-if only he cou ld find the righl way 10 presenl ii , Walt hiId. rc>tlcss natuTC and never liked to do the PIllt thingSl"'ice , As he said o f himse lf, " I can ne"cr SUI'Id $Iill. r must uplorc and e~periment , I am never Alisfoed with my "on:, I resent lhe limitations of my own imlgination _" Where OThers felt luc ky if they o;oukl hang on to whal they had , Wah was ronstantly ~an:hing for new way~, bener ways, and, especially , ways th31 hi s sma ll grou p of artists cou ld handle . As mlny ofl~m .g~ ;n latcr years, "One of Wah' s g=lCSt gifts wu his ability to get you 10 wmc up ... ~h things )'00 didn ' t know weTC in you and that yoo'd ha,~ sworn you couldn' t possibly do!" As the alidicncc response verifitd Walt's cof"'ic lions aboul entertainment. he wa~ able to fight for bener tontriICts thai brought in a lillie more money. Now he could begin to add to his ~w ff men who had be.n b,wer traint:d and artist!; who had a greater variely of talents , Tlle Depression had begun, and young anisu ..'C~ fKed with a bleak foture, if any at all, ;n the~ial ftclds, Tlle only two places fOf employ
IOdtarly

w.u

mem were lhe government.financed WpA and Dis. ney's . In tcn years the studio wem from lhe ow vitality and <.:ntdc. dumsy actions of S,filmOOaI Willit to the surprising sophistication and glowing beaUly of Snow Whitt , Togelher wc at the Disney Studio had disco~crcd many Ihings about communicating with an audiern:e . Wc weTC still to learn muc h more , Wc continued to experiment with many approaches to filmm:.lting and different uses of animation, from 's top motio n " wilh cut outs, limited move ment , stylized design , puppets , and )0, 10 the full "I ani. m:u.ion , Whate~r lhc method. the pictures that tOIthe biggesI response in the theaters wen: al ways !he OlIOS thai a(:hicvcd audience invol~cmc:nt by telling dermil-C Stories through rich perronalilies, h had begun wilb Mi<;key and Pluto, a cartoon boy and his dog, who appeared to think and iugge>-ted !he spirit of life , Tllen, the "Silly Symphonies" portra)'Cd tmotions in their charactel'$. and there had been I feding o( lifc , Finally . in the tell;ng o f fea~-Icngth tales aboul spc<:i rlC characle rs who wcn: con~inci""y real. the full illusion of life WU K hicvcd. Tlle Illusion o f life is a rare acromplishmcm in animation, and it was never really mastered anywhere e~ccpt at thc Disney Studio, Of all the characters and stories and uciting dimension $ of ontenl inmcnt to rome from that incubatOf of idcllS. this is lhe truly uniql>C achic~emenl. This is what moSI he CIamined and uplained, un<leT5100d and apprco;:Qtw, t.aught 10 others and ~ on to the animators of the futUR , It came from new ways o f thinking, ways of making a drawing, ways of relating drawing~ to ClOch o!bcr-ail

!he: refinemenls in Ihis language of imagery, BUI il also clme from new ways of looking at siorie,. Ours "'ere n(lII "rillen down in Ihe usual way: li>cy were dra"'n. because a few ,timulaling pictures could sug &tit far more aboul the potential entenainmcnt in an episode tilan any page of words . More than that . our 5tones were kepi f1e ~ ible unlillong after ti>c first ani_ mation ~ been dQne. Oflen a whole new chardctcr "tlUld appear from nowhere and take ovcr the SlOry. When we ~ed Snow While. there was no Dopey in doe casI. Pinocchio had no Jinlin) Cricket. and 8 ambi hMi no Thumper, An of ti>cse characters evolved as !he: pictures de'-cloptd. A~ Walt said .. The i'>cSlthing, in many of 0111 ptclUrh have come after we thought !he: $lOt)' was tlloro\lghly prepared, SOmelime, we don1 rtally get do", 10 our personalities untillhe story is in animation .. Jt "'lIS ne'"Cr 100 latc Itl make a ch~ ngc : nOlhing w~s el"Cf ~ as long as I"" possibililY c ~ i,~led Ihat il could be made 10 relate beller IU the overall piclUr.: or com munitate more 'Irongly wilh Ihe audience. We slrug gIed to build interesting. appealing characters. bUI Il105t of all ,,'e worked 10 frod ways to make Ihe audio (Ott Jttl lhe emOlions of the animated figurcsemotions the audience could relate to. identify with. and \!eco"", im'ol'ed in . All of lbis look ,lUdy and desire and knowledge and inspil'3lion and monlhs of selection and building. but that is true of any great a1'1i,lic a<:compli<hmem Fine WOIb iIa,~ nt".r been achieved easily nor ,,iIOOUI the

exer.:ise of constant critical judgment. That is why the ,,'orld , greateSl mime. Marcel Marceau, say~ of his own work. h takes )ears of Mudy . You can t ju~t walk Out on tile slagc and do it,' Marcel Marceau also said that his teacher. Etienne ~crou~. had lold him thai II>e principles of communi cation with an audience were the <amc ones in use 2.000 years ago: Ihey had been handed do"n from lea<:hcr to tudent ever sillCe, l1Ie entenainer"s "symbols" thai bring audience identification arn.l arouse s)"fUp.ul>etic feeling . as well as techniques used to poriray emotions. 10 please. 10 e xcile. 10 capti,ale. and 10 cnlenain. have always been known by sollle. At Di,ney s ,,'C leamt.-d lhem painfully and slowly by lrial and enOl. Although wc had the greatest of leaders. I>e was nOi "rictly a 1eaci>cr. Still. by learning the ru!es this wa), we learned them thoroughly. and son"'tim.s wc think we may have added a few foo1notes of our O"n to the histone lore of Ihe tlu:ater . Most of our work has been in only unc small pan of the vast lield of animatiun . There are so many arUS to be e xplored. drawings to be tried. emotion. to be cap. tured. effecls 10 be crealed. new wonders to be secn. Jt is an exciting prospect. Wilh electronic aids being perfected and new tools and materials being used. who can possibly foresee what lies ahead'! It prom.bly will not be another Wall Di sney woo willicad lhe way. but someone Of ",1m group of anists will surd)' disco"er neW dimen.ion. to delight and entenain the world, Hopefully. Ihis book ,,ill be their springboard.

,-

iny.m "",ilt

"'" ,
tJfItra ~B"'"

~.

,.......
MrI1t

- ......
:-

W- _

DIIi, Jo~ItSl()lt .

""fin

Ward K im/xJlI.

AlIt/Sf Frank Thoma.

A WALT DISNEY COMIC

M.J. WINKLER
DISTRIBUTOR.N.Y.
WINKLER PICTURES @

2. The

Early Days 1923-1933

.....tfirsl Ihe curWon medium wm just" "m'dry. but il nf'wr uully begun 10 hil umil "'f Itad morl' flam tricks . .. ,,11Ii/ we del'flOpi'd pUJol/dlilies . W" had /() I:el 1K)'0,," gf'lling u laugh. They may roll in rite aisles. bUI that dotSIl " meall ),OU }'m- u grew pin"r,. You Itav,. 10 Itav,. pathos in the thing:" " Wall Di,ney

When Walt Oi_,,,,y first cam~ to f-lollywood he had no in(enlion of continuing 10 ma ~ . animated canoons. I Ie had done that kind of work in Kansas City. achieving

only meager success with his LaughOGrarns and none

at all with hl~ li rst film. Alic,." Wonder/and. Now he wanted 10 try something that offered a greater outlet
(Of

been praised on T uesday was regarded as only. stcpping s!one 10 something better On Wednesday . All his tl\Qocy went ioto films and the development of a swdio. as Wall began colk'Cting a staff li kely 10

his continuous ,(ream of creali,'. ideas: Walt in-

tended 10 be a mo"ie director in one of the big studios_

II "'as only after his money ran Out and h. was yet 10 be "f'P'l"'ialed by the major produc~rs that he was
forced to return to the one thing that previou s ly had paid his bills. Di,appointing as this muSt have b....,n for Walt. it was extreincly fortunate for eYeryone else . Altboogh he was interested in many different aSpe<:ts of the entertainment world- as he demonSlrated in laler life---animation was lruly the perfe<:\ oullel for hi s special imaginalion and sense of fantasy. Slill. the year 1923 Willi a p:micularly bleak one to be entering that field . As. ,howcase of hi s work . Wall had o ne completed folm. Alia' s Wonder/m,d. and when he sent it off to a cartoon dislribulor he was surprised to re<:eive. in return. a contra<:! for Iweh'e mOre fi lms. This WaS a startling beginning. and if One pIJnned films <:arefully, watched expenses. and <:ul e"cry <:on<:eivable comer, it was f'Os,ible 10 make a profit . BUI Walt was nol inlCreSled in cU lling COmerS. It waS Iypi<:al of him thai anything he went into had 10 be Ihe best. and not just the b<,t of whal was curreotly being done. but the be SI it was possible 10 do. This always made lhe job of pteasing him very difflcull, since the drawing that had

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for lhe average canooni51 1l'~lIy 10 kllOW how 10 imPfO'Ie his "'OI'k. The fun 01 aninlilling. of duinggaas. of

IhinkinJ U funny businrM IIl{$ p

gro'" along wjth him . Ben Sharp5lecn.' firs! of ,he: anima'," tQ~ (lUI from New York , said. " [ ~ a job with I fUlUre. and [ did 1\01 see a promis ing fUlUre at the$<: lllller s tudios . S UI W alt was diffcrc n1. Hi s hiGh regard for the RnimatiOfl medium 300 his

detenninalion 10 produce a _upcrior product grea tl y , 3Jl1X'alw 1 me ." Wah had 1\0 idea then what lho~ 0 superior pic!Urc~ mig\!! tIC or how he " 'oold go about makillglhen,: he had nO'"filans and no spe.:ifte ~Iorics. just the conviction thaI thc:y " 'en: going to be thc: best canoons an)'OI'K' had .,,'H seen. 01' COUI'liC. Ihis was no! a ~w or U";quo: aim. />bny of tho mm in New YOIt. had tried comtanll)' 10 impro~ tho: quality of animation . An cia",.,,, in lioc c".,ninll~
" 'ere fumi5hetl by Raoul Bam! al his !-ludio to help impro"" IhI- drawing Ibility of his anislS. Occasionally. an an imator " 'oold ha"c an opportunity to study a specifIC action c"""fully. and everybody would be awed by the animation thai followed . Still. i, was difficu lt

~~IK~~ (,lve, the Iong-Ierm, II'mingly distanl n: " 'aRk of ~If.impro'e_ menl . In many CI5eS. lhe aspiring an,lit " 'hoo;c c uriosily kept him lleeking more and more knowl(dge oIl(n found himself lilt subject o f ridicu\c from hIS coworlffl . Bill Tylla was asked. "Whalillt Iltll do you wanl 10 go 10 an school for_ yoo'1l' animaling. an:n'l yooT ' They could nOl know il al lhe lime. bUI ilClua ll y lhen: was lillie chance for lhe~ canoonb1-< 10 illiprove. givcn the Iy~ of material lhey wen: animating . The spo! gKlI$. Slc1l'OIyped figun:, . a~rw.:( of personality in the charactcrs. and s lipshod method of working gave lhe anists lillie opportunity 10 u~ any new found kOO\llledgc. E""n the g1l'ateSl 01 animalon would t.a'e w ithered under such limited demands. This is as lrue today a~ il wa. then: Ihe1l' nluSI ~ litO!")' buSlrocloli It.at calls for lood animation or the1l' will be no wcllanimaled scenes . In 1923, lhe animated figure was muved as lillie IS possihle in ~ canoon. and lhen only 10 n:ach lhe loca_ lion for Ihe next gag. If his fttl Went up allll down. he was wal king . If they Wtnt up and down fasi. he was running . As oflen as possible. lhe animall),s cut 10 a $l;cnc wilh lhe characl(rs in place to " pull the gag." and lhen Cui a""ay aflcrward 10 lhe ne~t ~Iup . lIow lhe gag was staged Wll.< very importanl and given canfultbough!. bulthe mo,'Cml'1lI ""as considered more a c~ It.an an opportunity for elllenamment There was 00 allcmp! eilher 10 imital( 1l'al acllon or 10 earicalun: il . Bener W<>I"k had ,,"n dorIC' e~rher . especia ll y by Winsor McCay. but no orIC kllC"" 110.... il had been done . A fe w wished 10 impro'c. hut whe1l' " ""Id lhey study? Who c(""ld leach? It "" as e~Cn m01l' difficult fur begin"" ... 1 learn 0 whul tricks already had bttn diS(o~ered . Th~ lead

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animalQn; g=<kd Iheir """reI, carcfull). n~"er revealing IMir pri"ale d~vices 10 anyone . Whal you kamcd)"QII had 10 learn b~' ~'O\Irsdf as best )'ou could. AI Wah's Mudio il wa. different . Ik insi~t~"<J on an optn almosphtr~ where each an i,.1 ~ha,.."d hi, , i~".. , and discoveries . If one man made a drawing Wah liked. he called e>'eryone logolher to point il 001. Or if an action seemed clumsy or 1"~"ly staged. h~ would diftt1lhe anisl immedialely 10 gel help a 'Ironger man. Alllhe de,k, ....'ere in Ollc large roum all he lime (which encouraged di!.Cu!&io ns of Ollc type or anOlher anyway). so lhe .nimalOr'$ talked abool Iheir an and !heir problem' and whal Ihe fulure of the , Indio might be. E"cn in Ihose days. Wah was moving so fasl inlo onoc:haned areas thaI his men Wl:re hard put 10 keel' up with him . No one cO\Ild dony thaI Wall was exceed ingly stimulating and cxdling 10 he around . 1'Iltre wa.< anolller faclor besides lalent and abilily thaI was 10 playa major pan in Wah' , success. It was hi s background as a fannboy living dose 10 lhe soil and working w;lh animals. which had given him a pIlilowph)' ;md approach to enlenainmcnt "ith a uni_ "crsal appeal. He ne,'cr pUI on air<. WI' alwa)'s sincere and heme.l. and Ihesc b.,ic "alues permealed bis .."Or!; . Atthnugh his tastes ha\'c hecn called mundane by some. lie alway, soughl qu.lity and slyle. Wah said Ihal h..... med hi s pic lure. 10 reneel Ihe "feeling of happy .~dtemenl 1 had when I wa' a ~ id .. And trn.1 .piril no....cd Ihrou~llhe project> he touched, There w,,-, one last custom thaI enabled lhe Disney animalors 10 forge far ahead. and Ihi' seems 10 have ~nquile ae.idemal. The)" u",d peg" al lhe bouum of theil drawing boards In hold lhei r work in place ..... hile iJI!he EalllOp pcgs alwap had becn Ihe rule . 11 had _mtd lo&icallo pul Ihe pc~' al Ihe tol' of the board. 001 of lile W3)' of the arti,,', band. and no one recalls why Wall ,Iarted 10 use hn1lOm pegs hack in Kansas Cily. No one knows why Uh'1wcrks' and Ihe olhcr urly animalors conTinued 10 pm up wilh the lillIe OOslluctions Ihal cnnlinua!i)' nicked thcir wriSIS and hands. bul wilhoul Ihis chancc pmccdure animation mi;lll "",'er ba>'e de>'eloped intn a "ilaL forceful. and varitd art fonn . "The rea"", for Ihis is more ,uhjccnvc Ihan literal. OnIwin&S can lie made almust as ca~iI)" wilh ei lher Inp or boltom pegs. and. ""hile rclali,m,hip, in Ihe aeliun

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more difficult 10 see when the paper is held alihe lop, much of the action can be ponrayed almost as well. BUI there comes a lime when the drawings are near completion that it is necessary to "feel" the life sUPJIOO"d to be in them . Thi s can be done onl y by "mlling" the drawings back and fonh. with one finger between each of any five drawings. The aClion is checked forward and backward in minU!e delail or in brood relationShips. Drawings 12 frames apan c an be checked against each other 10 see whether Il1<::y really give the illusion of the aClion wanted. and then al! the subtler secondary leHon s can be studied frame by f_. A whole SUlek of drawings can be lifted off the pegs and nipped in !ieqlltnce to give a good check on the overall &CeRe. but the only wayan animator can le ll if his character is acting as the scene was <;:Qnceivcd is (0 roll tile drawings whi le feeling the action in hi s own body. Usually the animator tries 10 feel tbe action as be makes !he initial drawings. and man y a night he goes home with a stiff neck or a wrenched back after animating a dog in a quizzical look or a stan led duck whirling about in astonishmen!. I! is possible to do a vel)' nice scene simpl y Ihrough careful planning and hard thinking , bIIt withoul being able to roll through the drawings it is impossible to get that extra juice that produces tbe illusion of life. This "'rolling" action ~came so imp<mant during the mid-Ihinies Ihat many an anist tried 10 enlarge his capabilities o f handling mo~ than a mere five drawings at a time . Many tried to involve both hands in the proce<;iure. butlhat lost them the possibility of making pencil corrections or additions at the same time . unless they had l>e<.n trained to draw with their teeth . Even !bat Was attempted . Those were days of invention and
IlIl'

e nthu siasm-nolhing Was impossible. Wall had grown up watching the great vaudeville aclS of the time . acts that had taken years to perfect before an audience. amQng them " Willie. West and McGinty" and " Joe Jackson and his bicycle, " aod also the work of Ihe great downs like Emmet! Kelly. Walt admired Chaplin and lhe olher film comedians, KeatOR. Lloyd. and Lan gdon. and he quickl y unde.stood a basic truth of comedy: the personalily of the victim of a gag determines jusl how funny the whole incident will be . For instance. falling into an open manhole is 1>01 funny in itself. A lillie old lady trying to sell her lasl bunch of violets would gel a very con cerned response to suc h a lumble . An uger Boy SCOUI who fell while demQnstrating counesy to his troop by helping a lillie girl across Ihe Strut mighl draw some c huckles. as long as he was not hun by the fall. BUI an arrogant construction boss who hadjusl ridiculed some wone. for not watching what he was doi ng would be cenain to get a laugh. Marcel Marceau used a simpler example: if a dign ified man slips on a banana peel. il is funny . If il happens to a man who is down and out. it is no!. Walt also n:al iud that it was beller 1 build on a gag 0 and let the situation develop than to mOve quickly to another gag. And mosl imponant of all. the thing thaI n:ally g<:>I to an aud~nce was their knowing how the character on siage fe l! about whal waS haJlPening to him : the "' looks " at the camera . the bum. the rage. the helpless stare. the blea k express ion . Lau rel and Hardy used these ructions extensively. and Edgar Ke nnedy was well known for his bum of mounting anger. Years later. Jack Ben ny became famous for his abiJiIy to provoke sustained laughter by llIerely looking blankly out at the audience. Of course. the situation

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tI.lIl lu b.: buil! '"Cry c~rdull} and \.'Ic'"(II)' for lhl~ '0 Ix- cfr~.:hw. bul the hu",.... .)( 1M s;lOalio" I~)' In the lous.: ( N' Iknny ', fa...., and the k""" ledg.. o f ho" h<;fdl . I ( Jlhc, '" ('mediaM knew the ,~I"" 0' thi, d,,\icc. W.lt", Kerr In hi, book. S"<'~I CI"''''I.' points <,,,I Ihal Chapli n '''''k .arc '" (,u.bh.h h,m",,)f a> one

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"r "'. as be longmg 1 ,he world "r Ih .. audience ralher 0 ,"," Ihe characlC" on the >< Iccn. He >h ar~ d e,u)"Ih"'~ " 'illt u>--I rom rIclight 'n di,"rc sS-~11<! Ihi . is the

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qualily Ih., Wah inmilively n:a<;hed for before lhe dlys of Mickey Moue. In his f~ film$. !he c lw'Klen look I I !he Camel'll allll 5hNg. or ha,>:: an embarnscd . 1000hy smile. or regiikr con~cmalion " 'ilh womw brows allll ~WUI pouring off .heir faces in a 11n:am of droplcls . To I~ of us who knew Wal. i. wlS ob"ious Ihll he had acled 001 each simalion and. cNde as Ihal early anima . ion ,,as. we C(>Uld ,isuali1.o:: him up lhere showing how il oughl 10 be done . Walt". glop wen: illlrinsic~lIy n(I I:>cner .han any ocher ~udios. bul lhey " 'cn: llagw beller. " 'ilh ~ Call: taken '0 establiloh .he s itualion . Thc:n: was ~ concern for dc1ail. for building comedy. for mak ing lhe lag payoff. but . mosl imponan . for undernanding lhe fedingsof lhe clwac.ers ;nvolved in. he gags . The dcSQlslion when Ih ings went wrong . lhe happy. bouncy walk when Ihings "l'1Il righl. annoyance w ilh indigni. I~. dc.e""inallon. scheming. fear. panic. compassion _~ were .hings Ihal could be animaled! This ""Ii acti", . and i. ga"IC the animalor a chan 10 Ui<: his medium effecli,-.::Iy-in limi", . in carica.un: . and in ac.ion . Animation began 10 corne .live. and " 'hen lhe audieoccs recognized familiar situations they beGan to iden. ify wilh lhe char:>elcrs' predkamenl$ . They laughed harder and remembered . When Rfflli,r"s Dignl w.nled. biographical s kelch "TIllen on Walt. lhe nug.zine hired Richard Collier. who aln:ady had 1...0 sucssful credits in lhis field. Ont: on MUOIini and lhe OIher on Captain 800lh of lhe Sal'"ation Anny. While at the ~udio. Collier ""ali asked if lhen: was anylhing al all that lhese Ihn:<: men had in c:ommon . His answer was a quick and dcfinile affinnal;ve . "1.11 of lhem had lhe abili. y.o gel oc her

.,,-en

people .o work for lhem, and not jus. a few frknd~ WI many people of diverse inleresls and backgrounds. ,"el)' unlikcly peOple. III wori<ing ...ilh each ocher for Ihis OAf:' man !" Ycan laler ...hen Wah ""ali"kcd " 'hal he considem:l his grealCU achievement. he n:plicd $imply. " Building an organiUlion and holding il . It WIS' n:al ac<:ompl i~h~nl . Walt had ~umw wilh Ihe amazingly lalented Ub I...crl::$ and a few friendS fTOIll Kanl-ls C ily. WI none of lhem n:ally knew anYlhing alxxlI animalion or how 10 make a film . He had pickw up one or IWO young fellows "VIking around HoIly,.ood. bul il ""IS IlOl unlil he was able 10 hoinl <JIll men frvrn lhe New YOIt. Mudios Ihat he fillllUy had some professionals 10 help improve the prodOCl . Typical of Wah. he IOld lhem whal to do righl fror" .he Sian . Wilfred Jac kson." who had conI<' 10 Ihe Siudio in 1928. ~callcd lheirn:aclion. " Sollie of them fell he was lillie rough wi.h lhem allimes . Wah could make you fcd n:a.I bad when he wanted '0. I don' . n:membcr .hem n:bclling when he Ioid lhem 10 do il diffcn:nl . or all.ed for belief animation . . . . Wah""" a '"CT)' p. s uasive individual and a "lC1)' inspiring person and he had lhe IbililY10 make you want 10 do what he wan~d you to do." These early ani lll~lors wen: not anis.. as mIlCh as lhey wen: enlenainen . BUI the field of enlenainmtnl is wide. and any lboughl lhal il ~fen only io humor is "lC1)' limiling . Wah 's ideas of enlena,nmenl ,,-.::nl far beyond gags: he sooghllhe new. lhe novel. lhe unex pec.ed. the beal,lliful. and the colorful s iuwion wilh wannth . Inslead of Ihinking of canoon malerial as being cmenaining. one might r,nd a beller COl1CCpI in Ihe word capl'v.,;ng. " Aud iences have '0 be

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K lves ;IWI'S fOf <.'lInOOJl) to ""'''ted. W311 had 10 f,nd

Xlions lll:M "'~,~ funny tn I~I ,~, yet u s;l)" =<>r' nitt<l as __ hin, b milia,. g3p thaI ,.,ere I'lau<ibk ('I'm thoG, h \~ry int,s inath 'e. situations that "we based on tv\'ryooe 's uperience 00 ehara<;leN that
hid i1lttftS\in~ !k'l"Wf\OIl itie . n...,,,,,, we.e the tl\in~, tllat rould huld an ludic r.ce . and 10 Walt Il\e >' .ude<.l up 10 one simple Ipproac h--~ cl .i"aturc ()f .nti" " . He could be endle~<ly inll<lvative. c ~ pl,"' in g a ll facet ~ of the entcna inn-..:nl "' orl<.l . as long 3 ' he re mcmbc .e<.l always 1 C3pl;,'a(e the au<.li en,e hy ",ali n~ il . 11 0 bclievat.k-h)' making ir real. .. As far back ~. I ,'an ",me m"t>u. Wlltrcd J,:hl>f1 said. "WIlt .... nted hts dra"'-ing.~ th.:!! "" e re anima!ed M ~m to bt ru l th inS' tMt had fee ling., 200 e (11ol)o tions IIId rhou~, and the marn thing " 'as that the lUd~ " ...... td bt lieve them and that lhey wOIItd e:m: ....mt happcM<J III them aoo he u..."tl to .to:" thM ! Re . S~atpSleen e _pssed it thi. " 'a)': " 1 thin~ Witt W initil ll )' ins piI'M b)' aninmoon that II strtsKd ~lWl'Ial ~)' . l"IIe woog impre,. i'lIl th.t il made on bim ltd to hi. o.le$irt to plu, it in subscque nt pic tlUeS, Thi s ,,'~, une of the biggc,t fac tor< in Ihe ! uc cell of 0\1' early Ilicture,; Walt . e""gn il.c <l tho .'a lue of pellOl1 ality an iOl~tion and he ~~n:-,_",d il in , wry

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d~ in the I"" ~ nll"_< ",:os uJMlmiably trude . but the an"n;lIors n.: w . failed to [WS(nt the poinl oflhe sa~ clearly, and lhey d~ !lie rillM s)'mOOhc II) )ho,, tM attitlMb o r Ih( i. figu~> . Nt\"frWk-\., thtK ""lis .... ,.,,,igh!. ..... auemp! at anal .,.y. 110 ;Jt,ouldcn; Of ~pine ' <1. bone> or m ~"",Ic, . The

dmlopm<:nl. .. As 3nim.>lion. the " '"d,

~ t<JTy point~ ~~ lI cd for 00 ~nal y . i, " I' an)' lh inll hc)'ond tho: .t~f!ing of lhe bu $in.: ss, II i> ,,1 "'onder thlt <0111 Wa lt "tark<ias.king for reali..",. If ~n ~'Ol 1>:0.1~. enc ir d e ;0 larce ,>bjN1. it fTIC'fl:ly "'3> "",,,he<.! unt il ~, ( _ ~h to do tM job. If :'l io.~e) ,,"', >IIf'I"'!Cd I() t>cd<on ti> Minn~ . I]u, .J1on ..... s o f hh ~.m II.,..Je tilt h3nd 1 11<1/1; a~ if il " 'ere "'mt~hing hi, nt""" . '0 the lIIo. malt" sim ply drew the ann k"'g enough In got tile hind , kat "r the head . oot where the &,,1110: ~',,,,Id be _ no One dy. ~ lntO!lt by """iden!. "''''l<~,"" ",:ok a !lC'f;'s of draw ing.s that looked far toell Cr Ih,m "n)' lhin~ ~ bcfure . Ea,'h drawing. had So d"", a relali<>",h ip 1 lile 0 tJne prec~ding that "one line " .... ,10.1 1'0110101' Ih ...... ,h to the I..," , .. L., Clark.! who h;,o.l C'"I I(' In II ..' . 10010 in 1927. Io/d of how ama7ed cw.)',,, ... th.:t.t ;om nt:tk ing the l i",,~ tlmo.' throo ~h eac h dra .. 'm~ in a !o( ntS coo k! mak e ...... h a di ff...tOCC In'I,:.1 .... Ihe " XUIO accti' lIl "",,111<1 by a ~p o f ",.".Iy ",Iated dnvo' inj:s. -ud..Icnly WK "'a. a plC3-'in~ ' 1I ~hness thai In! tM eye from drawing. to dra,,-injl. " '[,hi, .... 3. ",ally an c.w itin!; thin!! Ihat we di""" ',,il....r: .. Man )' pr,lbk01S could""" then bo.' ..>I,'C<! . EWf)'ntI<: k""w Iha l it "'~s "",-,,,,,a.)" to ~~ I ~ f~din~ til' "'C I~bl in the <' h.ora.:te(s and ~ hcir P"'I" if ~ \'e r lhe)' were In be ~("",ind"g. but just drawin!! 3 ri ~urc 1 :"jI~ ha, "'~hing tU d<l ",i lh h",. ' hc~\"y hc i~_ " w",~ h,.. r h a ll ,~' n is qu i~ lar!!e. The ,nimat'''' ..,n",d Ih al lhe l c)' 1<' lhe illu! ion "f .... cij:hl lay in lhe liming a ~d f:,r a Cha.;IC~' a',,", fl uid the "" I;,," "'as. bm ir W,", not unlil the)' "" c o::lbk: to stud)' Ii"" :OO;li,," fil"" thaI rhe ""IUli" n fi n.:.t ly "'a~ found . 0 ",',' Ill.: -,<,'rCls ,,'Cr(: 0.1;"';"""""'. th" anim.:"'" s " ................r \... h~ It...- I'fuhlom h;td I>n ,.. , diffo.:u l! . but in the ...: da~' .. til.: :.",,,cr< h;td d udo...l lhe m.

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If an animat",'s drawings fi~lIy refl:tw I more Ulllul "'ay of moving, Wah would be likely 10 say, " V.... r guy jU)\ ~ in and M 'l then: , ., I don't .lee him do an)'lhing_ Vknow guy nn be fllnny 1M w~y be ~ Ihing~. Look at your comedian~ and clown they've all gOi funny ways lhey wal k orfunny timint- ihere'$ somelhing lhen: . We oughta be looking !OI" fMtnaininl way. of ooing Ihinp. We don't wanl IO~ UaigN , y"know-",~'n: not copying n.atun:!" " C.ncalure " and " uaggclltion" wen: t ...-o faVOl"iI '''Q\h 10 !o1imul'le lhe animalor's a~h 1(1 his lttI'Ie. The!;e words could be mi~interprcted as a TC'IueM for wild , uocoolrol1ed action , bUI that course alway~ ended up with, " Look, you'l"\: not gening 1M idea (If .........TIl .rl here !"" T he K lio;m ....! III be tw.'iCdon rnlism . IIlKl 10 fit the stoI"y ~itualioo , pul o V"T Ito.: point ql tbe ~tne, and be in c haracter with <MM. !hillJS bein, door: in different 0""'. And when the animalor felt he was gelli ng close to handling thnl corm:tly, he eOCOlln1ered another admonition . .. y OII're tryi", 10 oJo 100 much in the $l;ent . Nothing comes off WOIIl ba1l.<C the dwaclCr is all ove. the pl;oce . "" An animator had to choosot the be .. aclion fOl" lhe Ipll iw lhe picture, refine it to lbe Jimplest statement, de> it !be hut lie could, make lhe drawing work for tvtl)'thing lie was trying to say, keep the personality ilthe movement, use enough anatomy to be convincins, and do.1 all .n an e nICn.ining way . That ",.l1y '$ IlOl tiki.g lUi) much if one apprttiates whal any good .nor or monte llai 10 consider constantly. Bill lho$oe c-ty ..imalOn ...~ jus.! beginners . As one recalled withoul malice, ""It didn'l mailer how many times )"ou did it over, Wall bad to get ...hat 1\<'.0 wanted_ "~ SilM were ~ 10 help animalors ",member " 'hal ...,. had Ieamed: \

"000'1 tonfu~ lbem_ Keep it ~ imple ."

" Too much action spoils lhe acting ." " Mushy action makes a mll~hy 5Iatemenl." "Say 5OlTIC:1 hing . Be ""'~ . , One man had a sign. ""Why would any""" wanl t(l look al thaI'!" which was " conSlanl reminder Ihal he shoold be s un: lie was f,.ming S(J"JClhing up on !be SoCreen lhat was worth another person 's lime 01" money to watch_ Whenever he lhooght he had yea! illra. Ihal sign >med to tik, "" Rea lly now, would anyone other Ihan your mother like il?" Many aUlhoo h~ve reponed Ih"l "nilllalion W;tS tbe one thing Ihal Walt coo\d not do. A~ he himsclfrealiud Quite nrly , plenly of OIher aMim rould draw bclter than he , but non.: of them seemed tn ha~ his .... ealth o f Otkas 01" the knowledge of huw pie<." IIf buSinc1:5 should be Pft".'Cntw . This gradually callied him to give up hi s own dra wing board 10 concenlrale on 11\<'.0 areas of his great('t taknlS. Alone poinl, he sct up a lable in the middle of lhe animators' room and had them bring their SoCenes 10 him ... hen lhe y we", done . Stlldying the action. Walt ull! ( <II new drawings ...-he", necessary and limed the SUrlCS so lhey would be mos.t effective , He cOITCCtcd staging and e~pret.Siom and was quick 10 wucale those ...orking wilh him . Years lalcr. he adlllined, "11Ic: fellow . who work near me catc h a lot of hell'" As a matter of fx t . Wah could ,ni ma'e as we ll a.< any of the men he had work ing on lhe Alia scries, with the ~~ceptioo o f Ub IW~"'$ who..,as in a cla.. by himself. FOI" five frustrating ),(,ars , from tl\<'.o ""Alice!"" to Ihe mor~ successful "O,walds," Walt sharpened his own thinking while Irying 10 educate hi' staff. hul II( got minimal TCr.oltS. Then in I92H , Charl ie /.iinll, the d~tribolOl" of Walt 's popular O~wald the Lucky

~
-Q
,
"

'"

Rabbi! cartoons, !ook over !1Ie: righ!s!o!he O1~in ehar;>c!er and h i~ away all but four members of Wah' s mim"ion ~tafr. It KConW li ke a diSilStcr at lhe time , but xlually it ~ncd the way for I new group ofaniINIOrs " 'ho would IIOOfI help anirMIion inm _ surprising art form . le:!i Cbrt rommentw abwI lhe men .... ho had lone with Mint7~ "Thesoe animators left the studio " 'hen Oswald len and Iht-y ,,~ nQI the group who Iller animated on Mickey . I think the devel opmenl of animation $tarted with the Mickey anima. 10<$, i nspi~d by W~h 's interest and enthusiasm." At this point, Walt 's undcrMamli,,!! or the meehan

,row

io n, anti ~ u ked all animators 10 work more loosely. The assist.ant woold '"clean up" these: drawinJS tltaI looted I\() sloppy , refi ni nlthem 10 I s ingle line that could be traced by the inkers OIItO celluloid. "The ass istants became: k""",'n u "clean' up men ," ..,.;I the animators developed one innovation after the othn. achit:vin& effects on lhe screen that"" one had tlIougbt pcwItib!c . In _ CIl'lH. the drawings _rc I\() rough it was diffICult to find any cartoon figure inside the tan glw ~ w;rI or Ii..,,.. and the men who " ,..Jc I dock ora doi oot o f s;mudgcs and 5Crate~s had to have I ~ry spccial type o f knowlwge.

bolani"'alion beoan to fall behind . Son", r~n

IIRIIK

iliWlinllliW of~'lIGllhil6100J 1m11111 in I~

rough enahled I ~ animators !u check .... hat they hid done before showing it 10 an)'OOC . Any p:u1 I~t was .... Iy uff could be correc!W quickly and >IIot agaill. 'rhis e ,",ooraled experimentation, uploration , and ,mli,naloon. quickl y promoting a cimer bond amoIIlI the animators . This probIbly beg.n .... hen one man wantw 10 s how off the surprliinl results of his ~, OOt the animators 'lOOn icarned t~t lhe~ was &reat value in sharin& ideas. A..... the sharin, of judgment. did 001 end with just Yiew ing the lelit. An animator coold take his drawinp to any of the other me n and lhey would happi ly make suuestions, showin& w~l had worked for them in . similar si luation or excitedly consi dering some!hing completely new . .. Each gellCration of animators btllCfilCd (rom what the pn: vious had learned by trial and error:' $aid Bcn SlIarp:>I.cen. "and con.cqucnlly were IIloOft tlcsiblc: ill .... hat they could accomplish, and they could ruth creater heillhls." 8 uI it scnm that the ~t\CfIliom he
C,

merely lock" ... the palie~ ever 10 ma~tCr the art of ",Lat ing "'rawings to each ~her . l'rob;d>Iy he lacked lhe particular talent 10 KC the movement in drawings as he nipped them , I! is a spec",1 ability. and many of the arti$ts Ioimply did 001 lIlIye It . Whatever!he rcawn. :os It\t teChniques o f animation progressed. Watt underMOod Ie", and len o f how il all worked He knew the iIIcmlicn!s Kene ~"""'Id h~ve and " 'hat the acting should be and what could be done " ' l1h a ""enc that wu IlOl quile working, but he coold not ~ it oJov,'n at a desk and make lhe drawings Ihat would demonStra le his idcu , It was.n itt(reuing mystery 10 him and , in some ways. an '~l of annoyance, s ince it was Ome tlting he could not control or s hape into something new. lie was r~ed 10 rely 00 others . This led Ben S~lCen 10 claim that. "Animation was dc:veloped fat more by the animators themselYH ~ by Walt ," This is true of the specifIC techniques IlIIt adYJllCfll lhe art. OOt th is adyanmcnt ,,_Id lit,," IIlIve ourred wit....... t Wah . As le:!i am ...it!. "AnimMion developed bcausoe or Walt s insisle~ and wpcrvision ." n.e animator had to ... rc~1c with die problem of how 10 make the dr3wing~ work pmp. my. 001 .... i!hout WIIt' ~ drive it i~ doubtful !hal any of !hem would have tried so hard or learned whal to do . Wall inlroducw two procedures that enabled I ~ animators 1 bellin improving . Fi,."t. t~y rould f~ely 0 $/IooIlCsts of their drawi nJS anti qu ickly soee film of what they had drawn , anti. soeeond, they each had an mistant leaming the busiMSS who was expected 10 rlftisb off the detail in ex h dra .... ;nl . Walt was quick IOl"CCOSn; tllllt lhere was more vitaloty anti imagiruo lion and M/Tnl,h in SttMS animalw in a rough r..t. .

~1\1

c-.( ->-

..,',,,.

' -Sn(lwWb,(e

'''' EId/7,.",

w:os ~ftrTlng 10 la"ed It.s Illan a year apic . Wilf,ed JilCksoo add .... lhe~ was aIW!l)s _ Ihing new goin~ 00 . We ...e~ al1 Itamlng $0 fast . The: Marodard 1\). whkh the 'Iudio~ effOfis ...e re judged ..a\ un<l<.'niably Ihc ",ay Walt initially pomayed chara<:tcfl> f'Ir lhe "nimalor~ . A. Dick Hueme.' !laid. Wall 'HlUld lak" stori"s and acl them oul 31 a mcel i.. : kill y..... llou!!hing lhey "'tn: $0 fURn). And rM)I JU~I becau~ lie ..-a. the ~ "ilhe . And then: it ",..... ld lie . Youd havt llie feelin~ o f 1M ,,hole Ihing . You d know uilClly wh.1 he w.nled . we oflcn wonden:d if Wall ~O\J ld have bttn a J;rcat actor or comcdi~n ... , Wall al ..~Y' could ., lInw y .... , exaclly how Ille busi. ness sItoold Ite 00nc. bul tM animator "'as upccted 10 SO funlter willlihe idea . 10 C()ft"le up " ;111 ""melhin, of hIS o"'n. loOOI1oe loucll or bil of liming or an expn:.sion Ih .....oold make il 001 only perwnal bul special. It did IK)( 13ke lOllS 10 Ins",er any questions or .<elli e diSllglttlntnlS as 10 1I0w a piece of business shou ld tie 1und1cd. FOIlU n.:lleiy. lhere ,,as a way of scuhng dis p.t1eS ..h,le adding to oo r eduulion . As !oOOn as lhe _ ..npnnl ora IK"' canOOn wa~ rec..i,-ed. lhe ...lIo1e: ilalf noshc-d 0~(1 In lhe A\ex 1lt.ealtr in Glcoo.bk to oec how il would gu wilh an alidicnce. The men never . Iayfd for Ihe fealUre film but immedialely con veiled oulside rOl" an imprumptu meeling on what went over and .. hy. arol " hal had mi~d lhe mark_

at kaSi one dismal c~ ni ng 001 lhen: under lhe ~tlttl1igtt'$. becausc .~ meeting> made lhem face implacable n:~llIy. II "-a~ II() longer lhe e~~il.mc: n1 of ""hal mil:h! he but the unde niable hJ"hness of what was. Wilfred hcl<snn no"~r forgOilhe s;tkwal~ POSl mort~m afler hi_ IIrSI piclure. , Tit.. C'ilW""'Y, Walt h;ld lIis hat way down alld his coal up around hiH3.,;: he recalled . H ~ looked like a wei bird . I walked by and on lhe "'ay I Maid Roy say in!! . Walt. I don1 know if"'e ~hould rete,,,, Ihi~: il doesn1 IIM lih a Di_'noy pklure . They released ,k

E.!Ich direclor

~mc:mbers

il. of ",''''c. but Jackwn had learned his le.son: he "", vcr made anolher film Ihal ,,,,,Id be 'ailed un
Di ~ney ,

It " as lIar<h "''lIy 10 learn a new profr$Sion. OUI

lhere on lhe ...eCI al nighl . but II was f'O'!'iti~ and II was definite . Tile audience n:3C1ion was .I .... ay. dear and s ..ong and undeniable . T hcrc was not >0 much talk at><.>u t wh;11 should be done ne xt time a.there was a dissection of ,,'hal had been done WfOf\g on lhe ,u, mil fIl m . and Wall' s commc:nb on lhal were as ,-,'u abk a. his slimulation had been in I~ f .... SIOf)' meelings . By 1933. tile animal"'s had lurned lheir ha,jc let wns well . and Ihey produced a film Ihal ",,,,,Id be lo"cd aroond lhe world ; Thru UIII, I'itl' . h started. new tr:1 al .1It:: Di"",)' Siudio .

Types of Action Widely Used

In

Early Days

TIle audience was ra5Cin.ated with animation thaI reo

pe<1lwlhe same action oyer and over. and. since this

_
wtIl'

k . 1IrU

-~.

quite .. savings rOt" the studio . several devices

riKiIo-

""'''' u.
IORide

10111

-.

developed 10 ,ivc this 1ftU11: TM Cyd, . This was a series o f drawings that ani. mated back into iuelfby having thc I.asl dnwing work illlO the lim one, cn:ating a continuous action thai

never Stopped. II was ideal for walks, dances. I nd

tef1ain "scramble IICtions" as a character tried to gel

away from somc:thing.

R'I"IJI A('liM . Sometimes an aclion CQIlld be repeated jUM as it was in a second scene:. but mort: often new beginning or. different ending were called for . In thne cues. the animator could l'qICat part of (he IICtion by borrowing dnow ings from the earlier scene . In OIb:r uses. there would be an action WI rould be IqItIICd intact in the same sa:roes-a clwxlerclimbing I $I i~ pole. or sliding down an incline. or being knocked down by a mechanical device. BcIWftn

lIo'<>

"lra ... -

.....

osiriooo.

"""'"
/iI-

limes. the character would do something di fferent in his allempls 10 avoid or 10 conquer. bul whe:n he: c ..... .gain to lhe: me spo! on lhe: paper . !he: actioo of lhe: climb. slide. or hil could be repealed. TIw Cr0S3-U1'tr. Even better lhan having lhe: actioo repeooled in a cyc:k wu to ha~ Iwo or more characlCcrs doing !he: same actioo . A sySlcm called " CrOMo(lV=" 100II:: care of thaI probkm by lining lhe: inkcn trace one drawing in IWO differenl plates on lhe same ~I. matching il to..,IS of s mall croues on the: drawing. By animaling a lone figure going 10 the: lefl in a simple dance slep. lhe: animator cou ld gel lhese drawings trnccd over and oV<" 10 nlake a whole line of danccrs . AI the: appropriale lime. lhe: drawings could be flipped OvCr and traced from !he: back. callsing the: line of danccn 10 sashay to the right. If cvel'}'Q'lC liked this. il was e~n simple.- 10 shoot !he: ~Is I second lime . making !he: line of danccQ go thrwgh lhe: wOOlc prottdure ag,ain. TlIC audience was cnthralled and could 001

1-

undemand how "-e could gel all lilt figuf(CS 10 acl

~_uclry

lhe "'""

AlIOIhcr popular roul",,, " -as to I\a,'~ the tan""n Ii&u~ come: up 10"'ard tIM: ca"'era. usually umil lib IIIOIIlh filled It... ~n:cn . ~nd lhen retreal 10 lIis originnl posiliQll. us ing Ihe Same drawins' .11(>1 in revu!oC: . AI50 pllpular was lhe series of drawings run in a cyde tllal animated the road as a character ' .m or dr<,.-e Itta'gh, inlll ,he: Camera . This c<HI.isted of a ro w of telrphonc p<>k:~ ,n [lCt"l'pe<:li'e. a bush or t ...Il. and pi.'S' .ibly some fence pmb lining the road . 8 y putung III a

-~

.... .
"~,

, "'"
((Hrri"l

;", illl<

lira-UtI

V>

v/

1)/

Rippl e Action
~,

....

............ WOO/j,1I,;,h,,",u _ Fun"y LIllie

~.

f'jw RP<'''''' ",I,. ....,,, asH j~ "",*j.. ~ IN "',,''',,. jill E~"" INJd".. Thnop j.II_Ii/,td and r/o<td 1M
",It. EllS ""I.d

'.

.---

){'Y-,

. ,

WA,n N.'IJ rail. Ir" la" ,.xIIJ'M,tJ a jI_',n, pall"

"
oru......',' .... ,

'" ,,,,,,,.
(j)

do,,'" Ilr.

.-,-,;~li~"''''~'(j)Iro',', , l'1

Mr, ..

</W I"idtd by IN r"bbi' ""Itt /tft. iMII "'" lHl""j,. pttIW Iht bw!". IMt>tt~1r IU n"'"~_1 ""'. ....,rio;'" Iitt 'US T_ pI~>fwl NJbbj,S al ,A, "8M lOtJ lit/I. eanJjtd 'ns on lop. n.r", ""nts u,u/Jlly ""., 10 tlJltr ,....'" ,,,,i"""OI"I _,nl d (""".., 1<, </ro>o' .-ItQldwyNUJdo. This_

"" ,Iwl """,rn

dra ..',", J

Th, ;nM'M"'~". ""Mln8 2. "',11 IN '''' Ih, """h alsIJ. aM" ch,m .."I ~s"all\' mad. la
".","''''. l/rr 'a"', '~<I("' eNrl"<'

...... 110M by WoII,'"''

W......,, f/,,,AumDn . ,,'110 11__ a IlqHn';,;n,

(j)

a"i"""or. ditt("IO,. andji

.-/(,

I.d/w,r, .

""lIy. prodwu,

of <""oon

fcw Slmplc Inbel",a:n5. lhe riM polo: anin,atro ba<; the KWnd and the second 10 the Ihird . whllo: onet was moving back to bttOllIC' ~no!her. The publk alw li ked 10 $tt e/aOOralc produc lines fut fanciful factories thai made toy s Of HI eus ut in,aginati"c prodUCIS. These S1\r'!; W(~ t OIlS 10 animate bttallse of all lhe mo"mg pII1~. chere ....1$ an ad'"anlagc m e\'Crything beinl in a <; lhal rould be run o,'er and O1Icr and over-and usu ....1$ . The same W;l$ lrue of lhe g~at crowd shOll t 10 sIan so many pictures, Such a scene WIIS often only contribution Ihal panicular an;mat<lf could n 10 lhe ... hok pictu~. but if the scene was cffCC'/i ceruinly set the mood and lhe Ionle f<lf !he w film . 1lut alone madre It .... onb .lIlhc won. buIll not a favorile assignmcnl . J ust slightly better ..-en long panuJes of marching flo .... ers or cookies or Ihat werc iliad<: up of cycles on long pan paper cou ld be pulled Ihrough the scene.

" ,,, no n'"""mcn! in the ligures in earl)' ani mation btsKks a $in.pl~ pn)g~nK)fl ItCR):!;S !he p.>per . No one tlle'W how 10 gtl any change of "'al"" Of flow o f Xlioa from . - Ih "' lnl! 10 another _ ll>ere was no r't!alioMhip of forms. ,0.'1 !he . .. me linle canoon lig_
"~In. lit ... po-u ioo on the neM pieCt of p;lpe' _ O~ solution 10 thi , . !lffllC" of aclion "b!O conceive of a figu,('5 appcMaktS as ,",clions of a garden ~ . Since no "!If kne ... ""yhuw "here bonrs ano.l musc le, mi ght bt on a canOOI. fisure. Ihi . "'<lrked " 'ell-gi ving g~at loose ..... anJ a nuio.l nl<)VC lr..,:nl. There WaS no ug gc>lion of rt.li~II' the COflC~pI of the c haracter was fIOI 00.: of ",a1i<lII . Thi ~ !ype of roo,'Ctllenl fil the <bign ptrfNlly and brouShl about SOme fun ny ""'tion ,",'i1h pt'1lI charm II ....~'-n . il ...~ nvt the l}pe o f aclion Wah ,,anted . and lit W:l> fluret 10 cm;c;].e . We can imagine hI, fUClion 10 lilt canoon calne l lhat O " 'ald has jU~1 kidC'd inlo KIK:m: "'00 his leiS h3v~ 1 be "" limp like th at" They 0 don't look li kt the y cou ld holo.1 up "nything. "Get ~me S1raikht line. in there. like you've gnt in 0..... 10.1, Doe,n'! that camel havc" knee or an :!nkle'! And )'oo "'t gOi tile 00d)' the same all the ti me- he ran btnd h:.d O forward. ( know. And gCI rid of f IhoK limp IIO<Klb; get "'HIM: df3".-ing in it!"

The~

Rubber

1>""""

Animal

3. The

Principles of Animation
wuj~"I,

"W/!tn Wf ""'sitler u ne,..

.,-e reully ,.,,,<ly ;/ ... nul j,,'" Ih,' ,'wjilce ide", bUi " ,ony/hint "I"",r ii, .
Wah D;sr>ey

Ane .... jilfgoo w~ heard awunu the studio. Wonls like

"aiming" and "overlapping" and "pose
to

po,e"

IUggested that certain animatiun procedures gradually

had bee" iMllated and named. Verb, turned jnm noun, IWCmighl .... r", c'~"'rlc. when lr.c '''lIge.rirm ... Why don'l you melch him nUl ",nre '!" hcc3mc . '( iet more
ilrt~h <>II

they were taught these I'r-~~tkc. as if lhey were the tlIl~s of the trade, To evef)'one' " surprise. they bttame the fundamental principles of animation: I 2, 3 4, 5, 6 7,
~,

him . " "Wow' Look at the <.qoa,h on that

did IlOI mean th~1 a vegetable h~d sp lancred tlII: utworl: it indicated Ihat S<lme animator had .ucctlsfull)' ~oown a character in a flat1ened poSlUrc Some <>f Ihi, terminology wa, just assigning new !IlC'.nin~' to familiar anJ convenient words . . . Doing"' I stene (Ould mean acting 0011he intended movements, making exploralC>ry drawing." or a~tua ll y animating it: and once it was ., done:' the scene moved on to thc next deportment, Layo ut> w~r~ done. backgrounds wm done. recvnling w~, d()ne. and. e,'entua lly . the whole picture had ocen <lone, ,l.lixcd in with these !emu were the new natll'" and phrases with morc obscure meanings, The animalor, c'()ntinucd 10 scan'h for heller methodsofrciating drawing., to each other and Mad found a few way! that seemed 10 produce a prediclable re,ult,

dnlwin~!"

9. 10. II, 12.

Squash ami Stretch Amicil'ati()n Staging Straight Ahead Action and p"", 10 Po,;e Foilow Through and Ovcrlapping Action Slow [n and Slow Out Arcs Secondary Action Timing Exaggeration Solid Drawinl!Appeal

SQ.
By far the most impunant disC(wery was what we call Squ,,~h and Stretch, When a fi xed shape is move<! al><>ut on the paper from one dmwinl!- 10 the ~xt. lhere is a m~rked rigidit~' that is emphasiwJ h)' the move ment In reallifc. this occur> unly wilh the moM rigid share" , u<:h~, chairs and dishe, and pan" Anything composed of li"ing tlesh. no matter how tKmy. will

Thty could IlOl expect 'uccess e"ery time. hut the..e

specia l te<:hni,!ucs ()f drawing a ~haracler in mol ion did offer"""", ",curity, As "acli of th"'" processes "'luirtd a name. il Wa' anal y;.cd and perfected and tall:.ed abool . ~nd "'hen nC"" arti,t, joined the staff

""Id

oW no m(",hj~g , in Ms f~u or

nllqJ alld dif''''''

c~.~'W.

his

(~d-&-L~,,:::J

d6
US ClarkCou,in
"M(J'''Hh,~'ro

Iry

'" J,a" ,,"".

~ "" 1M ~ad " .

.. , 1U1;1>fI.

",1--)...:':; .. _.,.

- .~ '

T_' .... ",.

_~i-'.:.~.I(.'."..

,"'for( a

~.a\J'

-"ay.d in brood,
~d"

"" b.l' simply in

.<>Ium. 10$1

dry. Th. '<Jull

,.1>1<';" In8/Am

driU.

show considerable movement within ils shape in pnr geessing lhrough an aclion. A good example of (hi, is the bent arm willt s ..... elling bicep straightened 001 so Iltal only the long sillCws are apparent. T he figure cl"{)\lclted is obviously contracled into ilself. in contrast 10 Ihe figure in an cxueme stretch or leap. lnc face. whelher chewing . miling. lal ~ ing. or just showing a change of CApre.s;on. is alive willt cltanging shapes ill Ihe clleeh. the lips . lhe eyes-only 1lte wax figure ;n (he museum is rigid. The squashed position can depict Ihe form ei1htr n.llened out by great preure or bunched up and pushed together . The stretched position always shows

the sa me form in a very cAtcndcd cond ition. The mo"em<:nt from 0"" drawing to the nCAt became Itl.: "cry essence of animation A ,mile Was no longer a simple line spread a<:ross a fa<:e; it oow defined tnc lips and their relation to tlk: clk:eh . L<:gs ,,'ere 00 longer bent pipes or rubt>cr hoses; they s"'elled as they benl and strelched to long flexible shapes. Immediately tllC animators tried to outdo each other in making dr''''ings with more and more squash and stretch . pushing lhose prirn:iples to thc "cry limits of solid draftsmanship: eyes squinted shut and eyes popped open; tlk: sunken cheek< of an "inhalc" wcre radically diffcrenl from tnc ballooned chee ks of a blowing aclion; a mouth chewing on a straw wal' first shown far below thc nose. and then it actually "'as compres,ed up beyor>d tlk: nose (which changed shape as " 'cll) in showing the chewing aClion . Through the mid-thinie . everyone was making IWO dr-Jwings for ""cI]' conceivable aClion. and by wor~ing back ar>d fonh be Iween the squash [Xl,ition and Ihe "retch we found we could make each [XlSilion sironger in both action and drawing.

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1'hc I'o.-M :t,hkc for t ping It..: .!I SI~mkoJ .!'~"'ing~ I'm", looki", !>I();ote.! ur bull>uu ~ . ~n<J Ih..: , t<etclltd PO~llIO"~ from apJ'<!aring min8 Y '" withered. "'~$ to con i idcr tllalthe ~h"l);: ur "olull);: W~> like ~ h,,' f fill~d flour "lICk. If dropp.."<i on the t100r. it will "<lu"," ou! 1 it. fullest sh;ipo:.;md ifpick~ up by 1M 'op <omcrs. 0 it will ,.u~h u ut 10 i,s lon,e~ ~ape : y(t i, "" ill ~,'er ehanl t "o/urne. Wt e~n rnadl' d,~"" inJ!;s of , he 1loor ~L in Ilifferent allill><lQ-....<m; . twiJled, do",bIcIl ",er- .ul'$C"ing elTlOliuns '" .... ell :,~ :o.:1"OOIS. llIaI ("teed us Id find "'" mO!.t 011""" "'-~y. ,he , i'llpksl "ate""," !, (<< if " ... added an)' UUa l i lK'~ 10 amp/if)' an ( Apn:. >ion it Iq, no Jongt/ a t1uur ,:.c~ . W.' r,,,,nd Ihal Illany lin!e inlerior lines we re "'~ ''''''~ '''''y . ;......, the ",!>uk , h're. conc~i"ed properly. llid il all Tiles.: 1"",,,n. "'~re aprl ied ro ~'1ick,, "'. h<~ty . "r hi, ch"ck . III Pluto', Ic~s. ur hi, munk. ur ~ "en I" l)auld ',!

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a gold mine that hw been overlooked. Here Were great photos showing the elasticity of the human body in every kind of reach and stretch and violent action . Our animation principles were clearly evident in the bulges and bumps thai contrasted to long. st raight thrusts. Mixed in with these w ntonion s wcre examples of the whole figure communicaling joy. frustration. conce n tralion. and all the other inlense emolions of the sports world . lllese examples opened our eyes and staned uS observing in a new way. llle standard animalion test for all beginning anists

was to draw a bouncing ball. It was quic kly rendered. easily change<.!. and surprisingly rewarding in terms of Whal eQuid be learne<.!. The assignment waS merely to represent the ball by a simple circle. aoo then. on successive drawings. have il drop . hillhe ground. and bounce bad into the air. rewy to repeat the ""!>ole pl"OC<:ss. We CQIIld have either a forward movement progressing the ball across the paper. or have all tl>(, aClion take place in one 'pol. allowing us. through a cycle of the drawings. to make tl>e ball bounce continuously. It seemed lik simplicity itself. but through

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Ibo lest we leamed the mechanics of animating a scene while alro being introduced to Timing and Squa~h and Stretch. We were encouraged to change the shape of the ball in tbe fasto:r SCl:mcnu of the bounce. making an elonpred circkl thM wO\, ld be ea.< ier In see. then quic kl y to nliltn it as it hit the ground. giving a solid contacl as welt as the squashed shape of a ruhber ball in action. This change at the bottom also gave the feeling of Ih t for the spring back into the air. but if we made 111 extra drawing or IWO at thai point to get the most OUt of this K tion , the ball stayed on the ground too ton!. creating weird effects of hopping instead of boullCing. (Some tests looked more like a jumping bean from Mexico than any kind of ball.) If we misjudgro oor arrange ment of the drawings or the distance between them . we created apparitions reminisItcnt of an injured rabbi t, or an angry grasshopper. or. II\DSt often. a sleepy frog. Howeve r. many of Ihe circular foons just seemed \0 take off as if they had , life of their own. The b<ginning anists were an inventive group. and all manlier of variations were: tried. each revealing mething about the man who had done the animation and what he considered imponant in the ""ene. Some I0OI added distinction by stming with a big bounce. fallowed by shorter and shoner ones as the ball grad uaIIy lost its spring. Some put the action in perspec live to show Iiow well they could figure a complicated wigrrrnent. or they added a stripe around the ball to simi bow much il turned during the whole action. These men were grabbed quickly by the Effecls De partment. which specialized in a mechanical type of lIIim.li,,". Those more imeresled in a livelier lype of Clllenainmcnl preferred surprise endings: the ball e~ liDding on contact. Or crashing like a broken egg on the rond boonce. or 'prouting wings and flying off.

Then. if Ihr botlOm drawing was flal/m od. i/ ga'e Ihr approrana of bo"ncing. ElongiJIing 1M drawing. 011 each side math ;/ ~asi.r 10

follow altd 8IJVt mort ... /0 1M octiOll. Th .... 1M b ginning' of SqlUUh <II Slrtlch.

Anticipat ion
People in the audience watching an animated ""ene will n01 be able to understand the events on the scrcen unless there is a planned sequence of actions that leads them clearly from one activity to the next. They must be prepared for lhe next movement and exJICCI it before it actually occurs . This is achieved by pre:<:eding each major action with a specific move that anticipates for Ihe audience what is about to happen. This anlicipa-

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tion can til' as smal l u a change of up~uion or as big the: broadtst p/I),sic.l x tion . Before a man runs. he c rouches 1o.... la' hering himKlf lih I spring . or. the ~>V$f:. he: <In. ..'s bact in the oppo&ilC dire<;tion . raising his shoulders and 001: leg. as he aims himself al lhe pi..:., of the nUt activi ty . Before Mickey ~aches 10 grab an objec t. he first raises hi s arm 5 he stares at the ltIicle. broadcasting the fact that he is going 10 do somelhing ... ith that panicular object . Thi$ is !he oldest <levitt of the thealer . for ... ithout il. the aud~nce becomu 1ICT'o'OUS and rnllcss.nd " 'hispel'S. " What 's he doing?" The: anticipatory "",,"e$
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may not show " '/I)' he is doing somcthinJ. but there is no question about "'/Ia, he is doing-or ... hal he is ,oing 10 do ~~I . E~pting Ihal . the alldKoce can now enjoy lhe way it is done . The: opposite of thi s is the "surprise gag. " which only worb when lhe audKIlCC is upt'Cling one thing to happen. and sutkknly . ... ithout ,,aming. sorrw:thing e~i~ly different happens. Thc: surprise i~g canooc work if a different action has ooc been a nt ici pated by the audience . Similarly. no aclion on the ~lage u n til' anything but a series of meaningless surpriscs without anticipation . Thc: mo"errw:nt s in early animation wen: abrupc and u~~pccted ; too often the audKntt " .. s not propo.n y alerted .nd missed a gag " 'hen il came. This was one of the first things Walt s laned w correcl , l ie (aIled h is remedy "aiming" and IICted OUI just how ~n action or , geswn: coold til' n,ade clear so that c > 'cryo n<: would see il. If Oswald lhe Lucky Rabbit is W put hi s hand in his pockello get. sand"'ich for lunch . the whole body mu~ relate w lhat hand and 10 the poc~et . When ,'''' hand is aimed. il must be " out in the clear " so e>'e ry one can sec: it and . nlk ip.:lle wlt;ll is going to happen.

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The head nnl10l be looking off somewhere else-the impol1ant ICtion is Oswald's Il:lChing into his pocket. hi. no! a pg. it is 1101 a laugh . but it must be secn. No one should nftd to aSk. "Now ,,"'hell: did he c""r get dIM s.and",ich? " As Wall demonSIr.Ued how il should lit done. he uauerated lhe action and made it far 1IlOO: interesting than the animator W3li c""r able 10 ~_ As Lcs Clark $IMJ)'C'at'S later. " Today .t may look simple 10 us; al the time it wa,n't It was something that hadn't been ttied before Of proved." Ftw movemenls in real life OCCur without ""me killd of anticil"'tion . It SeemS to be the na(Ural way for creatures to move. and without it there would be little power in any lICtion . To tho: golfer. it is the backswing; to the b.:iseball pitcher. it is hi~ windup. ",., bauer pr<:parn himself with a whole series of anticil"' toty lC1ions. but the one that gi>'eli the clout is the final t... "" and the ~tep forward 15 the Nit approaches the plait:. Without that mo"" the might iest s wing is no mon: tW a bunt .

Staging
"Staging" is the most ge""ral of the ptinciples because it covers lO many areas and goes back so far in the tho.ter. hs muning. oowevcr. i. ""I)' pucise: it is the presentation of any idea so thlt it i. completely and wvnifol.hbly clear. An IOCli."., is staged so that ;t is understood. a personality so that;t i. rcc<Ignizabk. an exprnsion "" that it can be: $eCn . a mood SO that it ""ill fftc! the audience . ~h is communicating to the fuI~ e~lt:nt with the vicWC'rs when it is proptrly

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The most important cons ideration is always the "story point." It has been decided. for example. that cmain p;"cc uf busi",," will advance the story: oow. how shou ld it be stlged? [s it funnier in a long sho! where everything ca n be seen or in a dose-up futuring the persona1ity 7 Is ;t beller in a maMer shot with the talllC'ra moving in, or l series of short cuts to different obje.:ts? Each 5nr. will have 10 fit the plan. and oVCf}' frame of the film mufol help to make !his p::>inl of !he story . If I "spooky" feeling is desired. the $Ccnc is filled ...ith the symbols of I spooky situation_ An old house, howling. lea""s or papers ",stling through the

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yanl, cloud. floating ..eros. the moon, lh~atcning ~k y. maybe ball' branches ranting or scraping again~t a willdow. or a shadow mo"inC back and font.-ooll of lhese say "~poob." A bright fIo_r bed "'ould be 001 o f place . If yw are staging an """ion, you m ... ~1 be ~ure lhal only one ..elion is sn; il moM 00\ be confused by drapery or by a poor choice o f angle I)f' upslaged b)' somelhing tl~ Iha! mighl be goi ng on. y"" do 001 make drnwings JUSt becaust they Ire curt or look fun ny. y"" make lhe drawings th at will st3l1e each idea in the ~I mngcst and the .impl t way before goi ng on to lhe nc~t :.etion. You arc sayi n, in effect. "Look at Ihi ll-now look a! this-and !l(/W th is ." You make sure lhe camera;5 the righl di511nce from the c haracter !o .now ",hal he is doing . If he is kk king , )'0'1 do 001 have the camern in dOS<e on I waisl 500. . If )"OU are displaying your dlancler"s upres~ion , you do not do i! in a long shoI .... here the fig... re is lOS! in liltbackground . Magic ians say lhey p""fer 10 work close 10 the peo pic they are fooling because it i, so much easier to direci auenlion to any desired ~po1 . When an individ ual work> alone o n a bi g ~tage il iii too euy for the ludie nce 10 watch hi. feet. whal is behind him . his clolllt-S. any UnnalUral movement ; the spectators might be looking al everylhing eU:f:pI wh~1 II!~ magician i~ l/)'ing \Q show them . As a direct"'", D." f: HJnd f:mp/lasi7.cd the valueo( lhe close-up ~hoI : ' By iu usc ...e Il/'e able 10 el iminale from !he mind o f the audienu anyIhing that is less impor1anll han the p;u1icular poinl .... e are pulling OVf:r aI the lime ." The animaton had a special problem of Iheir own. The ch.araclers Wt':re black and ,,hite. " 'ith no shades

of gray to soflen lhe rootrasl or delineate a foom . Mkkf:Y's hody .... as blxk. hi~ anns and hIS Ilan<b--.oll black . 1lIere .... u no way to Slage an action u cepl,n si lllouclle. Ho w else could lhere be any clariTy? A hand in fronl of the chc$t would . impl) disapp:u: blac" shoulde"" lined ag~i~ lhe black part of tho: Ilt-ad would negale a shrug. and lilt- big. black carl kepi geuing langlc<l up w;lh the reSl of til<: ac tion juS1 " 'hen I)Iher dl'llwing problem. s<:cmcd to be solved . Actually. thi. limilal;"n waS more he!pful than ... < realized: ,',e learned !hal il is alway. hener !o .how the action in si lhoueue. Chap lin maintained lhat if an actor knew hi s emotion thoroughly , he could show il '" s;lhoueue . W,ll " 'U lIlOfe din....1 : "Wort;n silhoutue so thai e'"ff)'thinc can be Sttn clearly. Don't ha,l' I lund come ov<:r a face >0 Ihal you can'l Stt .... halS happening. Pul it a....ay from lhe facr and make d clear." ConSlanl redrawing. pla nning. and expell. meMil\i were required 10 make the aclion look n.:.tunl and real;~lic while keeping a clear ~illlouctu image. We had \Q find a pose that reoo w;lh both dcfinil;"" and appeal.

Straight Ahead Action and Pose to Pose'

"There are two main approache. lo animation . "The first is known as Slraighl Ahead A<:t;Ofl ","cau.c lilt- an;1Il.i lor lilerally ....orks straighl ahcoo from his first drawin, in the SUM . fIe si mply lak.. orr. doing one drawi", afler !he other , gellins new ide"" a.~ he goe~ along . unl il he reaches the end o r the ..,.,..... He " now> Ih. story poiM of lhe scene and the business that is 10 he induded. but he ha~ litlle I'lan or how ;1 will all be d~ at !he li me 110: ' lans. BOIh (he drawing~ aad !ho: act ion have a ftesh , slightly zany look. as the animalo< kef:J>S the whole proce ss very crealivf:. The second i. called f>osc to 1'"",. He re. 1 anima 110: tor I'lans hi~ 3Clil'R, figures out just .... hich dra .... ings 0 will M nuded 1 animate the busi""ss, make. lito dn.wings . reLluing lh!:m to each OIlier in $i7.e ~ ti<ln . ~ lives the 5Ct':1tC 10 his assiSlanl 10 draw me inbe 1"'"ttR$. Su<;h a 5Ct':1tC is at"'ays easy 10 follow .nd waRs .... ell bec3u~ lhe relalion>hi.,. have been clfl: fully cOJ!$;derM before lhe animal'" gel. 101) far inlO the drawin8~ . More lime is .pent impl"Oving the key

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dnlwings and uercising ""alec control ~!he m0vement With Pose 10 Pose, thc~ is clarity and $ln:ngt/I . In Srn.ighl Ahead Action. then: is 5pOnlaneity. 8 0dl mclhods arc Rill in usc: bttause they each offer cenain advantages for diffcn:n! Iype$ (J/ Ktion . Usually they an: combined in I way thai keeps !he Stnoigh\ Ahead Ac. ion from gening OIU of lland. The scene is planned wilh a path of action laid (IUt, and rough drawings are made depicting the chuacter', probable progress; although none of these will be used

later in actual animation. they still

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as. guide for

siu. position. aUitude. and n:lalionship 10 the back.

JI'OUnd. Tney offer as much control as might be rudcd.

evcn though some animators feel that the Ycry lack of control is tho: elemcnt llial gi~es the sponW>eity. They say: "llle animator should be as wrpri5Cd as anyono: at !he WIly it comes out. Most wikl. .-lions arc probably more effecti~ with Illis method ttw. ...itlI 100 muc:h careful pre-planning . Straight Ahead Animation will "doom work if there is Slrong perspective in the layout or. ~kgmund lhil must be matched. One; man animated a dog jumping excitedly and turning around. trying to aunlt! auention . While Ile achieved a funny act ion with mIlCh spirit, it cou ld no! be used because Ile had failed to match tile action to the limitatiom of tile layout There was no way to tell how high the doB was jumping s ince Ile roe~r really comacled tile ground, and !be relationship of the drawings was thrown off by !be ~rspecti~ he had failed to consider . With 1 fbi back ground and 1 clear aren.a in all directions , there _k1

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I-Io....,,,,,r, many pieces of actinB require a different approach . If Mickey Mouse is d isroutaged, he tUfJI$ IWly , jams his hands far down into his p<Xknl, loots back over his shoulder one last time. kicks a stone OUt of hi s path. and walks off. This must be: done with Pose to Pose because each of tile positions mU$! be handled c_fu ll y for maximum Clarity, appeal. and communication . They should be WOI'kcd o~~Jy and t~ther. until they do their job as effICiently II possible: . Once these: poses relate well to each ocher, it is simp~ mancr to time the intervening dtawingund to break down the action . Another e~ment thal d>ould be considered in dIoosinK the method o f animation is texture ." A seties of

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accions all with the same intensity aM .mOunt of movement will quickly become tedious and predictable . It will have nO punch . But if the overall p<ltlem contains a.cents and .urprises, contrasts of smoolh_nowing aclions witll shon. jerky moves. and unexpected timing. the whole thing becomes a delighl to watch. Obviously. this is impossible 10 anain with Straighl Ahead Action. Using Pose 10 Pose. the le~lure in the v;ll"iety of the movemenlli Can b" planned and the aClion designed 10 make this a p<l" of the 100al statement 11>e fim animalors to use Pose to Pose were interested in a quic ker resull and were not aware of its brilliant future . n.ey were more concerned with the geographic locations of the characters Ihan any potential for entenaining actions. "The guy is over here. then he gets his hat, then his cane; he looks to see if his wife is walclling. he does a hop. then runs out the door. Si~ or seven drawings, a whole bunch of inbeIweens. and l"m Ihrough with lhe scenef" When han _ dled thai way, with no attemlll to relale one pose 10 another. the scenes were bound to be wooden and /1' jerky. It was not until the development of stronger ,"', poses. improvements in timing. more skillful usc?f ~ Secondary Action, and. finally. the Moving Hold. thaI I. I _.' Pose to Pose animation ultimately came illlo its own

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Follow Through and Overlapping AClio n

When I character enlering a sce~ reached (he spol for hi s next action, he oflen Came to a sudden and compklc stop . This .... as sl iff and did no! look natural. but

nobody ~'" ",hal IOdQ about il . Walt was conccmcd . "Nnv don'l come to I Stop all at once, guys; fint
one pan and then another ," Several different ... ays were evemually found 10 correct these conditions: they WeT<: caUed eitt>.r "Follow Through " or "()o.erbpping Act;""" and no one really I:new "'Mrc one ended and the other began . There seemed 10 be
the~'i

fhc main categories. l. If (Ile character has any

a~mlages,

such as

long em or a tail or I big COOt. these pans continue 10 ~ after the rest figure has stopped . This is euy to 5tt in rnl life. 1lIe ~""'nt of car;h mu~ be limed cardully SO i1 " 'ill have 11M: e<:>rre<:t

or,lle

freHng of weight. and it mmi continue 10 follow

through in the panern of aclion in a believable way, no ""'ltcr how bmadly it is cartooned . 2. The body itsdf does not mo'" aU 11 once. bu1 ., inr.kad it "retches, catches "'p, twists, tllms, and COdtrICtS as !he forms work against each OIher, As one pan arri~es ~t the Sloppin g point. OtheTll ma y still be in movement; an arm Of hand may continue

ilSXtion e"en afler the bodY ;5 in itS pose. (Peg LI:, F'tte'l beUy conlinued 10 boy.~ and llI.g intermi , nably.) In order 10 JltII O,"e r the auilude dearly. the head. chesl . and s hOlllder!; might a ll SlOp together .

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~a.n'"

1;1l"It. When lhe wl>ole fij!u11: has \.wnc tu a -'lOp in ' I ,k fin,!c all itudc, thi ~;, ca ll .d ;( "ncld" ..ira","g. 5on", of til<' aninlaturs th"'-'sht ".~ WCfe genin" too (u$oS)'. but that " 'as ""[)' the b\:Jlnnlnj( ~' WaU ""w ne ... poibilitic:s in the "..".k h" ll"Itn W"11: !loinS. l..es Clark r.:ohl " 'th a ,h""klr. " . . . We couldn'l undcfliland ","nclime.' why h,,: was gi\"in~ us hell s<>mtlhml: ...~ lh<IUght Wl < OCI."<:J1I"blc. 'I1\en later on " 'C krw:w whal h~ wa, t.l king .tooul ..

mul inl behind ;1\ an actio.. i~ S<>mClime. c,,11ed " dra::' and it ~i"es a h~ .....,.. and ~ ",.lid;I)' .., Ihr figure th~1 i~ ' -;Ull to ,lie ftt linj: " f Iofe. Wbm dn"., "-en. Ihi. t~.:hni<.JU< ,. ""an..... !), d.:t~'13t.le ~ th~ film is projlc,.L In cffe<:l. the anin1:l( ..r is ur.I"'-

tlllnen,'''"' fur II< i~ <k:ri",in$ [i,ur~ ,t... way it ,,",... M bi: ~, .."Iy Ih:ot rn...... is!" "Mlmem The <Ira'.... mS'> a.... "''' tksisned h' "" ,",,,. od 11)- ltu.m><,lvn. but ""Iy in ,. ","'Tk~ 1'",,....,k.'II;\
.p.."C.... Man)' ",,,,,k ;oc1~'n' ha,.., Il<.~n 1>.,........." thl~ prin' ciple. ~s tile rat un a ,.unnin~ ,'har:M:iCr droll' ("nhor ~nd (mile, he hin<J . IImil ,lie ultimate "':"~I'lo' tbe !>lcdcloo runs ufr. ka"in; It.. llcs.h 1 (.,,1Il for i,...,lf 0 'I'hl~ 1)'1'" o f n~~~cr~l i".. ,,-ill I>ri,,~ tauPlS in tilt "h.lI1cr fitm~. t>ut l~ ,'hid 'all ... "r lh" kind ,~ r...,I10-0 Thmll~h I,c~ In Ill"'" 'liNk II,..,' .
".t~l>Ii,hcd

in~ in the fourth

t''''

) . The looj;c fk:~h 'III a fi~un.:, ,ueh 'I> II, ~htoe'" or D.mald Dock'. body Of aim",,! ~II vI' G"of). ,,'ill mfI_"e at a . I" ,,'cr . ""cd than 1!\c <kdctal pms, Th"

,t,

,uf ,...".
Ir".,~,

'''''Y'
"",-"

,h'/d!

4. TIle -..'ay in which an action is cc>mpJet~d "ften

nt()fC

cntcrt~ining the action itself c,>uld be. or

ch~rJCtc'"

"-Nit

lell~ ~$ n~ .bout the per.\oOn than the drawings Ik lIIO\l:ment ilSelL A golfer lake. a mighlY swing. -..'hich ('<)\l:n only a few frames. but wh.u happens 1<> him IfICf".-ard Can easily lake fi~e fee! of film and i. mlltb .....:n Il',-uling. whether he is ,racdul and $Iick in his follow through. or wraps him~lf up in a knot . The anticip.tion ~ts up the action .....e e~pect (OJ il it the ICtion the character expe<:ts?). the ""tion -"ili7.1,t~~. lOll now ,,c rome to the "punch line"

"r

it could tdl u. about the

pe~lity_ ~m

S. Filially. the ... " 'as lhe M<>v.njl Uold . "hieh

pIoy~ pans

<.Jf all the ocher elcmCnI.' '" O,,~.. lapping

Action alld Follow Through tn ach,ne a roe .. (... r ing of life and clarity . When a careful drawmg had becn made of a po"' _it ,,'as hdd ..... ithuut mu"clt1(nt on the screen for 3 fc'" fmme~t lea,t e'ght. maybe as m3n~ as si~teen. Thi, wa. tu ~1I"w the audience

of tilt the follow through . whkh tells us what llappcned-huw it all turnc:d OUt Ob'-;ou.,ly. the tDding $/\wkl be cnn.idored pan of the entire aclkm bd"", any dl'll ..... ings are made. hUI. am~7.inl'ly. the etlding "'IS hardly ever <kvcloped in carly anima tion . 1t ..... as enough jU.\I\O do the reach. the thmw. lne kk k. aod 00 thought was gi"cn 10 bow much

p,.

to abwfb the aUituok . That ant<>Untcd 10 !eM lhan a . <nnd . but il was enough . II",'.-c""r. ,,htn a dr~win~ was hdd for !ha! Ion~. lhe Ikow of action wa" brol;cn . the illusion of din~n,ion "'as IOSI. and the d", wing began to I,-",~ 1l11t . A way had to be foom! to "hold" the dra " 'in, and ' Iill ~eep it moving!
tin~

The "n""~' "'~ S 10 m"~~ I"'," d,"" ",~,_ one 1tIt)'~

nlrem,' Ih,," Ih~ olher_ , '''' both contai~,n~ "II tl", ~kment' "r th~ f"c . II c'p laiol'll Ihi, "ay, "You hu Ihe Ihcn drJll nn i>e)-,<>lld I" an "\'e'n 'I",n~~r 1"''': ,,'"'ylhing ~,,.., fwnl,,"r, Ihe ,-hed,

Arcs
,"'n_ TIl<" ,,,.,,,,,, "f"
\" 'rI f,," ti' i n~ or~~LI'i'"'' are ,;tr"blc of @wo!, IIt!t h:<V<' " ""'d,,,n;,.1 "' ;olld OLII or up ,,~t! d,'\\,11 f'f,.... ;\\",, ~ljXTkn 11l,~hl

1"'''',

w",

1>1- an n,'<1'"

~"up . "'''~.

'ho! ,'"" 11)' '~<I. the h""d, ri,~: he g''''' un 10" h, s "F s upt:n "ieln, b"t """"li"ll; h,", ,ul l

1"",. anJ. h<o,'au,c (}I Ihe fe"ml;,,,,, "I' "II ~\t~"1J1 , ~o kl<m. Ih~ .." ;Ire ""douhtedly ", ,,,,e "",,"pit, ,n Ih<

"' hi, P"'" """"~ wuld u'" III.: F()II()" Th"~Lgh 00 Ih~ n"h} P'LTi' to ):i\'c '" Ih" ",)id'I> "nd din,,'n,i"n. we ,m,ld drag lhe pan. I" ~ i w III<" added kd 'ng ",'i~hl and 'calif.". "n,1 we n,u'J >ll~n~lh"n ' >lIT 1"'''-''' fnr mox. "italil y, II "il added Llr h) ",,,ro! life in th<o '<Celie_The "'"~ic' "'" bt:~i l1 ni ll ~ In "1'1 . "rl(

"",'d "wIJ. !>ttl Ih,' 111<"-"""''''' "I ,,><"1 lil-ing "'.... 1m", ,,;\1 ,;,\1"" ~ '1i~1\l1) ~ir"ular Ilalh, Th~ Ix'..! ,d,I"11I lit ..."" ,frJigh, w1. Ih,'n b",'k aga in: ;1 lift, ,h ~hth, "t' dnol""' ,I relum,_ I\'rhar> Ihi, 10,,, 1" .1, u ,lh ,,~,~hl ,;r ,,,,,)1>1' ";110 1h~ nlnn ,tru,-,"r~ ,,11il<: Ili~ hn fur"" "I Ilt~. but. ",h:Olner the 1~'a,,)1'- "~"1 \\ill dcwr;l-..:.n ,,,., ' "f . J"", kind_ "

"r

Slow In and Slo\\" Out

Om:c ~" a"imator 1>;1<1 " '"rk,-,\ ,,'cr h" r"'~' ( 110,'

""'\'e""'''''

and r,'d,"wo ,hem "",il Iii", ,,~'" Ihe 1>1,,1 he ," "I d dn. he naiUmlly I"",,"d lilt' ;[",Ii~t\i;, I" ",,' then'- H,' liITlt'<lli>o.:.... lec, dr:,wmg' '" I\,nw <l LL;,'~I' I",on ,"'" 10) lile ne". ," ,hal Ih,> hull: "I 110,' f'''-'Ia~~ "f The "'~,,~ "'"uld bt: ~; Ih~! ",I '" d"", to lliow '" Ifen",, _' fh pUlImg the inl>l'lu'ccIh d,,,~ I,) C"dl nWflle ""eI oHI, ",Ie 11"~ling dr,t" i,, ~ halh",: 1,<>I"...-n. til,' "nion;,lo, ,,,'hi",,,,d a '.") 'ririt~,1 ,,,ull. \\ilh tho: dMI;oc)cr /ipp;n~ fr"", "n,' "'''Iu,k I" ,11<" 'Ih" \\,,, ,'~Ilctl Sh)w In "nd SIc", ()IlI, ' L n,~ 110", " Ihe way Ihe '" h.:(wc~''' "'ere 1llIk:J, ro" mudl of 1111' gaw" n,..chank,,1 fed 10 Ihe aClion, "'~hi~~ I!le ":~'k: of lilt, H':' lil< lil"t "';<, i'<'ing ,,, ,, gil l. hLL! il "'" ,t ;1I ;on ""l~"t"nl ,Ii,u,,c,) Th"l he"an1C' Ihe b,<", "I ];ofn rcfin<'m~nt, m liming and ,raging \\-,it """1ioued 1(> ,,<~ U, 10 ""alYlc th .. ~clions <-ardully. ,,,,d III unJ~"t~ml I", ,,, th~ ho.~ ly lIurkd. Ihot wa' fhc otll)' "'~y \0 ~.t tne ,'a,;,"I",,' or

-"",~,,!<:,-,

'Il'"

1h,' ", -ri"" ,~ a h" ",/ ,~'>II"" ,",,11 " 1"''''"''~ Ji" ,~'" ! "II "".,. '-"(11101" paIn . Ih, a"",,,"< ,-Jw"" Ih. 1~).\lII 'm ,,( h" ,1,.". "

""" "I ,," ~ fhl ,' " " 1/,- 111(11" '.' I", /"., (I,,,,, , ,,,,, , 11),1" """ "/'a,- ifll~ '~n'n.'- ,)"",1.1 I~' 1>/'" ",( k." " , 0/". /in, <'I ," .", ~ ,,,, Ihi, <I,.,' ',,"er~ ' ,"'''.' d,,,,,' ,"'iI/""" J"I1"~ ' m,, ,/0" <II,-

'0

"k'''

d""'~f II,,

"m"" ""1",,,,,\

"I I"",.n ""Ie, to h",'c ,il\c~fi l\' , n", ,"0<1 h,Lt,,,,,,> ""lIlcJ\' i, "Iwa,'s b~",(l on Ihing' an""I ," 0"" '1\,,,,,110' fr",,, <)1", i,1< the studi" w,,< "am,u"d Ih.1I anyone w""ld lx' tlw inkr<'t~(1 "' the; ",.,h"(\i,, , ()I m'~,')"'" bUI lh" uni4uc app",ad\ \\'3' th" 1'Cr) l>I'aft pf n", \\'or~_ ~'"'C D"'i, ' 'umm~J il (11'. 'Il" !\<;) anion"I",n i, ju,\ vC'Y <iiff~r"nl "oblJoJy , \ don-1 ,,,1. whn h.: I" ~ <"m con,,' f",,,, Ihe '\O<1,ide anJ Jra" ., n"n.y Ch"rJCICr "'ilh"",. full ""M""",ding "f "hal ,I', ;011 ~ht,"t,"

,i,,,,. ,""Ii"" he "Jnted , "Our" ,"~ mll<t h.,

c; " fmllld~\;, '"

Thi, d',,-'ol-ery m~,I" a maJ"1 ,-ha,,~,' III the 1)1" "t fI""c,,,clIl, ""iTWllo" &';gn,,,j for 11,,'" ,-h"r;k'le". hr~akin~ \\ IIh Ih~ 'i~;d a",1 "':I,nl" lhal had ~""" I"'f",~, I" " w"I~, ,h" dlan"'t'"" 1",,1 1"'1'1,,-,-1 "r.nJ tl,,"-n I;~,' """,han,,,,1 ~adg"1s nn an ,-n~inc; n"'" 11." , ":or,'cd" <'In ," II,, "'r ot' II,, .. ,1C)" ,,,KI --,,,,,1-u",l~r alii", l><mo", I""ition A h't or a II"n" ",~'ltl"" on "<':0'''1'''"1<"1> ,":tighl Ii,,,'. hul th~ l-..:~in"ill~ "I II>: ,,(li<l(\ ,'"on~ "'e~plll~ III on :on a,,' a"d th" I',,\!,,~. Ihr<)ugh ,,;or1~d a ,''''k'~",,, A, Ihi< I~in,:il'le "a, bdf,'! "-" t,,,, wtn! plolt~d ,lla ,,;lh eh"fts and J,~~. ,to "'ell ,os r(\"1~ I~"e l. h' .t~\~,,,,i,,, i "'1 h"w hlgh :11~1 h",.' I"" til<

",t'!

""'i",,_ I""k-,,"",j.

charac1er sllould go in any ac'tion. Arcs were ,k~tc'hed in, as the key action, were planned. 10 guide the even lIW drawings along Ihi> curved path . When the final drawings were being made. more way' "",,uld be,",,",e Bp]!>m'nl for the chamcter {() go e"en fanher in the action, e,pecially using Squash and Siretch and Over. lapping Action to good ad"antage, One of the major problems for lhe inbelweeners is 1hat it i~ much more diffkull to make a drawing on an arc than one halfway bet ..... een Iwo olher dra ..... ings_ Even .,lIen the po';tion ha, been indi<:aled. or a Slcrn warning 'Hillen on Ihe extreme> .. 'Walc'h a,,"~ . lhere i~ a ,lrong indination to pull back toward a more normal inbelween . 11 is only a, a >crie, of dra""ings i,

""'lied" on Ihe pegs Ihat Ihe proper location for the drawing become, e"idem, No one has ever found a way of insuring that the dra ..... ings will all be placed accuralely on Ihe a"'~, even ""hen nperieneed people are inbelweening the "~tion. and ;t is one of the mosl basic requirements for Ihe scene. Dr~wing, made as straIght inbelween, compleleiy kill Ihe e,>cnce of the a<'lion

Seco ndary Ac tion

Often , lhe onc idea being put m'er in a "'eoe can be fonified hy subsidiary actions within Ihe body . A ,ad figure "';pe, a lear as he lum, away _Someone stunned

>hakes bi~ bead as be GelS ' 0 bi, (ttl. A (lllsl~.~d perwn pili. on bi, gl~sse$ lOS be reg;ins his com posure . When Ibis e~lna busi~$~ ....1'1"..1> IN: ..... in ac.ion. i. is cilled a ~rondary A~'K:>n and i~ always kep4 .ubo... din~.c !<l 11K: pril1'~r)' aClion, If il <:emOiel. or b,:e:om.:. mo", ;ntc,..,_~ting or dominating. in any way. it is eilfler lhe wmn~ choice or l, <!a~d impr"l'c:rly . The chief difficII1.~ lirs in n.... king a unirocd Slate: ment .bmugh the dnaw,"g and liming of ""ra'-~Ie. bUI ",1;.0;0.1 . pam . If the sad figure has an upre ...,ion on hi. (ICe: Ih~t should he "'en. the hand .... iping tlu: ICar muM hc ca,..,flllly pl~nflW 1 .upport Ih~1 look, A 0 brood. "wrwllelmin~ gc_ture: '"'ilh a tist "o,winS hal f , lhe (ae.: would ""rdl )' 1K: ao:ce:p4ahlc _ SlilL if lhe acti.... is tOO OIlIt.Juo:d. il w ill be mu>hy. r<!-'lricted. and mcon ~uc~ial; if il is 100 ,trong he face: ..-ill be sec.n. Shoold Ihis Sc:celfldary ACli".. be mode 10 " 'ork wilh llIe features so that the expression i, "clllally cmph.,i/.cd. lhe ",ern: will be ",,(>landing . SotoclinlO!' lhe Snndary Aeli"n "'i ll he the cxprt'. si .... Itself. Suppo>.C lhe...: Wl\> I" be a ellange from a painful h" n 10 a helplc.<s. bk3k I""k as lhe cha"""lc. lum. a",ay. befon: he wi!,(.IN: lear_ l1Ic: dan~er no'" i. 1101 that the exp",,,ion ""il1 ""m;na lc Ihe ~cllC bot Ihal il never .... ill I:>c seen. The <: hange tnU'C come bc:fQr~ I"" nlo~e. or afte . and myst he 'taged .'" that it i~ o/)vklUs. ~"cn lholl~h of ... ...,onda.)" imporla",:e ,\ ('han~~ ;n I ~ middl~ or a .....jot ,",we ,, ;11 ~o ynnoliced .1Id ~ny valoo: ;nlcn<kd ""illite IOSI. One anin,.lor roond the pmper rclali",,,hi!,, a"'''''g alllheM' pans throu~h a "builllin~ hlock" !e~hni4I1e .' Fi';1 h~ "nill1at~d 1110.1 imponanl n.."'~. "'''king ... ~ Ihat il "" or~ed the .... ay he """nled. e"mmllni ..:,ling bis lhou~hl in .be st"'I1~~"t .... ~y . Then he w~nl Ih'''''gb lhe M't"" a :ocrnnd linoe 3n;m3tin Ibe s......"n"ary AClion. and e,-.:n ontt more If nc.;h~ . 10 '''d~e I"" f.,1 of Ihc.- Ilra ..... ing .clalc 10 til<"" IWO act;"",, Ik

cO'l1 inoo:d I" change an" :odju>I unt il all pan, or tltt "rawing wOltc:d lOf-e100 in a "cry "". uraj way . It is odv i,.;iblc in any ..'~>C to Iry il all in thllmbnails-lill ie uploraliX)' s~etdt(~_II<:f"n: doin~ an). 0 thing dsc:. 1 m u"': Ihat evc')'lhing will >Ia~c "dl and ....;n hlk "S conv i"" ing a' the anim~h" hall h"I1.:<I. Wh.n u~d corrCCII~. Sc~on"ar~ I\<.'.io,,; ""ill :MId .ic"h...,s, Ie. ,he see"". "","nal""" ." lhe ac1 ion. ~"",,1 fulk. dimen.tOO .o .be pcrs.ooal;l), ,.r II\(,

"h:r.=.....

Timing
The numhcr "r drawing., u-cd ;n any ,,"'ve .k:lernlHwl the amounl " r lime Ilia. OCI;'", ""iIIlak~ " n .he ",,,:.,. If the (1.-.", Inj:~ .re "nlple. de"," . nd C.1 pr. ...... ' . lhe "''''1' Jl"int Can be pul ""n qUICkl y. ~nd ,hi" ....,. all Ihat cooccmc-d. the anima,,", duril1~ Ih,: ca.ly pe.~>J. Timing in Ihu"c can""n; was li",ile,1 mainl)' I" f~>I ""}\"~s and ,I"", m"w,. "";Ih ".:.:cnls ,md th""" ~all. in)! (or .~ial handlin~ . lIuI lhe !,("",,,aliloe, ''''''1 rt ... .....'clopinl: " 'eo"<' defined nl<> by ...,ir mo~~""""! lhan tlock ;lI'P':or.<Ilcr. ;1",1 lhe . -a.yinl! ,.,...-.I "r .......: ",,,'cl1lenIS dctcrmin.:d ...he!her the cha. :KI,, ,,'). k:lhargic . cAc' ted. ne.ve>ll, .ela",-d, Neilhe. aclln~ ... attilude cuuld he ""nmycd .... ilhuut I",yin~ ,"cry d<,.;c allenli,m h' Til11ing. (o"'pli~aled rela'ion,h,,,,, . hat ,alllO! ",-ilh St.:. ondaJ)' '"'''''' IIIS and On,b(lf'inl: M"n,,,,ent. ,-~tlN ftlr cuen.i,,, refi"".....,nt . hUI ~"Cll lhe Ilk>Sl hit.... mo,'es sho ....-.J lhe ;m(l<"'''''O:'' of Tirllin~ and lhe ,". stant ""cd f... 11I0re slud~'. JU.I 1"-" drdw;II~' of I hc,lIl. Ihe ti ..1 showi n~ it lcanin~ I"ward th,' lI):h1 ''''>II)der ano.!.he _'ond wilh il 'lVCT "n lhe 1ci"1 and II> "hin slij;hlly r~iscd. "'an be m:t<k ." (o"'mlln;,:a~ I "'.... ;111 ..... of Ilk" . ck-pmd"'~ ~nl"':ly on I"" Tinll"1 " ,,-d. Exh inhel"'ttn d'-d""ng ad<kd ....Iwccn 1~ lwo cx lre",,,, gi.-e< a ne .... ",canin)! In.he ;oct",",

"",'cr

T...,

t""

, ""'::' i

y/

No

intM:tw~~ns

One inbet"ttn

T""" inbet"'fens

"IlIrff inbel"'ttns
Four inbelwfens
Fiv~ in~lw~cru;

TilE CHA RACTER has bo~n hit hy a l r~mendous force , Hi . head is rlCarly snapped off. ... has betn hit by a brick. rolling pin, fr)"in~ pan. , has a n~rvous lic, a mus' cle spasm, an uncontrollable twilch . . i. dodgin~ the !:>rick. roll , in~ pin. frying pan . i. giving a crisp order. "Gel ~oing !" "Move iii" is more friendly . "OH' here .. ''Come on-hurry! "

Six inl>:I"'fens

. """. a good-looking girl. or lhe .porIs car he hao alway~ wanted . xI'en inbet"'fenS . _ . lries 10 gel a better look at something . Ei,ht inbet"'ttn. . sun:hes for the ~~nu1 butler on the !.:itehen -'''<:If. Nine inbel"'ttn~ appraISes, cons iderin , Ihoughlfully. Ten i!lbelwecn, . sireiches a sore mu ..le .
The 1'(,,>;,lcnl 4uc.linn. eS!,<,cially from Ihe Ne,,"'

fa'I""tion on . 'IWOS" had I11O!'l: spm kle and ,piri t Ihan lhe $3me aclion with inbclw~r"" . whkh tetl<kd to make tile Timing tOO eyen and n:tttQvcd the vitality. Any lime lhe~ was a p;ltt trl<>'"~ in " 'hkh lhedwx, ters f~t or a poinl of contact wilh the backlf'lllOd we~ shown. lhe :aclion had to bo on -.~.' to nwch the moyes on the pan. or lhere ...'ould be ~il'P're which looked p"uliar. Similarly. if the C'a1tlC'fll ~ moving in any dirtttion (" 'hlCh mil$.! be ..... "ones",_ lhere wQUld br a Sirange jiHerin~ unle5~ the ch:m.cter'. action. were Ott "ones' al", . When more daborate aclion! were called fOf and more delicale change~ had to bo seen. lhe animalon ~soned 10 1he use of "o"".'_","nCli me~ thrO\lgMuI the ~e ... and OIherwbc only in ~rtain place" A !lCl1Imble aclion or 'I""~d ga,. a _h;jrp :OCCCRI or flurry , of lIClivity , lhe pay-off aflCt " big anlicipation. all . nee<kd "ones." BUI lhe choice was Still difrlOlll 10 make ifille animalor had not ~11C' throogh I period of e~l""rimenling and Irying and failtn, and trying again. Only then did he build up a hadlog of Ul""rlC:ntt that would guide him Ihrough lhe.. I""rpetual ~ision1;.

Exaggeration
There WI.' some confusion "monl! tile animalm when Wal l first asked for more ~alism and tile" crilidzed the re., ull he<:ause il w~, not euggcrated enough. In Walt s mind. lhere wa., I"ohahly no difference . He be lieved in goin8 10 llle Ilearl of ~n ylh;ng and dc_elopinSlhe esserIC~ "f wh;jl he found . If a chancier was 10 be ~ad, ma~e him ~der. bri~l_ make him brigIMcr; worried. ~ " 'orried: " 'ild _ make him wilder . Some of the m ists had fdl lhal " uaggfflllil>!t" meant I ttlOf(' distorted d ... "wing, or an so ,ioIenl il_ dislurbin~. They found lhey h;od m!ltd lhe point. When Wall asked for rul i.m. he wanled a ,;oriea_

York men W3 S, " W","n Ju you u"" 'ones' and when do)'ou u.. ' IW~ "!" This referred 10 tile numbor of

fr.,,-..:t of film to b\: ~hOl of a ,in81e d""',ing . One exposult w;'" tailed "UACS, ,- IW cxpoMlre. '- Iw",,_"' 'O
II Ita;] lon, been koo,,o Ih.al f", moM IMJJmal :aclion IiIcn WillS ..... nd 10 make a new drawing for el'el)' franoe or rhe film Each dr1lwing could ocrupy IWO of the ~iotrS f"'mes. and the audknce ","Ou k) deIeo:I il at 24 fraOles a SC<."Ond. This sa'-N immen ~ am",,"!> of ........ k . nd in the slo"'er mo"emem~ gal'e I ,11lOO(her appeara fICc 10 Ihe aClion. More Ihan thai. a

11<'' ' '

"",ion

~-

----

...... ~

~
.

""" ~~',

.. - -:

~ .

",i<!. " I !Ion't think oc

I" '" 01 renl"Ill, One ani'l "na lp .. ,1 il ,",",,11 ) "h,' n h,> n"-'~nt 'r~~II"tl ' I thin\. h" ">t;~lI t """,,,thmg .ha. "a, mOJ~ Ctl'" 'OClnG h:o' n ~,de ~ hili'~trc"nt:K't " uh propk , ~,1Il 111: .1"'1 . a ".1 'reali,",' ",",,,,,..., 'rcal' ,hinl'S 00" ~.w~ '" "tkn [in 1"'= a"im31 ~"" l ' ht l'hamc'e' w<>ul<J d<. "''''''Ih'n~ unn.nIII , no " , 00" clewr 1"'= ~nlln:Ol<'" "-;0,. ano.l il I" . ,n1 rc"1. il "'3< plm'" ". W:tli ",,,,,Id ,I\,t J(C,'PI ~"y l hi n ~ Ihat ' k'Irt>)'cti ~Ii e""hnil )', hl'l I, e ,,,"k ,,,, a,ke,1 an anim" I"" to I,m ,e <.Inw n ;on aC'I,,'" if I~ iJ""
\" i ocin~. 'If

" ai l r" t Ilk iii ", I",,,,,,"

\\'all ': :tnto.: ~" ,1 " 1',\\ ''' ''''' . !t,'" ""1'1"'0.1 b:.:~ and I.,,>ltd al " ,,' . 1 11~",ghl I,, " ", II" "'!! ,,, ,.-[1 me k'

",iii ..

h;,,'.

11'111" "n II..: ~ 1c)\';,'l l ,

Ica,( " hal I

t""

~u,tJ"" ~UI ""

said . "-""r.. [)aw. Ihal-' JIN

"~n,,,d:'

,. It taughl III\' "h" h' "" all l..- I),,,,,') ,,,,,II,, l no:n ",,"cr h:td a n~' lo'OIIbl,' "" h CUgj!etJlk>:l

,'I' {

h,,,,,

WII\' '' I " ,,, dnc,l ing I " ",'01 In ,:t} '" Ih" anllnal"" ' \\' ill J"" ,I" '''"'''l hin~ f ('f " ,e.' Will P ' " P11;tl c;1 ,,, nltem' Iha! y(>u """,' II". ",;,,1 ,."

w~s "S hl
I).. ,..,

lor'i><" "'c''''_

Halld 101.1 of a lC,1 he had 0.1011'" "f ~hcl <~ nd,nll ,,1' '''11 In hIS ' a ,"cah. ,,h"llInll. " 'Ih C\'<'~'lhln!, 00 IOC cat rJtlhn~ and t>oo,.n(lnl' . WI..:n 11t<~ (3m" I" lit< 'W1I<.'r. It-.. ,oar ~k id<k<l a,lIl "Ie" ""I " " ,,' . "t "h.d' I",1II1 II..: ,'ar ",~~,xJ. til, I""",,, I,l"t" t" " k d " Wr and land,".. "'itlt il> nll mlJ.,", "1""1<' d"" II an,1 ~pcllill~ , " Oil , oc,'k l)" ,," "as "n,' Iltal "J," bu~l .. and ho: ,,'a' cate fu l !" ' I.. ~( il '" Ih al 'I "",,10.1 mil ..... ", ,,...,,1 "" Mlentl) lit had "' ~ e,>II''''''r,,llh,' "h"I, .-,or
a..-lion and ~,~ ~d h"n 10 du II o~'r IIC ' I IC" ,., ....i d 11.._,,,I\: t,a..Utln .. It' ~ tI(I( brood "'M " '''lIh, II', lin' Iunn .~ " S" I;m.., I)a .~ ,'orr,',:led Ih" ",Ii"". """ "11 ;lntl Tc~1r~,, ;ng LlLllil Ite " a, '''':n l} Ih,,,ug!' lit,' I'''r.: r . and , Iill W" II d,J nut kd 1 "d illn " '" ,p iri led "n" ugh 1t,1,,( ,,!tal he \\ :lII led ,
;0"

'~lcrUJl). lur Walt ~'t)n'pl;ti"'.:d uf th.. la,:~

.n....

1>'

,\1 Thai puinl 0: .... !"~ r"d "I'

"rhe

,'''I~' I I"n~

kn," 10 tk. " '" '0 dn ""'I\'I""'~ oc "'''~, " "" nlr.:n>e Illal "" "OIIld ",~. ' 1 d,dn' , mcan ,II", much" S" I ",cn. bac k and dod "'t1l('1""'!! 1k1lTi"[~ d"h,"\,,1 I ,,'a, k ind 01 f'C\oud ,,( ,,,~,df an" ,",,1,1" -1

"""I",,'. laL.'_ ,,,

Solid Draw in g
11,,: "ld I" 'M" '" "co', hat'! l'r""",I I" ~""r up "ilh ,'" d,'m ,,,,,I, " f II", ,,,.,, 1'1"" " I :"" ",,,1,, ,,, Mo.\" ' hao ,,....
1"1'

rJ"'" ,'"""",,,,.1 Ih~ oc~ """, ,.,,. " y"" , h""IJ I..,~"

i' ~ ,

I" JrJ" '" \\'.-11 a, I_""ib lc ""I"'~ '1 ," H"~ I" (Or"" No" , "' ~ .' ".",,,,, """"a' M .~",Cf .'I,m'~ "' '" """ ,,,.~ ,II 1'):4 . 1"'''" '-.1 ' '''1. ,. n..- ..... lTer ~ .... ,' '''' .II~", 11M' .'a,,,',. 11'11 "" f'J< ~"" y,,,, '11 h,n' It, dtn lho.- .'h~r""'~r m alii_Nit"", and IrOIl" ..w~ ~"!,-k. u,! ,I' , ,," ,'a,,'1 ,k' t1, ,m" It",, I" ,I ,,~.' ,I 1',1\1" "",,,. ,~I,..,
.'n ~I~.

,,,,,,,,,,1""

'I" "cr~ ',-' Irl<'j",' "lid ,,,I.,., h,"~~r_' ~ l",( I l.t< i. " '" ""-'''' phi 1'''''1'1", " Ie " ."',,,, I,'h' (; " 1lr""
". ~ " ~i' i "~" I"" f, "'''""" " :~ ,, ;ttl,,1 " '''' a,'(',,' "I~,,,
'''~ li"" I<~1

h.1 I" , ... ,,1). ",, 1.' II)' 1;., 1"'1"'. ''I":" "II<.c " T,~. m~") "I'

,It., ""'''. ,'Id .wJ

~h, I.I~ :",d.!,,~

- ..

_-

- - - -- -
~'ll'~.

lj.oJ, E'<'!; ,Ui'- , ;lIM ,f.I.OM>, FINGE.'R. ,lG ,aUAIi:., ~ , ~'fC. lo::>K'5o 714e- ~ A5 '75 ~. PAIt"f ,~c ea "'1" r.;; .It vcf!.!< .;;r'FF i.OOI(ING

..,.

-- -

W OODE-N

fA!,e$

"./ll!. OI~ ~
~
~e

friO'2E /JA1ZJ~'" oGW\R.<,'

ACH 1J\2r OF
~"m6

~"

e:;ov V AeiES iN
WA'<'

<

WWS"'~D 'N6

tosl1e F er. ....

CJ>-

N,~

".i",<1

'M"" th.;r

0.1,.

Otp<lr, urli",

~"'

new. were full oflfic" and {cchni<luc~ thai had loo~ed ""a, in canooning ~ hool bUI did n01hing for them al tilt Di,ney "uui,,_ The linle ,hadows under Ihe II." <>f 11k: ,1\",,,. thc ,lick line. Ihe tlashy "er.'e of clothing re:"'lin~ III "jolent .,.nion--all Ihe-e de"ice'
Ih'l had imp'C"C<.i US
11\

high ";h,,,,1 were of litt le

use anynlOrr_
were hung on many walis where the young ,,,,ince, w,,,,ld he 'u"-' In <Co lhcm. ~nJ the one we "",w: ",i>cr he" waS Ihi , - "Docs your drawing have weight. depth and halan<"e'!"-a ("a,ual reminder of lhe ba,i" or "'lid. ,hrce dimens ional <lrawing, Men h;Id de,'oted their whole lives 10 the mastery of the'e elusi.'c prin.;iple ' , and here wa~ thi~ ~ ign "bout ., prttemi'>Il' as OIl<' Ihal ,aid, "IJU)' Saving' Bond,:' or pointed 10 l!>c nearc't exit. Aoolher sign admom,hcd uS 10 w"len oul for "I,,';n,' in "'If dra ..... ing' , Thi, is the unfonunale ,ilualion \\h<:r~ to:lIh arm, "r lk,(h legs arc nm only paral lei 001 (k,in~ c '"~tl)' (he ,ame Ihing, No one dra ...... Ihis way on ",,'po, e. and usually the aniSl IS not cvcn .ware Ihat he has done it. This affliclion waS not l;m;(W 10 th. thin ;." ror again ;n the ,",vcnlies young animal"" Ron Clement' wa, ann"yed to find "twins" in hi s drawings no mallcr how hard he worked 10 keel' I~m om , "II wa, <>ne or Ihe roN drawing principles Ihal I heard "I' allhe studio , If you gCl into acling, you
.~igns

would never think of c\prc"ing an en...,.i"n ..... ith twin. anywhere, bu(. sornehow . in a drdwing, if you're no! lhinking. il creeps in lime and again ," Our main search was for an "animal.ble" ,hal"', one th.t h.d volume but was still tlcxible. possessed strength without rigidity, and ga,'c uS oppor1unities for the mo"Cmcm, th" put ,,"cr "ur ideas , We n.,.,<led a shape th.t was a livinl; form. ready to move-in con

YOll"J'

t"" di. prol>lt "-

''''fHIIMI~

r>ppMIito

"" ,iU<J""

pf'6'1 i. tht fa sd"ati"g ,<saPIr/on lanydra ....

_'d "","

l<3;t ""ilil the ,'alic fonn. W~ used the lenn 'pllltlC.' and JU51 the definition of the ""on! seemed to ron"ey !he feclin8 of potential activuy in the dra""ing: "Capa ble of being shaJlCd or form~d , pl iable."

Appeal
Appeal was ycry irnronan! frOlll the , tan . The word is often mi.interpreted 10 . t.ggest cuddly bunnies and $Oft kincns. To u . it meant anything Iilat a person llle$ 10 IOee, a quality of charm, plea, ing design. sim_ pllcity, communication. a nd magnet:ism . Your eye tS dra""n 10 the figure Ihat hilS appeal, and. once there , it is held ""hile you apf'",cialC what you """ seeing. A Sinking, heroic figure "an have appeal. A "illaine!s, even though ch illing and dramati" 'Muld have appeal: otherwise. you will not want to walch what she is doing_ The ugly and repu l si\'~ may uplure )'oor gv.e, but Iilere will be neither the buildi08 o f character nor identification ""ilh the snuation Ihat ""iIl be needed There is shotk value, bUI 110 Story .trenglil.

II

TM pmalld lin" of the pis~ Or h~., go,', no chana /er solidif)' or di"'~JUiCl1,

lI'h," hrn,. ilUtN>d of"""", "'nlh, f """.flh. "

..... ""I)' "

IitWlr d.si,n .

Addinlflnl! i ....rrns.d ,h. ",>!um ... Jlhoulli,m.f " fluid , (u: ,i,., po""'ial ,

\ \
""'-~,

, ~,

") '

A weak drawing lac ks appeal. A dr3wing I~I is complicated or hard to read lach appeal. Poor design . clumsy shape . awkward 1Il0"cs. all are low OIl appeal. Spect ator. e njoy watchin g SO,"",liling. Iilat ;s appeal in! to them . whether an c~pru,ion. 3 charucler. a ~ ,"",nt. or a whole story iuuation . Wh ile Iil~ Iwe aclOl' has charisma . the a";n,at~d drawing has appeal.

Young people, exciled aboYi Ill<: ~r~al su ..'c~,,,,,s a:bje,'.d with Ii .... dr.,,-ing. are al" ""},, perplexed to hr. thal delicate rdi'ler!!cn!> are ntIl flO".,ihle in Ihis medium They r~!1 scene, or g",al beaulY and picIInS wllh strong ("""ions and C3nllOl sec thai lhere is an~ problem ;n communkalion, BUI Ihe prohlem is Wit. in every Keoe and c,-cl)- day, Sinee Ihe medium lackltlle lublie shadow pallems on Ihe face Ihal can Itveaitht , hade, of character in a per",m, we mu,t concentral<: on Ihe acling or Ihe sillry 'Iruclur~, Deli C~ expr.:.,ion. can be misinlerpl"Cted. to .,'cryon' s ,,,,,fusion. and 3!lempl ing too much rdi""n""m can make lilt drawing SO reslrained or m"oh'ed th31 no rommunicalion is po."ihk_ Only .imple arnJ direel anilOOes n'a~e good draw ing>. arid "' itlmul good draw. ingl "'. ha,'. 1;lIle appeal. The "'hole idea of Irying 10 conllllunitale feeli ng_' wilh mue lines doc, ,"oem ridiculous .1 lime, . There is alwa)'! the lemplalion 10 gel in doSC S<l Ihe audience can Itally :leC how Ihe character is reaCling. bul Ihe clO$e.up ~WnlS lite grealest prohlems . f)a\-e Hand uid. in l\lJH. when '1ue,lioncd aboul lhe 3d" isability of usin, tXlrem~ d"",,-up,;: " The race be,ins 10 flal-

len OUt ,,'tten you gel 100 dose on it. W. arc 31lempling ' ooven;"n", Ih31 now. wilh ~ new dye proce. bUI il will be son", lime before it's perfecled. " ( It ne"~'

was. )
Many greal effe<"" are ro'~ibJc. bUI I'~ nflen lhe)' COSI "'''''' Ih~n lhe a'< erage proeJu<'lion Can afford . The con.lanl bailie is 10 find lhe element' Ihal w;1I look besl in Ihis n,cdium and Slill allow the wungesl com municaliun of Ihe idea presenled . A drawing must be made in lin~. d upi ic~led on cel.', rainl~d in Oat co lo... phOiograph.:d Over a bae~ground. ~T>d projeeled onlO a g'anl "",retn. Tiny. sen,ili,'" lines on 1M dr~wings ore now enlarged unlillhey ~It more Ihan 3 fOOl wide. and 'ef)". "cry black. In lhe mid.hinks. we wished for shading. for le ~ lures. for are .. w;lh no oulline,. bul Ihey "-ere nOI pm'lica!. We had I" find Ulh"r " " ),5 of pU!l;n~ u"cr the point' in Ihe scenes. and in S(> doing <Ie,-eloped characlc'r .nimalion imo a ,(nnmunic",i\'\: an Ihal 3$loun<.led Ihe world, Bul al the I"ne Ihere was neilher glory nor ",ide in om eft"on~. only lhe nagging linmal;on;, As we p."ed tach Olik:r in Ihe hall. wt' shuok our heads and shared Ihe lhoughl. "lI's a crude medium. "

4.

Discovery 1934-1936
"',ud (>II ,11.. "'<II.
""I"s$ .,., JkJl /"'''''- ,II .. n'''/. .. Wall n;'n~)'

" I okjiuir.-I'-fi-..! ,/"" ..... , ''''''''" ,/" ,h", /'''''''-'';<"'/';''11.

Thl mid -\hlnl e~ w~. c~" 'y 110,' """I lhr;lIjn~ ~m'd fOf the Dj'IIe)' "nimJror~ . II "'''' a lim, explosiw ~row(h r,1I" 1he wtmle ~!ilt1in. In., 11 ... ,",pl..,rin~ and

ur

eXf"trimeminr_ ~OO d; ;:<:"""y

CI~Jled

an eXcllcmcnl

..,w, 'Iulle mald.,:J a,I1ain.

J">I t..",au~ ,,~ h;td n~mcd 0"" "r II,, n,'" prirn.'j pit> IIf an,m.,ion did nOlI me~n lh~. we ",,,.kf.t'~..J ;1 I. ~~I,,-\l d ... <' 'Mil ,,( il~ r<"<;1>;I/,;",_ C"n, 'am study ,r.! ",.r,h;n~ had hmughl II> Ih,,' fa,. and mOre , [u,ly u, In. "nly "3Y '" ~ ~cp ad\'an"i n~ , Wall >~cur/d
111m"" from "rh~r wmpanies for LlS '0 sec al Ihe
~i(\ afln homs. and 110:: ,,,1<1 '" "r Ill<" g,eat ""ud~\'ilk :0:1, ,<> ",'e whcno:wr till'}' were in I<>WI1 . b'~r)''''hcr~ ~... ":em aoo c'-~I)'lhing "'-' did he,'a"", "'tloclhing 1 0 5/ooy: fu, liminj!. 'I~!! ing. hum"r. pcr""ml ily Ir~ih . m o,...n ... m,. ",:Ii .. n (ln~ ~tli m;tI"r horrghl a Ihn,m r..,lCO~ wllerr tloc~ (11'1 ,~n .... "uthe "'~r~ct . 10 pho",, mph hi, "wn fc, ,,,,r.:',' mal~ri.1 and Slud)' i, r'r~mc b ) ' [rime. II pul him all('~d uf the <>(h,' I', j",m~d'a ld y. "rw:e Ik' was able 10 crc~ l ~ new ;'""O"S bcy""d llur ul>;kr>i4,KJing. Don Graham. 1 h')l in,rrue'",r '" (,h"lJi"ard' ~ A" In . "i,nlo:. wa, t>r.}I'ghl QUI 0111: c"cning a wcek IU imrrnvc Ib: dr,,,,ing lakms "f the sl~ff. ,\1 fim il "'as jusl rqular lif~ dr~" ing. 1>111 il " 'as "'~ I"nj! hef"", l)Qn nmc undcr Wah' ~ im~n>i"~ drivc ~I,,- ap 1 gel ;." "",. 0 lhift1 ","lItT. He "'~nlclll)on 10 be,:,}ln< lhe QUISlan<!i"l: ,"rhori!)' un lin~ drawing in lhc cuun!ry . He wanted hi, men laughl Ihings you could nOI find in ~ny exi .tinS

.w-

an ,eho,,!. Life

" ,duL hUI il did nm ~u Mally fa, c"ough ur fa>! cnough. DOll soon was ,pend
d'~wing w~s

,\" i .

",.... ~",d 10 '61

'>f,Iot~"i_.

",","O' f.\

ing ",on: tin'" 'lullyin~ Ihan la,:hin~. as he Ir i~d to ke~p up wilh W~It"~ "nl hu .;a~m_ Wah r.:aliled 11\;11 lhe anin'a,nr I~a("hing lho. ~n "-~r~ Ihe OAC'S "'ho shaT~'" his desire 10 achie'.., hi,her "andaru;. ~nd in 1936 h~ put nu, this mCmo: W, plan "n inslalling ni~h l clas~~s nn aClinn anal}'sis immedialel}' . I in1cnlllQ ha"e '0"'" of lhe he" anima_

1/ ..... doN-s ,lit ilI>iI

,"" (lIma ..."

,M,.I.:

Ion ralk ro lhese meo and discu ss with them Timing. mun~ of obI~ining cen3in effecls. . . in this way I hop:: 1 Jlir up in this group of men an cnlh.. s;0 u rn and I knowledge of how to ao::hievc: mull'- that will advarott them npidly:' Now "''C ...ere comin~ Net two and rhrcc nighls every " 'cck eilher 10 talk or to lisren. TIlere were liso guc.1 spea kers from OIllside It.. st udio. bUI. while Ihey ...ere stimularing and cn rkhed ou r general bac ~gr[)Und . we did not ge t a.> much from lhem in a praclical way U we did from our own "upcns:' As Le!; Clark said. "1 karned more from worting wilh rhe fellu. and from Walt: The memo ~inucd: " 1 also intend 1 Iu~e Don 0 Graham siudy our beller animal ion. 50 lhal he will be Ible to analy .e Ihings for the younger . nimaton. M ~ work for Don. and thi.l in a<Jdition to the cla~ses he w~s conducting on acr;on analy,i, from live-action film clips . He se lected ,;ogle lOCtions on short pi<:ces of film and nn these back"'ard arwJ rO.....I.d endles.<ly ... hile d;.cussing every observation he had been able 10 make. Our ~ycs Oickered in sync willllhe slow shUllt r speed on the projeclor. but "''C ...-ere fascinated . One piece of film sho ...ed a hon;e in I ~to ... canter turning a half drcle 1 hi s left . Don wenllO daborate 0 lengths to prepare us for thi s film. e~ plaining ho .... lhe hor~ had to lead with his left foot 1 keep his balance. 0 "If he ltd .... ith his right. the support woul<l con.. too Ill<: for h i~ ",e ight . and he ...ouk! rail o.-cr . llIen he nn the film, and 1 c' cr)"o...., s ,",rprise--and Don's 0 horror- lhe horse was running in a left lurn with a righl Ie.d. Ke n Anderson' burSI OUI impei liousl)". ' Hey. Don! Thc horsc is ""rong!" Too many nights wirh tOO many classes wcre gening tu Dun. hut he stoically kept on AClua ll y. he ",ade a bener point in our mindS than he .... ould ha,"~ ot he rwise. for an)' horscm~n kO<Jw~ Ihal a horse can lead w;lh eilh.:r foot on a tum . Uowt\'er, his rhYlhm and I>;! lance will lot betl<:r using the one lhal matches lhe direclion he is luming. ,nd "''C Iud to know lhal ~ISQ. Our OIIOSI stinting obscrv.ilion from films o f ptOIlte in ~iOfl wa~ thai oJ"""l all actiOflS ~tan Wilh lhe hips: and. ordinarily. lhere is a drop-as if gravily .... ~r~ being used 1 getlhing' going . From this mov..,. 0 lhe.~ is u~u~lIy a tum or tilt or a wintl up . follo,"'cd by a whipla"ih type uf action as the 1"C51 of the bod)' Slans 10 follow through. Th;, was evident first ;n sport.

fil",~

sl\u""ing ba",b,;,11

pit~hcrs

and Ilolfefs, bu l soon

I""~

landl

we (wid see il in n><ITC- gencn l ar.:livil in . Any

~aning 10

mm"C from a ~ill. st;Inding r-""illOn . ""hellier to SIan walking or pick l'OIT1C1hong up. alway. bel'"" lhe ,",,"~ ...i th lhe hip" . Don Graham c"cntually did I>o:e,",,,, lhe Icad;n~ aU lh ority un line <lrawing. hut ""Iy a ",.n of hi, palicll<;C. inteliecl . and calm deter",in"li"n coul d las lc<lt hrough lhos( cia,,,,,, . lie wou ld . hake hi ' head in di~lottief at the commenlS from all sides a. he tried 10 edu.:alc rna."", of imaginaliVO!. cnl hu~i" .. i<' arti",. Don al""I),:, had a cigarelle in his hand . hul il wa~ turd to . ccall hi~ lillhlinil- ol1C . In OUr " ",nll";"S, hi, c.prellt"> were ....,,cr o' c. Ih.".,'!uan<:," "f an inch "'"' (llcn ing sh<lrter by the minute). and lhe sm"ke clun~ to hi~ hand and went up hi , , kevc . I")".rt .... ere 110 ashtr~ys op on the model slan<l where I>c gcocr~ lI)' talkcd. '" ru, ....,,'er s."".. d I" have a pbl<;( to put 0111 lhe smoldering tip. moving it adn,illy from one SCI of pioclll.'<i fingernails to anot her. We found ,... rselvn engros\C4 in these a",",jng displays "f agility in .. ead of I)oo's carefully chosen wonb . When o f the animal"'" ""'''' press",ing Wlh ro let lhem change Mickey's eye. "" that "1OfC delicate UpI"C"iun. cOIlld be handled. Walt a,kcd D... " to brin~ it up in hb class to sec whal all "f the fello .... , lhought. II was a tliffieuh nighl for Oon . since he had "'''~ p'etcndcd 1 injecl him", lf into 1111: actllal wort; of 0 anima" OI'I. and he found hi nos.:lf trying 1 """,<01 a 0 spiriled di.cussion between aulhorilies or ""ried "",nio," and even more varied pcrsolUl hl ics . Some fe~ the u<lierott ...wld "","c. 3CC1:r- the ne w design .nd ",'"uld """nder ",'hal WaS wnmll . Others claimed Ih.t rcnplc would ""vc. nOliee, So me fd l il .... "uld be.1I right to Iry it lOr just one pietlln: 1 ",e ""hal happ.:nt<l 11111 As the tnl k hecame morc Mated, .. lie noil" 'Iuiwni. " Why don'l ....~ jusl ehan~~ nne e)'e III a Ii"",?""' Many of the animators re>cnled the ennsl ant 1"'''" 1<>W2rd mo\fC ",alism in every acl" "'. To lhem. pulli", o,'cr lhe gag. lhe busil1Cs.~. thc ' tmng p<>SI', ""a, all thai ",'as needed to be cn lcn~ inillg . '1 .esl "'as ju!.! ")'" frillS . 6111 lhe ne .... types "f pi<'tllres clliled fo. action. that had to be analyzed carefull y if they ,",'ere to COItl~ off. Then: was a famull' S<:crIC in "'h~ Cl,P'''' Shol' Ih. t W;t.< (:lI ked about for )"Ca.,.. The ~IO')' was simpjc: In <lId man has a china lohop. ~1lIl ",-hen he lta,'C' al niSh!

h,,.

St"'''

* r",,"nn COlI'" h) I,fe

lI u"1I.: >Ce .... or.he k.nd ly old shoptccpr< .~k"'g a la kll, k around lI.:n opening !lie douI. "'alk,n~ .hruu~h it. anJ dosing. il behind him "''''1 qUill' 3 change from the br"ad gail> and ;oC t ;un~ in !he earlie, fil"", T he ac tinn n"t nnly had , be Cun Yill<:inl. ;1 had tt) have Ch;"""I~L The u ld man h~J lillie ptrSOll3lily.1>u1 hi: had ." be old and kindl y and _ ...'h31 ... mini .....",t .". ",",,,,one oul of a Dic ke n.
~

Throuj:h lhost d.y . the piCIP' .' ,,c mad( rdlttled lhe ",ide rang.: of c~ pt> Wah Wa~ uploring. 0.. film COfl\:CnlrlleU 00 dances and lhe E""""'''M; pM' terns danc .... made lllben see" (rum above. TltilO had become a popular camera ang le bc<.au<e of lhe musi.
c al . li ve :';:Ii<>n sludi .". we", m.~ing: it ......., felt ~ mi~ht do it bctt~ . bullhe audience, did no! .glft ... itb lIS. We deal' ""'Ih fanl''''''~. ga,s. ,,'~a". IIKalM. ad,..,n,u"" . perwnalitio: lhe . il le, alone suggnt lhe bj1 matter: Tht F/"'III1/ MOIIH. bl/ally variety of ' U {.<1M. M ickry'J P,,/ Pluto, Tht P,'~d Pi!",. Th," Th, Mirror. Thr KIQ"dikr Kid. "buy or lhese w~n: ~ 'occes~ful. but Wall anal),lc<l,hc relKlior" and ,ried somelhln~ dsc . There lil~n>td ..... ,,!kilO h~ ,de . but the bcsll\.',;I"J''''<' from both hi~ sl~(f ~nd lbe audiefloe "'as to h;~ talent for "" ....oping po:~lilie . II pel nlealed hi.< Ihink ing 011 a lmO!i! ('"Cry 'cn lo,,, .

~ lIIi.m.uor ".~> delen"i","...! ." ~ "t shumin~ ....al k. ... a \)(nl po.t ure . aP<l a feel in g of age in the 1111,,"em(:n". He <lid ~ ,,.nl Ihi. man 1<) rc~c h far. lake hi)!. 'Iep~. Of in I~~ "" Y """"ar tn be a'hl~I;C or ,"ung . The lI)'OUlnun Ilad dra"" n a donf "n" "''311 Iha' rn.d a 1Wf)'boot fccling. bu . unfonun3lely. lhe donfklll.>b 10 on lhe far , 10k.". lhe Ill .. , . a Ion!! di,ta~ from !he eklt.I} ihoplocpe, Ho had 10 walk o,'e, clOlo< enough to ... arh 'lin eas il y and ~ '"'P it lIul th is Ieli him sta ....hng directly in 'he p~lh uf the dour. which for $OIIIC ..., _ ope""J in"'ard~ T...'O )'c~ ahe. Ihis. lhe .ni",ator .... ould have run back 10 IIIe Mu,ie Roo'" and !'C"reamed aboo. ,he rmrieIi~~ la)'O\ll. "Why d""" it hne to he at th is anSIe?"' " Wh)' doc, the door '>f"!n in in,lead of OUl?" " How am I , upl""'ed 10 ge t him Ihroug.h thi s door? ' BUI tIIil ~ion had tm1 been con,ide .ed al the lin", of nt (/Ii"" Sloop . That animalor. " 'ilh great de.erm'l\3 IiGa. .txkcd "'" "rublem fro." an ;o,;lioo >I;mdpo.oinl . probably hoopin~ >retly he ",,uld >ho,,' e'"Cf)'Ofl(" ~ . ,tli he 'nalyJ.~ the si lua,i"" , oprncd foo. incoc.< and hil the ~entleman'. fOOl . li e ~ Nck in a casua\. ~hu ftling. mao"" . Ik OJl<'ned tile 6ot:Ir anothc. rnur inche~ unly tind il had bumped a,a,1tSI his other fOOl . A!;8in he slepped hack_ IIIOIlIer foo. inc""" . Now W do", " 'lIS again~llhe tiot rO\lt~......., . The.e ....... no "'ay he could " ep bac~ fartllOllgh ;nlo ,he ><:ene In dear thi, door. and lhe fllllle, lie backed up tm, mo"" I,,,,hlom the.e ..... " uld be in WlIlt.ing around the ob'truCli,,,, 10 get our-ide. " 'here be \IId.o lit by lhe 000 of lhe s<:enc:. So .s ,he film roIIrd by . he poor u ld man . huffkd endlessly as tile door vaduUy ."",ned e", ... ~h fot" him In .nelS<' IIQ w:ps and ''''ru~1e in lu the night. It a comedy of fITO<$ on .,'eryoocs p.a". but lhe animatur br>.c lhe bruni 0( lhe k iddin~ mo.e than the dirOX' lur 01 the II)'IM I113n . The"" WaS much I" be learned .

.rue

.,,.,w

,ha,

n...: ""'..

'0

,ha,

Wall h;t<.l . Iway. lo\'ed train!. with thoi. 011llO$! human en,'~. and as carly a!I In~ he had one of chem f""II..:d in lbe filn. Mil-Ic,.... 1 CIoooCIooo. 1kn SIIarp!.In hOKl lhe as";gmnc", or aninuting lhe lie'" chara<.:!er. Walt was n<K content to have a stnllil e..plle as a prop : he wanted 1 Ili~e it pc .<onalily. In the 0 story. the c ngin.:: came to a ,.ade ,,'here il w"" t.a~in, great diffICu lty makiog. bead"'~y. ~nd with muck p!.Iff ing and s' eaming il squalleU down 10 the ground i. fatigue . M ickey Mouse. ,he engineer. tried to prod;t into ",-'cion. and the engi"" trk'" 10 1"" forth I final effon . 1lIe piSloos we"" an;m3ted 10 repre",nl arms

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IUId hlUlds; lhey n:ached OUI and grabbed lhe rail~ all a person mighl gnb a rope 10 pull himself .Iong. This wlS more !han ju.. a mallcr of personality. it wu the wboIc ide. bIIih on dW10Ctrr relationships Wt wuld be .niJTUO~ . Mickey haod a dear ~uitlKk . theu was something he was trying to do. and the engiroe offe",d all kinds of opportunity to the imaginative animalor. A characler was never placed in a lI<.:eroe unlellil he had. definite ",ason for being lhen: . He had funny bIIsiroess. gag materi,l. dialogue, something to make him illltre.sling . and . ullually . 5QfTICthing Ihal showed who he was and how he feh . Otherwisc . he ""as 001 shown. W.1t roevrr left a seeroe atlhe COfIIinuity level ; he made $Omething out of il or uworked the story al lhal point. As lhese ideas became s tronger. the cuning and Slaging of the scenes bttame mon: important. Dc.:ision~ .s to when: 10 have the carn<:ra. how far bad 10 be. who 10 have lhe camera on. when 10 be on someone el_all the fllC(:ts of filmmaking became imponanl to the lillie c anooo . From. 1lO\"dly. _ wtn: coming of.~ in the piclU", bIIsiroess . n.c U!iC of real pI'_lit~. for the c has"ac1crs had rome aboul slowly as the belter Iype o f comedy and gag'! developed . At firsllhen: wen: jusl geroe raltypc s willi. the traditional conootations from the comic slrips: big and tough . small and quick. fit and jolly. Ihin and mi..:rly . n.c g~gs called for altitudes . np",ssions. a cenain amount of lhought or con silkn lion here and thcn: . but no need was felt for pl'rson.a) ily as e~pn:$SCd in walb. n:actions. mOOVlIlions. or thinking. n.c audience was drawn inlo the piclU: Ihrough the Iyl'" of gags and sprighlly bIIsiness; Ihr.n: Will 110 necessity for anything more . Ptople wen: delighted by eye,,". and OIher tricks 10 make lhe impossible look plausible. Prior 10 1930. none of lhe characters showed any real thought procc ... Althougl\ Mickey had ",placed Oswald hr. WIS doing lhe same things. and lhe only minking done: wu in reaction to $Oftlelhing Ihal Iud .... ppcned. Mickey would 'IC>C ii, UKI. u alitt Ihal he

had to gel a counter idea in a hurry . loot around arid su hi, answCT. quickly convert il inlO $Oftlelhing Ihat fil hii pred icamcnl. lhen pull the: gag by using il wcccfully. Of course. the poIe",ial for having a chancier ",ally appear 10 Ihink haod always bttn there in the routi1l<.'S Il\al Wilit had envisioned . bul !lO one knew how 10 accomplish such an effccl . [t .... a$ r>OI even realilrd how much such an addilion would in<.:ru!iC the audio ence 's enjoymenl and involvement in the piclures. Tlw all changed in one day ""hen a ~eroe was animaled of a dog who Ioot.cd into the came", and s norted . Miraculously. he had come to life! Walt was qu ic k 10 apprc"c ;ate lhe diffen:n<.:e and 50 was lhe aU<Jien<.:e. llle ye,.. wu 1930 and the animalor NOfm ~rguson . Wilh lhe gradual advancementS in our skill<. the way wa~ open for Walt 10 e~plorc a whole I\CW Nn ce pt : that of teiling a complele ~tOl)' . n.c earlier f,lm' wen: made up of gal:" and had followed a " Iualion .... prediclmenl through 10 the end . but there was roe_ an attempt 10 capture. an audience's 'nlen:$! Ihrou'" lhe slOf)' itsclf. Now Wall wanlcd 10 10 if his .. all's ability 10 mllent a s imp,," bul complete 5101)' could hold up . for Ihat would open gual nc: .... flCkh to us. It was ~ itep forward for Slory. but II huge leap for ani matio n. Could we sus1lI.in a characlcr. ke<:ping him Consislenl and believable for llevCn minute.? Even more suprising to everyone al the lime "'.,.. Wail 'S des ire 10 buik! piclUUi around thr. idea. of tendcmos . lhe lullaby. _ in lrouble. symJNIthy and sacrifICe. 11M: fairy Slory. n.ciliC _re COI1ttpIS that none nlhis .. orymen would eVCT have thought of doing. and 11>0$1 cenainly none of hi. con,ptliIOOl. bul once again Wal!"s intuilion was right . Sturie. with hean and warmth broughl the greatest audie nce involvemenl, a ruponsc far beyond lhal for picIU"" lJuilt only"" gags . "The biw s l diffc",nce-and 11M: gamblc-wl>< tIut ,hcsc films would haV(C 10 be laken lleriously . Cartoons

heretofore always were intended to be funny, Would lhe lileater palrnn, accepl thi, new genre, or w(mld they I.ugn.t 001 ,-rude. pre,umplive efforts" How far cOIIld we "re"l tllem w rollow ",'? Fortuna{ely_ {he audience wa, more {han rcady for Walt's type of entertainment Even in the grim day' of (ho Dopre"ion, "hen Hny{hing li ke" r~i.y \<,," would seem eompletel)' out of pla,e. he had one ,ucc-e', after anotho'-no! ",'ery picture. nor rcHII~' "Ven h"lf of them. bul coou~h {o ,how u, 111e way {o go and encoura~ Walt in hi' ideas on communication, It was apparent {hat more {han mere nln{ inuity was nffikd in presenting a full ,Io'y, An "kl favorite ioke Babt, in ,he \\"HHI.,_ u,ing {he Han",,1 and Gre{eI ,tori.,. needed 4"ile" bil mo.e 10 m~h i{ cnt~rtaining in thi' new form, We quickly learned (hat a drab re{.lIin~ of any ,tory or an cmpl""" on c-on{inui1), and c'l""i{ion "'as the w",ng way (() g(), Nothing is more

deadly in animation {han npI3na{i(In' of who {he char. ade" arc Hnd what they ,"~ doing there. followcd by more discussion of what {hey are going to do abou{ it! We searched for (he entertaining si!Ua{ion~ inherent in the 'tm)" ur in the I'ersun. li{ie, Ihal <.'<JUld be dc_elupcd, On~ perfect example wa, {he r'N Mickey C",Won in ~olor. TI,~ n"",/ (" ,,",'crt, It in{r",Juc-.:d {ill' amateur harnyard musician, giving an upen-air concert to an aprrcc-i,,1i"e ,m,hcnce, The ,tory wa, o"ilt around the music being played and {he heckling o[ Donald i)uc\;. an icc cream ,aic,man who wanted 10 play {he flutc_ There is no explanation of who anyollC is or OOW Mickey acquired a b"nd. '" {here i, no need for lengthy cominuity ,cenes , It is n<>1 Ihc Iype of pic-Iur<; Ihat 'ICC<JS a .tron~ personali{y build-up. '" i{ {uh" right off with emcnaining bu_ ,inc,;.,. "nd ""c-h and c,"cry <cetlc ,s packed with e tuenainmenL !'OiIllN ha, "cry Ii{tle actual ,(m), and fcw gag.

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111;01 is SO . pecific for Ihis

fil Oun~ld or Goofy or .. ~ but Mickey. One s imple ...cclIIe of Mickey reading Iu PI~ !O froln a hook OIl I!o.... 10 lrain h~nling dogs. llortgff , hoi"f It..il camp in tl\(: woooJ . ~nd Ihl i. all anyone otN\ IQ know about lhe situation . Thele is lillk: ro"linuit)" once again. and ea~ h scc ne is in lhe pielYI': because of il s entertalnmenl p"lential. Mid(y'~ leaclion 10 seeing a beal ri~ 11l before him ;. pun: " I)isnty:' uni<!ue .ponl'!'Ol'OO~, frnh. and f...., No vno bul Walt "'<MI ld ha\~ IhlMlShl o f Ihal di.l1of.v. 01 stlHdled "'" the . ilu~, i...., 10 "" moch foocage. or nrIN Ille animator 10 li usl ain lhe 1"'" diomc1ll""ilh IIOIhing bul prl'sonali l)' , Bul .... hal per son.lily! Tlti. is no or<.i ina ry, "Oh. Ili. Mr. Hear_" Righi from It.. firsl netv"", gasp of recognition. while he 11 ~f\I~~ling 10 gain hi., e"'"posun: , he is the Mi .. souri farm lI"y 1I"ing QUI ~ f~nl~'y . ' Oh.. . II's you ... tlla! 1$. il i. you--.ain ' l il ? I "~an. c<n'l it? L:h . 1 dtou~hl Y"" " -en: Plum, but you ' re 1101 Pluto . . . . YoII'~ ~vu. . a~n'l ch ... Vh . , . ,,cll. I' m Miekey Moose , , Y'know" Mickey Mou se~ I hope you "'c heiU\l of me- J hopr~ _ _., Thi, ~ .v c lhe animator .lron8 chanlles "f allilUlle und IC~lUrc in lhe IiClin~ Ihal lIT scklom f""nd in oorrnal di alogue . Wall Iud hn ><t funny in IhI: '~Vf)' mtinB-' acling 0111 Mickty' , conf... ,ion lhal 'OIr a. ked if ..'c e"uld lhoot. film uf him;os he nx,JrthI (hi: l int~ . Mickey's ~,.-as al" 'a)'s "',"" by Walt . and he fell lhe lines lind I~ ~IIU,",ion ... complrlrly , hal hr could nOi keep from lCun~ 0111 lhe t'-eslures and e ,'en (I\( body alii . lud( ~ ~; I . . ill 11ll> dialogue Thi s wa, r.efol~ he had ... "'o!~fd in fron l "f a ('"mCla. ~n<.i hi: wa, reticem Doin~ I ~ood job of nxordin~ the voice "'i1h 311 11>( smdinJ and ul1"n~ and expression 111;01 ""C le "'quiled ..-m tlll.lU~h cn:ali", d fon f.,. anyone, c.prcially ",t..n mlricw.J 10 an unnatural fal>Cllo voice for Micke)', Wall ..~ ~cplical of l i~e aClion 31 1h31 I,me and no( too Wlc ,Ji how "-e "'~Mlld U,", it, bul Ollr cnlhusia,,,. woo him owr , Reluctanll y he ~glfed. bul wilh n:$lric_ lion.: ' Well ... if)'oo keep lhe .an~ra in (11<: booIh--not 001 011 It.. stage, mind you-and if I don'l kno'.i "ho:n )'oo 'n: oo!ng it : and , ... On Ihat day. he wore his ba~~i(>1 dothes and h, s favorile old felt 11;01. " -hic h

did noI give hi m a c li.p aPJ)l'araocc bUI d,d Illake him feci comf"lubic and ",Ia~cd , The ,'an~r ..-'" ",I up ~ SO f:ll" a""ay flom Walllhal ,MIl ima",,,, on It.. lilm .."3S ' -e-ry liny, bul <lill il ( 3p(urcd lhe e_1I of his ""'ins While (he anlmaln.. nearly ....cnt bI,nd (rying 10 chan lhe lill\;lI1: and 10 , kelch from lhe aclion. il paid oIf in a """'lOI"~ble litlle sequence that n:n~"'IS W31t , Ihinking .ompleldy . At Ihe poim in Ihc reeordinli- wh.:rc he ,aid. 'Tm Mickey Mouse , y'know ~ Mickey "-1ou>.('" Wal( in>lioc1i>'CI)' reached 001 " 'nh h,s 1I;on.! 10 ""...,.~ It.. hti~ht of a link kid . It "":as the only lin ... ...., t"O:< knc .. JUs. how bi~ Wah considered M,dey to be . In spite of lhe help il gavc 11$. he """ 'rl' k l us pUl a .~mCla on him again : ami yeal .laln ..... hen .... e ..-an(e~ to Iilolk allhm film onc~ mort . it had <.ii,aP!"'ared, No one kno w. what happo:ne<J II) ii, The u.e of dtsign and color :,,,d Ixaut)' in oor film! ",' OS bcllinninlitO c""n~e their appnrnncc drAnJali.al ly, brill~ inlt the an...-,,", duosc r I" ~IOf}'boo~ il1u."",' lioo . The a"" 'al of an is. s who.> ...cn: beller d ... ftlolTC1l meant Ihal the ~Iudio coold di'lltn>c ""ilh lhe lricks a/llJ techniq"'" thaI had brought lho: film~ Ihis far aIIC,\ e mbalk on a mOre ambiti"". ,,MlI'M . Mou,J began 10 play an imporlant part , Well ' <ks ijtnell long are udliog (n .e<:, and if lhey eM establish a sprcial lnc~le and build a ,"'-"'<I :11 lhe '<>1n", lime lhey "'" in va luable , The y ...,aeh ,mn,woald), in lO lhe ,'it..... ,,' imagin.a l;' ~n. involving lhem in your ,,1t;lures before you havc Nrdy beglln . We were helped in Ihi. by ... hal we ,"< ... Id do 'O'ith both wund effcci. and mll"c . s,)U.1<l m.~c. you Ihink or you l own exprricnce~ , .... hk h .."..n. up a .... hole new range of .y mOOb for ~<""'nunkal,,'n, Nighl <OIlnds, erid~ts :",d f",p. ~elie ""iod, blu_ lcry "'ind, lain 00. < wi/llJow or Qn lhe roof of a cal_ ,,11 .... olk in our '''''Illorie., all<l i"",loCdialcly c>iabli>h a mood . Music e;m do e,..,n mo~ 10 arouse OUI ~'kM i"".; and, ""hilt .n thr Cally filtm _nd "" " '..,.1), and ~mln'so:e", of I .mall ban.! in an "",,,,,.lflI pil , nIY'''' ,,"" 'kly found ii, wa>' to a ITlOfC an;sl ic u_" IhfOU ~h .I imng thelIl<'S tlaot ' Iilcr.l1y Il"lInspor1td Ihe audience ;nlo OIl' maJ;.ehelic>e ",'orld . The Layoul l)cpartme nl had ""en . 1",, I<> &vclop, proo'lbl)' bc<,'au,", the...: ha<J I>I:cn lilli( (". 11 for (he art im)' Ime, brou~hl to lhe Iii" " . a,1<l ik,ibly boccauso:

.hot,

Wall was I>tJI aware at the time "" hal goOO I~yool' <'(lII1d do. 'fhcre had been no dr.omatM: settings and not even. layout that matched the 5Cope of ide," secn in the action . 'fhcn: was a Ixk of el\ar.l<::ter in the dnlw. ing. wl lh one: hoose lno~ ing li ke another , all tl'ttS looleing ~ I i ke. and IIIe final ~i nl i nll so gent ly lin lC<.i lhal il hardly cou ld be ~n . No one kne w yel how 10 support lhe pe~aJily of an aclor through lhe han 0 dling of his surroundings . 'The aclor had 1 make hi. way alone . By lhe lint(: o f the Thru /.illl.. Pigs, Wah ""a$ ""ginning 10 look for cnte n aining id.::u in a "harnelcr'~ loca le. ~OO he 1 0vC<.i 1 1 11 how the ~nist~ h:,d 0 1' drdWn pictures of bo~eD and spans r,gurell on the walls of 011(: foolish 1",'$ hoose. and ptclUn:$ of ,iris in the nU l , ",'hile the p<Xlkal pig had photos of 1>1on.ma and f'apa . n ils " 'as a ""ginn;II" bul few ~ >.IIw lhat touch in the background while walChing all the ;"lc re Ming act;"n in fmnl of ;1. S; ~ shon 001 busy ye~n; later. lhe ~ud;ence was !<:eing the unforget

I2bIe figun:s In GeppeIlO'S hoo,;c lind dcl~iI aftCf nlL:m OOIble delail througho,u lhe ,,'hole pICture . A " 'a y had been found to do il. By 1936 new Iype of pitture ""as be<'onllng p0Ssibic , TechnICal skills Were advanc' ng and a ne:w cam era was be ing bui lt Ihal pmmised wonderful illu . ions: animalion of ruin ~nd clouds and lighlning had ,m prm~ 10 the point tlral they were quite coo\tnclng. canoon colors; wen: beginningkl glow: and roc.stylon, coordinaled all 0( a fil m ', pans onlO one unifted con etpl . W""n I"",,", achievemenl' wen: C()nlb,ned " ,(h lhe abi lity 10 portray mood on (he screen. a 1m<: mllc SlOne in the dcvclopmcm of Ihe an imaled carloon n:sultC<.i: 'fh.. Old M ill. Acadcnly A",'1Lftl ,,',nne:r for 1931 . Wilb no Slory OI""r tban I"" reKIIOn of vanOUS animals 10011(: -'lOI"my n'ght.n a broI;~n do... n ""11 . tlte: film sho'.... ed thai an audience ~""Id "" ~wcpl up by sheer artls(ry and become deeply invol "cd In an 3111 ' mated fil m. Wa lt had not been so sUcce"fu! in his au~mp1s III

estaIIIUlo new frootm in OI~r ar(Cas. nlMabl y in t~ ani_ion of .... nWl figull:s. He clilled f..... cartoons .... Pn~ in the Godtk.u ojSp,int . II charmNI, "',. cootie ,i rl In TIw Cooilit Corn/I'ui. a win. SOItl( ~tuffed <loll in BmJ:.M TO)',<. and an excitable. greedy monan:h. King Midas. in Tht Co/drn Touch . Thecookic ~nd the ooll ..... cre acC<:plably feminine. but tho ",hok "'(Kid is highly critical of. le~s than ""neet JtlftIC11ll1tion of a Pll:uy girl. The animator' s d",,,, in" and tilt lJIO'."eme1lt wy depicted WCIl: adminedly far fl'Olll perfect. Ki"l Midlos pfOvcd to be un.xceplable as wtll. IIthoo,h thell: WU aI lea..! one moment wlltn his fedinJs clme Kross to the audie nu so wongly that a IIlI,KTItntary sensation of empathy was ~reated, The IrOObic Mre ... u TI<)( so much ... ith the lonimatio n as willi tho!>lOl')' .... hich h.... no! bn ....'Ofkcd oul with -'y the c~ that ....s customary. It m~ Wah real iullw .. Story ... must beoonsidtred the hean o f t~ 1Miro:"." He continued . "Good aninlllon..-an make &COd strwy a kn<Xkout 11Ie1l: is rM)I much Ih~1 lhe: best animatOl'S can do with b .... slories. Wal!"~ feeling ahout Stories generally always had been 1 ~t the enlen ainme nl first and then find ways 0 10 lie it all logether, Chaplin had gone eve n fUMher in this dilttt,otI. making e~lensi"e us.e of printed cards to ~.p hi) poWi<;.menb: "Sellick:' " That "'ghl:' " Ii( ftnd~ II fnend . ' l.o:sl"- and 1M" ~ had ~ne rich' !O tilt llean of ..'hal ,,'as funny in the silualion , W.k r~h the .a me: " 'ay : he was nOl intCIl:~ttd in gCt. II", from " herc" 10 " there:' only in what h~ppcned to lhe ch:ira.ler "not he was there . A~her fronlier givi ng trouble wa~ Ihat v.,i<;c . Walt'. origi!l.ll fecling seemed to be that CanoOn char..ren .hould h:,,'c canoon voices . !;()I'MthinG diffcll:nt tid .. riot from a nalural voice as I~ d"''''ings "~re fro.! ~al .nimals or people . He had found a dock's .-oict in. ,:\diu comic.' a s inging c hicken in an u. IlpmI sonsSt~j.S 1Id bill Maff volunteell:d ~ unex. peeled wund., Aru lTUltor Fr~d Sperocer ~ou ld tal k throuJlt a gargle Ilia ,..,emed appropriate fur a fi,h-------cr . t 10"" <l)me unoe""aler character- and Ollie Johnston oould talk ... i,h tile bleating of. shecp, but no U<e ....'.s . co'ff foond fOf lhat panicul ar talent. AI the ~orie.. hee;tme more .inc~re. the caSllng for voo:es lOOk a direnion . Now the ~an:h ....s for

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, T"""'''''''''.

::ioorli, PAil

sillCC're voi~es. real voices. 00( lhe ll'llinni voo Qf the slage bul the completely natul'lll voice of the boy and girl nUl door . In COQJd~ Corn;"ol and 8,,*('n TQ)'s lhe voices were so eommonplace th at lhe animators cou ld find no g<::slures or auiludes 10 caricatull:. Slraighl voices demand maighl action. and the anisl~ si mply could IlOl make the characters come alive . l3ul Wah ...u IlOI worried . He feh su re they ...ould get ;1 on lhe next piclure ! Theil: were changes in audience I.Sles, 100, which bame ~ sop/liSlicaled. ~ accuM.omed 10 !Kt ter anima.ion and ~ ...,aliSlic prnentMions . !>topIc ...-en: upecling higher quality now and looted to us for nt...,,,,,,ly co,wincing clranclen . One hislorian, as III' lried 10 .race lhe growth in Wah's lhinking. u ketl, " Would il have been pos.ible to c...,ale anOther char_ ICIer as broad as Donald Du~k by lhe end of lhe thinks?"' DIe answer was unanimous: " No onc wanled a1lOlher Donald Duck al Ihal lime." We had grown

.,

CttriSlopher Finch in his book. Thr "" Of Walr DiJnty, told a Slory about Dick Huerner mee.ing Ben Sharp$.etn on the weel after Ben had 80M 10 wort: al he newly ~sdu] Disney Studio. Dick asked him. "What's lhe 11l:' O'"e. II Oi.nr:y 's? Wha. do you Ilu)'$ do Ihal' S dirr~nt?" ' Ben answered simply. "we lIIllyu ." Dick r!:spooded .hat hi. people lnaIY1.cd,

'00; everyone did . There had to ~ mure: '0 i. Ihan lhal. A. he thought aboul ii , Ben deciUrd 1II:.II .he key ing~ dienl muM. be- "r!:alis m." In hi~ n ... n upenc,llCC'. lit had found Ihal much of.he material in c an""" "hm was lOS! on the vie~r5: Ihcy could nor U~r:<Iand it or ...,lale to il . Will had bridged 111:.11 gap .... ith realism. or a caricature of il . His si. ualions !Iller!: u~r.;landa ble , clear, and funny , Il is puson.al ilie ~ were ~ 01 someone you knew . As lhe studio g""w. Walt had increasing lrouble keeping rrac k of everything lhal was being done. so he placed mo..., of.he hurlkn on his IWO directors. Happi Iy, he found .hat he could rum out rfIOr"C product lhi. way while "ill exerci,ins jusl as much conlrol . At firs! he had called lhem " slarylllcn , ,. because lheir job,... 10 sec rhal lhe M.ary ek:menu .... ere pre..,rvM. llIty juS! g""w inlO their jobs r~lher .han heing appoin~' with any ~""mony. because of lhe need for makingal' !he action sync to !he hr:al. l'irsr it "'"IS Wilfred Jacbon. who never e,'en ...,ally was hired . (l Ie had asked if ... ~ould corne in just to lurn . ) Then Wal. added ikn Gillell. who had cume OUr from New VOlt with !iOnIC repula.ion and experience. Eventually. when Ben moved on 10 Ollie. woR, Walt moved up .he forthright and ambi.iou s Dave Hand, who had a lalenl for geuinSthing. done. By this lime, thr r!:.pomibili.ie.< of.1w,: direc.or were hr:ginning 10 expand . He became the hub from which all other fUnc1ions radia'M . He h3d 10 fo llow every Iasr det.ail .hrough e>-ery doep.onment , 10 make <\Ir!: .hal the finished film ..-uuld faithfully ...,neel lhe irku .hat had originalM in the Siory IXpanmr:nl , To do .hi~. he had '0 h.o>-e imaginalion. ~licncc. drive . diplomacy. and endless c...,ati ve ideas . The di...,clor s offt was c alled.he Music Room in lhe early days of sound because .he lIlusician had hi, desk and piano lhell: . L~ler, when music acquired a broader role and .he mU.l ieian g01 a room of hi. own, the name nor only persisted bul " .. me tn .usge he whole funclion of pn:paring .he wort: for animatior>----even af.e. there were II10K directors and "Musk Rooms " . han lhere "'ere musicians . The euieS! limes for lhe direclor ....~ .... hen he was Ioid uactly .... ha. he was supposed to do. His rTIOi\I diffICult momenl. came "'~n his inslructions had bttn vague or he had miS;nle'l""led Wah 's Il:marks II a

met!ing . 'The lau~r was ~asy to do. "i nc~ Wall had a wly of awiding a positive commitment when h~ was IIO! quite sure in his Own mind. His usual method al such times was 10 bolster the direclor's confidence. sell him on 1he glories of !h~ ""que nee. fill the air with t~ciling geDerali!ie~ . then duck out while evel)'one was still.la!ed. II was no! until hours laler Ihal anyone WOIIld realize there had boen no real resolution. The slronger directors. such as Da"c Hand and Wilfred Jackson . would not let Walt leave the room that way. bul !hey ",'ould push him 10 the point of annoyance until they were positive that Walt knew and approve<.! of .~ac\ly whallhey "'ere going to do. AnOCher direc lOr might simply work ahead s!oically. hoping that Walt would dmp in later with cie"",r instruction,. but realizing alilhe lime thai his posi1ion was pre.:-arious and his responsibilities enormous. The animator received hi. "'enes fmm the director in a special session called "the handoul" ' (or "pickup"). This meeting could stretch out over several days as the dirtt!or e~plained how he wanted the scene done. ideally in a way Ihat captured the animalor's imagination and excited him about the scene's potenrial--whil. keepi ng him on Ihe right lrack. In the days when scenes were only gags . a descriplion of the action Iyped on lhe bottom of a story sketch was all that was ~d. and the handoul consisted of dealing Ihese out like playing cards to whichever animator w"' f"", to W<rl . Bul when lhe scencs ....e re expected !O build chal'a(ter and utilize personalities to tell the stol)'. printed instruclions failed to convey the message . With001 wide-ranging discussions with the direc!Or and per-

sonal involvemem. the animator .....ould only illustrate another person'. ideas , and that is as harren an assign menl as anyone ever had. Walt had been mOSI e~plicit aboul!he necessity for "geuing the animators into the 'pirit of!he piclure. and nO( making them f~el outsiders just executing someth ing workM out by S<.lIt\WOC else. " Dave Hand explained the whole busine~s of the handout Ihi s way: "Our entire me<.lium i, tran,ference of thought. "The thought is created firsl in the mind of the stol)'man . . then transferred!o Ihe director. who aUempls to transfer it !O the animator . This is ..... ~ere the big problem of transference come,. bee.u,. the animator then altempts to transfer it pictorially. He takes it out of the intangible . and places il in tangible form. in picture. for lransference back !o the: mind of the audience and picture presentation i. clearer than any other nlean~ of transferring tltought from one person to ano!her." At another time. Dave was not so poetic. " We can talk until We "'" blue in Ihe face in the Music Room. but (he animator thinks entirely a differem pictu"." No one really knows whal ano!her person' s undefstand ing is. and the difference in conception can be unbe lievably wide. A director on a live_aelion picture can ..... "rk with the aclor and see what he i, going 1000. The actions can bo altered. refined. changM. or questioned, and the results judged on lhe spol In anima tion. there is no way of kno ..... ing ahead of time how the scene will look. Perhaps the animator ha, a dear picture. but he can be fooled. 100. A. more and more animators ..... ere added 10 the: staff. there was an increa<ed need for training on one hand and control on thc Other. Many system, ..... e" tried . and for a while there was a categOT)' of "j unior animator" to denote someone making a contribulion but limi!ed in what he could do. The problem was bow !O go about teaching those ..... ho still had much 10 learn. With several sequence director, on lhe same picture it was already difficult to maimain either the quality or the characteri~ation Ihat Wall was seeking . The answer seemed to lie in giving more re'potlsibility 10 the stronger animators. and the job of Directing or Super. vising Animator was invented Walt never likM titles. so these men were never sure of ,,'hal they "'ere, only what {hey had !o do. ,(",,",,"~,J ". P',. c!U!

SWEATBOX

Wallllad w have a way 10 sec dte animation before i, """"I into his pktu~$. He could nip u.., ~nes and 51udy the drawings on the pegs. but tlx: ooly way he really could t~lI how they would IooIi: \... ~ to h ..'c the dl'llwing~ filmed . Thi s was known as a "pcncil test:' 300 ;t gave both Walt and the animator a chance to siud y the OCI;on and make colTttlions before the scene was inked and painted . Ub Iwens had devised a way 10 look inside an old projector while the film was run ning. e liminating the need for I sc=n and v~wing room , and the Illen slQOd in line tOSCC the effect oft/M:ir drawings on film . It was 001 long before this innovation was contributing

so much to the making of the films that a standard film<u ttc, 's vic ...''''' ma<k by the Moviola Company was purchased . This had an enlarging lens. and 1 .., ... pcople .",itll their heads pu~ c lo$c together could watch al 11M: s.ame linle. When tho: new additio n was made to the slUdio in 1931. the spocc uOOcr the stai rwe ll was ,""ved for a place to see the pencil tests, l'rior 10 Ih al. the men had ~hielded the lens from the light by their coats Qr their hands. Of by pl",ing the m", hine In a corroc: r and hanging a cunain from the c~iling . This k~pt the area daft enough. but rrutdc very cramped quarters fOf the t"'o Of thl people squeezed inside . That "'as nothing

compared 10 lhe new linle closel under lhe slairs . By tbis Ii""". as many as five IX s ix people would cbe<:t Ihc ~nes logelher . as Walt showe<J what he: liked about lhe wm in a scene; Of, more oOcn. whal he did no! like. It was inevi table Ihal sOmcQne would refer to the enclosure 3 S a "swcatbox. ,. TIl<:n as lOOn: 11'IL'n " 'ere hire<J more machines ,,"'en:: needed, and these "'ere placed where lhey could do Inc most 10 spee<J up productiOll-iM sp.ace under the stairs " 'a$ nO longer convenient enough . T he old leOTI prl:vaile<J. however . and u scenes were Cut together inlo whole reels o( pencil ICSIS, the animalor went 10 "swealbo~" when he saw his scenes ""ilh the dirlor. From tilere. it was a small step (or the leOTI to become a verb. Even though by 1934 lhere were Iwo fuU-fle<Jged projeclion 1'(IOn\i with air co ooilioning 100 comfortable chairs. animators asked, " IIave your scenes been sweatboxed yel?"' or sometimes said. " 1 bener nOl have a beer for lunch. they're $weatboxing my stuff today . " In these sessions. lhe pIlrposc is to be sure that eVCI)1hing is wooing. whelher it is lhe acting. lhe aclion, or the stage di=tions. If the scenes al"<' good, !nOR: business may be added 10 make lhem even bet t; if they are wrong. changeli are calle<J for. but always wilh an eye to saving as much as p<)Ssib le of '"'liat has been done. Animation is upensive. aoo the nIOf2k of the animalIX is cril ic~1 10 a good result . Slill. Ham Luskc, the firsl supervising animator. 31w:I)'S cautioned lhe young ani$ls. "Never make a s mall change . When they ask for a change, thefre thinking of a big one . . something that w ill I"<'ally make a difference: O1herwise Ihey wouldn't """nt ion it." Wall knew whal made a scene play and C()Uld explain it 10 the animatIX SO that he " 'oold understand. TIl<:re wert many times when Wall waS undecided On whal dirrctiOllto go. but once he !-3W a scene of animation he coold quickly analYl,C " 'hy lhe atlion was tlOI as tntrn.aining as it should h.Y<: been . TIl<: following e~ecrpI from sweatbox nOles dated Mareh 25.1937, sIlow oow minutely he wenl into each scene . This "a. fd Moore's animation of Doc and Grumpy arguing about whether Snow White should be: a guest in (heir house: s.: 246 Shoo! a Corr. ruff Pu och Doc 's poking Grumpy morc.

Get a nervous head on Do<: to "W HO'S A ... " he is mad at the stan and you have him calm down 100 much . As Grumpy says . A W SHUT u p " have Doc jump bac k (jUSt a liule) in a fighling pose, dropping his fanny and gelling a streIch in the legs . . . . gel a spring in his legs and fanny wiggle (as Waltdcmon strafed) while in lhe /ighling pose. Sweatbox noles such as these were taken do,,'n by lhe Musk Room secll!lary. and il was no easy job. Explicit ~ they sound. !he discussions tilatled up to Ihc final decisions were full of a ltemale p<)Ssibililies and anemJIIS 10 find com:ctions that the animator under stood and li ked . No one tal ked slowly enough for complete notes to be recorded. and much of tile lenni nology "'as in wortls no one new 10 the business would usc. While the secretary was trying 10 rephfasC Ihc t houghl~ so her nOles would be clear, she would hear Walt saying. "Yeah. I think that's your besl bel . y'know? , .. li ke ,,'e tal ked itlhell! ... do illike tliat a nd "'c'lI see how il looks . .. whaddya (hink?" and she would know thai one of Ihe ways had been agrtcd upon . Which one? To any<:>ne not in the meeting. the swcalbox 00Ie!l made no sense whatsoever; and to those of uS who had been thell! it waS s(ill a mystery most of lhe (ime. since the unfortunate secre(ary had gone through IItr 0010$ a nd tried to use her Own memory for the pans she thought she understood. to make il all mean some th ing . If she was q~Slioned abl)ut_ of these ralhcr p"l'SOIIal decisions on her p.art. the normal response was .. 'Well. you were (here. "'eren'l you?" said in 3 thin , piercing , and slightly thrcatening voice . Wall gradually turned o\'er lhe "nuts and bolts" of making everylhing ",'ork properly to the din:C1ors. and devoted his own lime to the bigger ideas . This did 001 mean Ihal he let things s lip by or did tlOI "",ice what each man was doing. Not 3t alit He !llCl"<'ly n:alized Ihat if he told a supervising animator or the din:ctor how he thought a particular tiling should be, they should be able to see thaI it was done tbal way . After all, he had trained us carefully over (he years by going O)vcr every lasl frame in each SCenc-not once. but maybe fifty times-until _ had all seen clearly "hat was 10 be done .

'-

ITS A f',

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n.e anim~!O'" saw Wah at (he Story meetings where
he aclCd 001 c~cry!hing as il should be. and then again in "swcalbox ," when (hey showed him (he scene 3S they had animated;1 In he! .....cc n limes. the direc tors discussed wi th lhem wha~ ac.ions would be used.
argued about how
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stage them, how long the scenes

shou ld be, and how besl to do lhe business. The an; mators le~d from each of Ihe dim:tor... and animalion nourished . In 1934. ""I\cn the hig upansion be ga n. lhe~ W ell: lhrl:c dinx!ors. Then: had been more woe\( than Wilfred

Jackson and Da,c Hand could handle. and SQmwlle was needed whQ could deve lop the !alents o f Ihe
younger men being hired al (hal lime. men Willl abil ity but no prac tical experience in canooning o r comrne , cial an . Ben Sharpsleen WaS chose n for Ihi s lI-<signmcn( because he was always wOlTied and co"""mcd and dedica1ed to Ihe studio. He projected a father image and !ried!O raise his fledglings tike hi s own children. counseling lhem on everything. from .... hich car !o buy 1 which comedian!o study. 0 Ben Wall cono;crva!ive and made us work on fu ndamen!als unlil we were o n firm ground before we could go ahead . He gave drawing problems !O all the assis-

and inbe!"eeners. no! so much as a compel i!ion but $0 lhey could learn to lal k o ver lhe di(ficultie~ and observe the variety of solutions. One f~"ori!c assign mem was a tug-or- war belween Goofy on one .side and Mic key and Dona ld o n lhe OIher. Ben wanled !O see the rope tau!. the feel plamed ~uarely on!he ground . hands and amls !hal carried the strain of lhe pulling right inlo the bodies. head" Ihal reflected Ihe effon. and an o"erall arrange me n! Ihal showed dearl y whal they were doing . In addition. he SIIWS1ed Ihat it " 'ould be good iflhe whole Ihing cou ld be made co tCrlaining. wilh some fresh slam o n lhe Slaging or the way each of them was participating in lhe action .

!an!~

Many animalors were slill doing straighl ahead ani mation 31 1his lime. and il had a grealer appeal 10lhe young and eage r Ihan lhe more lhough lful. disc iplined "pose 1 pose" melhod . The danger. of couro;c. wal 0 lhal 0{) 0"" ~Iopped 10 make a solid drawing !hal had

("CI)'lhing in it. The animalor kepi !hinking. " The ... XI drawing will ha"e il- a l! Ihe characlcr and Ihe aclion .nd the funnies and Ihe siraights and the good drnw;ng, You'll be able!o see what he's doing in this "01)' nexi drawing , , , , " lbe nexl drawing was j usl as weak, as waS Ihe o ne af! .. !hal. because a good drawin g is not made casual ly, especially while lhe ar1 isl is Ihinking about somcIhing else-in (hi s ca!le, how !o gel (he fi gure from 0'" pi""" on !he paper 10 anOlher. Ben Sharpslun k... w lhis all 100 well, and he knew the o nl y cure for lhe nMhy, indecisi", aclion that ine"ilably "'suhed was for uS 10 work over each drawing, ~Ircn gl hening 10<1 darifying, until the drawing proble ms had bee n soh'ed, bd= we weOl ahead with anything. Wilfred l ackwn (Dave Hand called him Willie but wrole his nan .. "Jawn" once. and i! slUc k as a nickname "'ith lhe reSI of us) (aughl uS Ihoroughne ss and lbc imponanc:e of detail. He had an immensely crea live grasp of his whole picture and what he wanted il 1000, bul his big strengt h was in the aSlound;ng allen tion he gave to e"el)' last delai]. E"el)' frame of each su ... "'as cartfully consi dered and made ;nlo some thing .. Iuable ; lhe animator was never al a 10.. to koow whal should be done in the fOOlage he had been handed, [f},ou had a beller idea. l axon waS all for ii, bul until yoo did he provided you with some very good material to anima Ie. laxon was easi ly Ihe moSI Creali ""oflhe direclor . bul he was also lhe m",,1 " p icky" and look a 101 of kidd ing aOOuI his Ihoroughness, D."" lland 's major contribU1;on was in keeping up lhe qualily of the work while organizing lhe proce dures, forcing deei,ions. and keeping it all moving in the dirtClion Walt said he wanled , He look on the job of making Walt's dre.ms and vague feeli ng~ tangible, and 10 do this he conslantly had 1 try 10 pin Wall 0 down 10 specifics, BUI Wa lt often changed hi, mind, and Ihi'! led 10 some healed . rgumenl ., lie confided 00Cl: Ihal Dave would slom, in'o his office "while "ilh rage, He'd grip lhe wge of my desk until hi, knuckles lurned while. . I'd keep Ihe desk hetween us. " lben Wah would gel a twink le in his eye, a nd " 'e knew Ihal he enjoyed ""'i ng Do,'e Ihi, concerned about lbc produci and was not heing unsympalhelk , As D.,'c had oomi u(d 10 him earlier, " I can 'l funclion until I gCI mad!" It was an inleresting siluali on.

BUI Dave knew enough 10 recognize qualily. and if Walt said, " Let' s gel Ihm into lhe pic!ure," OlIve would make sure thai il gO( in and jusl (hat way, If Walt said, "We Can Save money here; lei' s keep lhe COSI down,' Dave would "!Ie every s!>oncul in the boak , I-Ie never mnruS! his own "iews 0.- ambilions wilh Walt' s, and he never queslioned Walt' , au thori_ IY, He Iried 10 prolect Walt from ge ni ng swamped wilh delails, and he Iried equally 10 prolecllhe anima lor.; from 100 many inICmtp1ions. Ik liked 10 see things working in a producli"e fashion, and he was ,,", afraid to do anYlhing Ihal mighl he needed 10 ach ieve thaI. These qualities made him a "cry good direclor for Wah, and later an excellent Produc!ion Manager, From Dave we learned courage and integrily and an "&gres' si "e approac h to Our work , When Wah was deep in lhought he would lower one brow. S<juinl his eyes. le t his jaw drop. and ,Iare fixedly a t some point in space , oflen holding the auilnde for several momenlS , Unfonunaldy, he did lhe same thing when he appraised you prior 1 explaining a 0 new assignmenl or admonishing you for not gening lhe idea he w.,; preseming---<}r worse. when he had j usl noticed some quirk or mannerism ;n lhe way you did Ihings, somelhing he could exploi l al a laler date if he chose 1 It waS unnerving 10 he caughl in that 0. inle nse Slart, and we never knew whelher lhe scrutini zalio n was because he was Ihinking of some new way to get us to do .<omelhing he wanled, or if we were merely acciocn lally in the path of ~ preoccupied gaze, Many t,mes ,'.-e would look up casually during a

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mceling 10 fillll 10 our s urprise that we Were bcinS sludie.:! inlemly . No words coold break Ihe spell. aTld being un~ure of the meaning o f lhe look il was inad visable to say anything any,,ay . So " 'e squirmed. .!JI1ikd " eakty. looked .houghlful. Slared ~k . P'l" ltnded II()( 10 00Ii. or nodded wistty as ifin tenlalive agrttmtn until Wal! ~~nly bunt oul wilh 5Ome thinllike " Why don' l we ha.~ Plulo Jel mi~ed up in Ihis sbting busino: . oo?" He Upecltd evtl)'OlIC' to work as hard as he did. .1IIl1O Ix I S in.eres.ed and excited about ...hat ...e ,,'ere doing . He IIC'ver splIred feding5. he<.:ause hi s inlerts' w" in the prodlKt.TId no! in "'00 had lhe best idea or who had malic ~ poor suggest ion or expected applause. we WCrt all in it logether. and lhe fellow who Went off 00 his o wn. developing an i<ka Ihal Wall had not aWO'e.:!. WIS Isking for lrouble. aTld received it. Atmost any comment about the material bein, CQnsi<kre.:l wu acceptable as long as il ...a~ offered in &ood faith. bu. it was a different story if anyone tried to Jet in I personal dig about either (he prOOuct or Walts methods. S<.nnelimes an individual " 'oold feel

a litt le confident aller a sl>ttCssful meeting and would try makin, a few kiddin, ren,arkli aboul W.I! . This rash decision " 'as quiekl y regrened .~ Wal! . ...ith liJhl ning response. made lhe culprit look uuerly ridiculou. _ in I mailer o f seconds and in very funny ..... y. Stodcknty thl: .ables had bttn turned. and e,nyont was laughing at Waif. commenlS delivered at the expense of the man who had s toned it all. Ward Kimb;oll' said. "No one ever ~ (hi: bes t of Wall in any exchangc. kidding or serious . Those who lrN:d were cuI to riboons. Through all these days. Wall was consta nll y plagued by money problems and by dislribulors who took the lion' s share of .he tiny profit f...... m h i~ cre~live efforts. He al" 'ays fel! that the wly 10 win in Ihis Iype ofbanlc " 'as 10 "beallhem with prodUCI:' 10 make films SO good Ihat.hI: ""Ofld " 'oold beat I JIlllh to his door. Ben SharpSl.cen told of. 1929 conve' "$.l Iion " 'fth Walt: "He was de.cnnined lila! he wookl no longer be de pendent on a dislributor or I victim of his chicanery."' lllc in'pott.an' "'ing wu to improve lhe product. he<.:ause audientts ...ould respond to a bener film. ~ did no! believe in CUlling corners to save money if il hun lhe qualilY nor would he lum OUI a cheap prodUCI jusl to make money. Inslud of looking for Ihe ma~i mum profil. he was looking f(w lhe maximum audio en<:(: response . E"cn so. hi: wa~ watching Iti~ pennies ..cry careful Iy. An)'onc no! "'ooing at thl: sludio fooM Ihis Iwd 10 believe. sintt it Wa.'j obviou.s Ihal doing. sec:nc o'~. lhrec: and rour .imes was ITIOI"C npensi"e lhan doing it oncc:. Re:aching for IIC'W :achievemenls. Irying Ihings that had never bttn done before. asking more of his staff !han they kne .... how 10 do--.lllhis cost money. ATId Walt knew il. bu. hi: chose 10 spend whal money hi: had in .ho", .. ery areas. figuring Ih3. he could sa'" someplace else. For uun'plc. simplifying lhe coneept for a "'hole picture "'ould make it les~ cxpensi,'c: eliminating rosily scenes. CXI", dWlIClcrs. crowd .$Xs. anything thaI look more time or more work for lhe same result. Too many c hlr:aclen in a Siory no! only run. up the cost bul divides the ludiencc:. imerest. It lakes a"'ay time needed 10 Gct the most OUI of the: main CharaclefS ....Ito are supposed 10 be !he moo.I in.cresting an)"",y. Changing his procedures . using his men di fferently.

Gagman umi ,..11"" 'u/'"'

Pin'" Co/viS ""rjormJ for "rtiSl AllN?rt I/"n.r. Pinto

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I,m",u. crk k,,,. I>ugJ. and

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lI>ing more cycles. more repeat action. careful use of staging and cuning and field sizes to emphasize the cntertainment and eliminate everything else- these wcre tk areas in which he saved, The new ideas . the better pktures. the things that paid off with an audi o e...:.. and even the training of his staff- this is where he spent every nickel he could gel. We were "' ked manytimcs to find more economical ways of wor>:ing. but never to compromise Ihe quality of the producL Walt was no! maling worls of art 10 hang in a gallery . He was striving purely for entertainment. and there Wert many ways of doing Ihal: il could be in Ihe story. the personalities. Ihe visual e~cilement. innova lions. silualions. unexpceled twists. beauty. mood. a spirit of fun. or just comic movements , If one part bec:une 100 expensive. perhaps il could be balanced somcwhert else wilh somelhing Ihal cost less but was just a5 effe<:live . The biggest saving proved 10 be one Ihal slaned in the Story Department . If Ihe work was carefully pre_ partd there. il would flow through Ihe plant al rord speed. Too often a storyboard would be approved just because 00 one quite knew what else 10 do wilh lhe malerial; il waS felt thaI any ......,akne.. would show up farther down the line. or new idea. for "renglhening and building ....0010.1 beromc obvious once the first ani mation was done . Walt was "~ guilty of Ihis as anyone. bUI he slill pUI out a memo stating. " Very Ihorough prepamtion of lhe Slory in lhe Slory Department plus the follow through of 1he story man with tk dirlor ... in lhe handing out and in the planning of

,(',"'It""'"

1M

PIW 90)

1/

First Inspiratio nal For SI/OW Whit e

1Uf"
d~picls

silullliQns II,,,,

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89

lhe x lion in lhe Music Room , .. will do a ]01 10 elimin~le losl mOlion on Ihe !"In of lhe animalOrs caused by ani"",ling a ~ne IWOOllh= limes because lhe xtion was nO! planned out properly in the firsl place ." And again. " ... , we would find thaI doing the preparalory """' in Ihe beginning is a very snlall c~pense in comparison 1 having 10 do il when lhe 0 picture is In anlmallon . His brother Roy kepi caul ioning Wall abool spending man: than lhey ..~re gelling (or the films. but Walt's allitude was. " Roy.)'011 gCI!he l1'IOIley. and ...... /1 make Ihc: fil ms!" However. the lime came when there simply was not any more money 1 be had for a canoon shon. 0 Roy pleaded with lhe rest o f the staff. " Hey. look. fellas. you"'e got 10 wOft on Walt! Hc's gOi lo Slop spending:lO much money!" (Years laler Walt was mak ing Thr MagniJi"rlll M r. TQ(.d "noJ suggested a ]ine of dialogue for McSadger: "Somet hin 's gOllo be done about Toad! IIc 's spending to-oo much money!")" 0 Walt had a different ans ..~r 1 Ihis predicament. a.ceording 10 Dave Hand: " If we put 10 of these 700 fOOl shons logether . we've gOl us a feature--7<XlO f~1. Now lhe y .....,n1 pay us but 15 thousand for a shan. but for 10 of lhese. lhal "'ould be I SO.<XlO. and surely _ can gel more than that for a fcalllre!" Da,~ ~s not remember if Roy faint.!d at thaI bit of finan. cial wizardI}' or not. But he docs remember his o",n feelings : "There was no OIher way he (Walt ] could stay in the businc... He would not sit slill and make cIJ100ns at IS thousand doHars . Whatever his reasons. it seentS now Ihat it was inev_ iUlble thaI Walt eventually would anempl a featurelength animaled film . His canoons had be<:ornc popular in !he theaters (Mickey Mouse " 'as kno" 'n around the world). and he was gaining confidcn<X in his s taff. In the mid-Ihinies he wrotc a memo. "The animation has made a vel}' definite adva",,, forward which. in my estimatioll. is close to IIXl'*> over what it was a year and;i. half ago . I know thaI evelllually"~ arc going 1 0 allain a degree of perfeclion never before lhought possible . II IKll>'CS to me Ihal the lime we have Spe nl studying_ Il}'ing to analyu:: our problems. and systematizing ourselve~. is bearing fruil. The hit_and_ miss is goillg, He ~new he had the Sirenglh in the Slory Depanment because he was carefUlly adding new people.

experienud wrilers. to his rt:gular staff. ~nd he was also d iSCO"ering greal lalelllS wilhin the ranks . Pe(tt Pearce. who had on<:e ghosted the comic Slri p Thr Coptain orrd 1M Kids, had beell moved outof Inbetw""" after contributing one gag after another to the StOt)' ~panmenl . Once lhere. he s howed an exptional feeling for pe~nalily coupled with Ihe abil ily 10 act out the traits that would work besl for animalion, Perce was one of the first ~tol}'men 10 add the lillie une~pected louches of characler and business (hl1 enrid..:d lhe films and made lhem SO memorable . One section o f the picture might tell its idea ~II and fil inlO lite story niedy. bUl it could still be bam:n and cold , Pe"", would immediately Stan ,,~aving his touches of wannlh through lhe aClion:o and the personalitiesnothing big or importalll . just lillie things Ihal added charm and appeal. 11 mighl be a bil of a.cling or perhaps a colloquial phrase in the dialui\ue . or i{ even could be a few additions to the background that would make lhe locale rroore dcconlive. more special. more imaginative . TIlere was also Pinto Colvig. ex -circus clown. en\eflaincr. clarinet player. " 'ho had joined the staffa fe .... years earlier contributing story ideas. voices. and fllnn), ways of doillg things . Stimulaling visual suggestion!. would be needed for the fealure film Walt had in mind: S'WW Whjl~. In production management, lhere was Dave lIand with his great ability to organi7,c and man age. along with his creative i1l<:as_ .!lte directors had provelllheir capabilities, and ill layoul there we", t"" outslanding anislS Hugh Hennesy ~nd Charlie Philippi. followed by Tom Codriek. Wah ""OIIld need the besl a<.:tion he rould gel for S .... w While herself. and lhis meant careful planning and analysis in addilion 10 lalent . A f"ature film would have 10 have lender moments, sincere momenlS. quic1 momen1s . There would be a need for dl"'dw ings With great appeal. characlers with life and belicvabilit)'. and personalitie.< thal could hold an audience for well o,'er an hour. Gags. fun ny actions. and visllal Iricb would ....1 do il. If Ihe audit",e ..'ere to be dra .... n into this film. Ihi s world of fanlasy would have 10 be a ",al world wilh real people doin!! real things . Thi s woold not be a canoon . It would be "Ihealer:' and Walt would have 10 have men leading lhe way who coold . make il all come lruc .

IU. Hw"u pIor.d _ . rmpha". /ill l/tu/o(JrQ("/t" imu(lcli"lI. K hkh i. 01. "-"'S " n",r. prod. ,II,,

dro"-,,,,. of ....,.", ............

.....,. WUff"'" ," 1I."k"l"

1~.uaJ of -w."'11 "fJGrQI~

. h"......." . II Gil .""" ..-i,lt ,,,.. IIL!f1'.m~ .knrh .

of lit,

5. Cartoon

Comes of Age

NORM FERG USON AND HA M L US KE

1M dr;"ins for,..' bthirw/ 1M Iw.. Is 1M mouJ. flit ~r_Qliry. lilt ""'I/Uk of 1M ..""" . IXftr- al/tllrrt. TII"rfo". II" mi"d is Ihr pi/,M . Wt rhink of liIi"IIS btlor, IIII' bud., dMJ I/"m . Wall Disney
"/~ _IM'~I't('tJ.

OisneyslCf)'man Dick Kelsey once said. " There is 00

perfect window for. hoose:: 1M", is sotllC thi ng wrong will! III of IMm . They warp, conutle. rust. swell. 1WiII. 1IIII need ronSlanl paillling. I,' s a mallcr of ..-hat you tile...:l "'~1 )"011'", wilting to put lip with . " And till: ume applies to Inimalion . There is no ~s.I WI)' 10 ~..,y more than thtre i. one "greJl1 ~ni n' kII"'_ pulCSI painlC1" or wrircl or actor. F..ach brings bis own prr$(lIVl mn.sagc and inlt'l""'lation 1Q his mfl. Md if hr Iw IiOmClllilll 10 say lIw audic:ncu wan. 10 hear, and if in Iddition he Cl n effectively I!nmuniu!e lhal """"'"ge , he may be ronsidcml grl:~t.
His woct. may grow and l>ecome limelus. or changing IISItJ lIP)' CIIII~C him in his 0 ..." lime . III II~ 19l5. Wall .,;eked four IMTI from his t, l. t..:I crwp of .ni~lon 10 supervise lhe .nimltiorl ell S-- W ... ~ men ..ere Norman (Fer,y) lrir FerJu-, wilh I ma~lery o f broad Slaging; Ibmi hon (fin) l.uIJ;( , " 'i,h greal ability 10 analyu and develop procedurn llIar: others could follow; Fred MOOf(', willi II!)C1tI appeal in his drawings; and Vlad;mi, (8ill IX Tbonc) 1)11a, with an abi lity to ponray llrea! emer lims aod inner feelings In hi. characlers . We have 1 0 IItlievc thar Walt, wirh his uncanny inluition, muS! luvc IUliud that he had round a magic combinatiorl ill Ihis lfOIIP. Tbrir had been rapKI and thei' contributions II'tllltndous. But lheir carrs , whethe' due 10 ch~ng. irIJ IISIe$ or pe.sonal problems, were 10 be fairly sllon ~\f(IIj by Disney studio s.randards. " 'here many ani ...., have produced SUeMflllly for periods of 0'ICf

me

fony years . Their "';ork. beginning with shorts in tile early thini~". ",ache<! it, height in S"o,..lVhit~. PinQ(" chio. F,m/(lS;(I. and DUllloo . During th,s lin", tlley more th,m justified Wal!" s confidell,"" in them. Ilut continued SuCCeSS eluded Ihem. and. somehow. when Iheir lin", had passed. they ..... ere nC ..cr again (0 firoJ the SlIme opportunities to expre" their panicu)ar t.l entS . Animation took a dire<:t;OIl (ha( demanded a", finement no longer compatible ..... ith their ,tyles. These men were fine craftsmen ,,h<. had hclrcd to break away from the rigid tradilions of the past . Tllei, scenes were idelltified with the new. impon~nt uscs of fundamental s-Ihe broad Squash and Stretch and tile

":.sy '0 unlkr ~. 10 rttOC."iu. and to ) tudy. Bu. lOll new men ...,111 formal an rraining came along. and WIIt ~ rhink i",.umn! .,..ard an increasingly sophistica.ed .ype o f anim.1'ion. I ,,~ sub.1e kind of >l<"tion wl.h more CQIl'pk~ K . ing and more ,,~aninltflll u:pres,iOfl~ dc ,"tIopN . The anima.ion became w sophi,;c icalCd tlla. ,r ... alll'lOSl impossihk .o <e.gniz" the basic pr,nci . pies. Thc rntdium had de"eiopc:d in.o a n an form . Pnhaps iI ..as fa.e that brought ,!oe5C foor anima '(Q '~thcr wilh Wall ar rhis l in~ . Their styles ...."re as d;,elSe lOll any four could be: r<>ugh or clean . inlui . li,"t or .nalyric~l . ir did not nMler . It .... as rhe combi
"'"2J!;

won, Anric'p;lIion. 'flIeir ,.-ark

'lit "";"",,,,,., BUI 'CjtN 'M 'IF""t' fiOM/ feeli",. i~'1)

'<I<'It'l,

nation of these four men that helped Wah set a COUrse that would take Disney films to height~ never dreamed of: lhe creation of chardc!crs that reached Out to audiences in a way only a few live-action pictures e,'er achieved. However. it is conjture to say Ihalthe big development in Disney animation came just frum the chance combination of Walt. Fcrgy . Ham. Fred. and 8ill, 8uI because these: men "'at put in positions of authority. they aulomatically had cenain re.ponsibilitics thru>1 upon them that opened opportunities othe rs may 1\01 ha"c had . TIleir chances for greatne ss cenainly were incre3M'd.

D.iw Hand believes 111M Walt .... ould ha~ rome up " Ilh buically the p.me type of picture no maner ,,-hkh top animalOTs he had 'hosen to lead off. Wil fred Jltbon f.lt1lM: same way: " II is my opinion th.at if Wall had ~ .t ......., d,ff.rent platt 11 the same t,me w'th a different bUn<;h of guys. ,he resuh would Iu.e been more or loss arona the same lille'. be<:au.sc: I .Junk Walt had a real finn h.and on lhe liller. 11ltre lTIIy be some lh,ngsthat some of the gu~ bmuaht ()Ul " hlfh shon d po$sibililie. 10 Wall lhal he look advan~ of tha. spread lhe gospe l and the rest of us pk ked up. bIn really wemed gu~ in other d Irections could 11.1,,,, &i'..n h,m a similar thing [ believe, becau5C he

really K1 the COIII'Je _ He was always OIIt there and " .. we re trying to calc h up. ,. Wah ga~ inspiration with his IOClina and storytelling. and his animators ,arne up with 11M: e"menu that brought about 11M: Golden Age of animauOII. [I is doubt ful ,,-hether the warmth and the t.nderne" and .he heart would have aPI"'an:d in the pk.ures without this combination . Wilhout these men it would h.I'-e been I different SIlO' Wllirr--if the picture would ha~ been mad. a. all . But Wah drew ()Ut of each man whal he 'ould, and the n ~ontinued to build on .hal conlribu lion. always askina for more . H. was opponuni$lic. in a way. in his ability to usc what a man had 10 offer.

,hi.> X.II. fr- I'cculi. Pm,:uins. ,Iw ,iri. """"'1ftI ..,,10 10., iMP' boJf~. flips M ail/....Jon. i~ INs It>. ,Itno IOfMS Jon .... in ,lor at'. HI'''' Laut.-...,; ma.d.1or srrr flap"""" ..,.10 rood an.jr'J><I''''''''''
I~

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On IIi, .onl It ... "" modr,1or .ai/ t;Ola"Jon...J aJdeJ a ,lib a<"un, ,lor flip (, 'rr,kGI row). Tltis ,a", ~nr.>pttJ

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and then 10 make the feUow produce far beyond his

nonnal capabilities.

Fergy
Norm RIlI,IWn (or. as " "C 11"'IYs called him . R rGyl used 10 lib to tell of the lono:ly night " 'hen he s" 'itched from camcnman to animator . He was SlayinG Late to finish shootinG I ocellC .... hen he discottd t\lM IiOlM of the drawinss ""C~ mi~sins . 1lw:K wlS no one: cise around to complete tbe animation a nd no one: to call. so IS RIlY put it. " [ had 10 fill in." 1lw: scenes ,,'W: so SLJCCeSsful thlt be was offcm! job dn ,,i nS. And he ~asoned. "' If this is III there is to animation, I suess 1"11 switch o~cr_it beat5 beinl on ca mera."' Fergy . who came to the studio in 1929. had an

...t1I'~III . 'f\'~ti~" mind. and lit J"'I~, ...... I ~nOJ .>/o>;e .....<'d _ ,1ufI1It 1.IIk<'d. ....'bal lit did say (lo_ 0\11 ",ilh a .toctM Htw~ l~ n ~ .... 3nd,1 ""~~ uw .II) jl<IlIClu.;U<'d 1 . Yuh. )~<ih. )'ou kll(O"'. )'00 ~....,w . Ik ",ould 11".tII tOOIoI ~\'~nl~ thai ",.re soing ""(\Ill!. >0 iL " 'as difflC:oll In 1.11 )U;I hew (kepi)' II. felt ahoo l IlIing; . MOlt of tile lim.: dU 11"ll "l>TIvcl5alion he would be fooHn, "jib I lillie cu.l of hair (\Il his f~h.ad that .1'11' Io~ II> so.p;rrate from 1M ~, . Jack. ClJuin~ ' Aid thM wide-open pf-le'bluc e)'oS :md fix<'d loIoi!c ..........J ,uilekss ~nd friendly , bul ~'Cl)' SO often )1II ~ tk (,,<,lin, WI his ~mile ",a.1. ..nd Ihat lIthialj il he "ls OO>c ....ing and nOlln; .,'u)'lhing you "I'll oI.linr. Fill)", IUle. did n[)1 run 10 Ihe inICIl~(lual. He Ie"ed the old vaudeville eo",.di~M. and Ihis " 'as prOOIbl)' loll chid form of cntcrla;m""nl while gro"'.. ..,.11. o.awe"eI)1hing as i( il " 'ere on $llge, nuher iIIIII in ImnI of lhe in~ ol~<'d movement, KmlC anima1m """ IIbk 10 do after slIMlying 11," lICTion . A big JIll! of. o:omcdiln', act was oflen lhe " " Y hi: looted .1IiJ I~dicnc. in rupons.:: 10 ~ llelion or line of ~lIoJllO'-'htring his re":l ion broadly with Ih. spec W<ln. F.'i) adapted Ihis vcry Hme rouline for hi , _ cIo, "IOQ would become Plum. ha~ins him \oat into the ca!TM:ra 10 show hi! inner fcc lings. No COCK dco.lblnlWI Ihis dog " 'as Ihinkins. too, la OM of hi, firsl picru",-,. Frolirkh', Fish. Fcrgy IIIimMtd I lirl~' trio u fi$lIts singillJ and doing I n ('/4.. iOfHIioe dance. BUI Fcrgy ' s vl\Kle"ille louch "i'l1lOl11oe IIIOS1 memorable Ihing lboo.n Ih is piece of lllitn1/i()1l . Wilfred Jactson pinpoinu Ihis itS. big 'tep fcr,I':Ii'd : " In Ihal scene there was I fluid I)"f'l' of aClion .)w,rt thf)' didn'l hil a hold and move OUI of il_ BUI .In _ pan "'ould hold _Ihing cI~ woold move . So ihcft ,,-.~ n~"er a complerc SlOp . And thi~ ,.,as a !(tilt Wah made u~ ~1I100k at, ~.,usc lit !oaid thaI is !hr " ....... Ihl"$- aboul Ihe kind o f anomal,,'fI }('" g"ys

"nln

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(I"ing. Your ch:lraclcr g"'.:~ 0.10::0<1 a..J il Ivob lit~ ~ d. a .... int:: Ben Sh"'l"'ln. ... ho had ~,<>mc f",,,, "'~w YOft 001)' a fc'" monlhs hdore Fell;)', f'-...,~II$ thaI Walt 'hell a~sil:""-..J Fer,>" to the hIOOllho.",d '" Chain Gang: "Ferg}' was I>u.;(cnful in ' gening a lOO$Coc imo Ihe hloodhound Ihl cngger~led it~ abilily 10 sniff (a wrinllljng of!he ("O{I!;e, and 10 think (fao;ial expte.',ions. such ~ a qllizzicalloolo; or a s.. doc!! .mile dim:tcd II the: audience) . Fcrgy ilottdo:d in Jcuing a feeling of fl.,..h in", his animation . No <>nC n'aJitcd ...hat ~)' had done. IklWC"CT. unlil afler lhe preview . " No one rcaJilcd. dlhCT. Ihallhi s dog " 'uuld dc"clop ;1110 I~ flmou~ Pluto . And l><Jn GrWl3m add . "The doll were , I,,'c, real. Thcy seemed 10 brealhe . They m(wed like doiS. nOi lite drawing' o f dogs, The drawing$ nplained nOI SO mIlCh whll a n:al dot; look<'d like. bul ,,'10;01 ul dog did. " Walt did nOI leU Fe.gy 10 do I diffen:nl <log or on. thai added a new d inlC'nsion (0 ell100ns . Hc did not "y, " LeI 'S ~ if " -,, (an make a dog {hink Ihis lime ." lie did not tel! him. "I " 'aol ~'OUIO do. ~g that "ill l(t like this and do these Ihiog~ because [ Ihink the: audience will 10 fo. it. ThaI ,,'Ij 1101 W,Its way_ not " 'hen dc~elopin, a new characler . lie woold be apt \0 51111 1.I~i08 aboul diffe.enl dogs and !he fllnny wlY lhey IIad o r sniffing when they ""C1l: on !he trail of tomcthing , Before he knew il he "llUld be acting il OUI , and the: fellows in the meeting would SWt laughing beclus.: Ihis " 'U funny. !he " 'ay Wall did it. And mon: Ihan likely. Wall would n:nM:n'~r a ~ptc;flC d(lll he ha~ seen-maybe an old hunling doS Ihal lived ncar lhe Disnty farm' "Y'know Ihi, old guy "'QIIld come s nufflll ' alonilli k.e a "a.;:uum cluner. his mUllle spread III OIe. the I(round . You tll(O'" thisloooe skin the:y hl\'( up h<ft: ,,'Cll. ;1 " 'ould bc ~ad 0111 Oat he ...u II)'in ' >0 hard 10 gel hi~ I"III>'C dow'n nc:~1 10 IhI: s _lI. ,,,,I he had 3111h~ wrinklcs buoo.' l",d up OYer
~.C

_ .... _

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"Frrv

Ftrlw~ayf~1

Pluto

.. slt, 0/ 'M srk., JI,-_r.

1M ftI-s JlYfNJIWr ~"U from Pla)f~1 Pluto. " ",11._ '" prrSOMlIty """""''''''. f . - ,ltrfi_ '" tIN";,y",oJlyiifJ" Pt~.,,s prob/,fftS ' "", '" !>Hom, ....y, M ' r i,. u'r;""" .i"..", TAr~A i, 'rtJ(",i(}lt '0 M. prrdkam,/U "nd M. flw\l.ghIJ of .../w. '" fly ~,~. Dr, ,/w,rd ..i.~ ,h. audi,nr, . II 'hr Jim """ a r/w'(I(ltt 10 Iw Ihillki"8 on Ihe K'''''. and. Ihowl(h il last,d ollly 6.~ .,("(}Itds. ;1 ~"rd Ih' ..." ,./or ""i"""ioll of rrot c"'"acltrs

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wI.h ,,",,, p,ohI,,,,,.

his I"I06C and down over hi, ~yu. Bm he W ~riou. <lS abool il. y'know: he wasn , a goof ball - Ihis was serious businen 10 him .' And then W.ll would remember how the dog: would suddenly SlOp and look liP . as if he was thinkinr-YOU hardly knew whal. Maybe he was soning Ihings OIIt. maybe he was lislening for $Ortlething. or mllybe he was trying to remember when he had 1_ smelled thaI panic1llar smell. or maybe il was just somelhing that cru.y dog: did . And as Walt acted it OUI . it became funnier and funnier: encouraged by lhe re sponse . Walt would know he was 0010 $OmClhing Ihat was good entcltlinrnent. He would imitate the e~~ions of the dog. and look from one side 10 lhe other. and raise fint one brow and then the other all he Iried to figu,e Ihings 0111. Wa1fs eyebrows were panicularly facile. and the piercina look with the one brow down and the Othtr up was h is II106l common ex~ssion when he Wall Ihink.ing . Fergy was watc hing all this as well as laughing al the lhoughl of the o ld dog wilh a ll his wrinkles and lhe sniffing and Irying 10 fiaure things out , and in his m ind he was see ing the way il should look on the screen. He was visual izing drawings. alliludes. u~ssions . hulthey were not drawings of Wah himsdf; they were drawings of a dog wilh a personalif)' who was thinking. Even though the animaloc would JC1 hi, sole inspiration from the way Wall ":Ied 001 a character. lhe~ was never. temptation 10 draw Wall.

..

Somehow he had the a bility 10 make)'O\l seo: what wu funny abool!he characler ilself. and il was lhe c harac ler's ~xpr~ss;ons thai yoo saw and /aler tried to drlw; but. still . lhal dogs eyebro .... s could ooly have corroe from Wah . When fellY projected lhe tirsl tests of his new charICier sniffin& and snortin& and Ihen s lopping 10 Ihink . everybody was enlhusiaslk . No <:MI<' remembers what Watt Slid. hut vel)' probabty his commenl ..enl like Ihis: Yeah ... y'know. he ooghllo have. big snort. righl into lhe camera. afler he. thoughl Ihinas overlhey do that . those dogs-il's 10 clear lheir tKISC5 or something . BUI y know. hes look ing around. side 10 side. and lhen suddenly he looks righl at the ClnICrl and gives I big ,nort-not really disgusted . you dont know why he does il. hul .it". funny. ~nd lhen he goes bao;k 10 sniffing 5()ffiC tnOI"e . " Wah never Slopped 10 praise; I\2Ivi", seo:n somelhing he liked . he stancd building 00 it immediately. making il betlCr and flllVlier. Once he had seen whal FellY could do. he asked for more of the same I)"pe of Ihing. hul Ilways somclhing new and somelhing stronger. U'idllly the animator barely had been able to ac hie ve lhe oriainal ((Suit. and anylhing trIOre _tned 10 be beyond his upabililks . Bul. once again. Walt would talk it" and ac. it 0111 .' and you had 10 admil thal;1 was funny busineu and the scqucooe ,,"OU1d be better with theM' new idellS; so. once again. )'0\1 woold S1r:a.in and struggle U)'ing 10
IC""Ir."t<I ""

P"'" 1()41

In spirational Sketches by Gustaf Tcnggre n For Pinoccilio

apllIft &/I dusive

uprH$ioo or ~lI1CCnt or attitude . Wootin& in this way. how could anyone daim crMit for doinJ a o;erWlI K1I:ne or evtn an outsandingllCtion? FerJY blew IlIat he had made the drawlnp and limed them. They ~~ imll1CCnsc:ly lucassful because he had been able 10 capeure c<nain dog chaQCleri slks and 1(1 pruent them ""ith enough understanding of enlCrtai~nl and enough grasp o f !.howmanship 10 make I fUMY Kent, Yet , without Walt there ""ould ha.-e ben no PluIO. Fergy , on his OWII, WOlIld never have conceivnl of these KentS 01' this personality . and "" storyman _Id have cons~rM that such business and aclions woold ever gel across in a cartoon , 6ut fll$l of all, no producer woold have risked I nickel on lIICh I new departure IS the ide. of a carwoo chanK:ter hiving I personality , Wilhout Walt , who had tho: peat insight 10 _ how an anirmotor u~ his ideas, plus .he great abili1y [Q adapc thi s to his 0""" purposes, there would have been....,'1 little improvemem in the: quali.y of the: films. and FerlY ""oold never have had the

opportunity tocreate I world flmous canoondwxter , In his anal)'$is of Pluto . Ted Sean; , It<>p ~<>r)'man , said, "The: flypaper s.equence in Playfol PIUlo is always 1I1CC1I1K.>ncd IS lhe: best eumplt: o f his pantomime . This is beo.;ause i. illustrated clearly att of Plu.o's charat'ler. istks from dumb curiQSity 10 pilllic . It is limed in such a way that the ludkntt fecls all o f Pluto's sensationseach 'hold uprH$ioo' after a surprise action was c-. fully planned , and uprcsocd ~ definilC attitude causl", the audience 10 lw&h. Eac:h small climax builds up into a bette, surprise , " Wilfred J ackson also (Qm' menle<! on Fergy's flypaper st<;tuence: " Yoo can t.ake thaI UII1CC gag wilhoot running over the dog' s thoughts or emolions, just mechanically dol", the thing . and it wouldn '. he funny," Fergy acpted the innovllions in his won: IS the .....lIm course of eventS , and he never c&reO for mak ing rules .bool how 10 do something 01' being lied down too much on the charat'ter. In one scene he: had animated a partk lllarly fUMy look on Plulo. Plifling his eyes from side to side, the brows won:in& like Wall'$-<IIIe side lip and the Other down . The young anirmotors dashed ' 0 his room 10 o;opy the timing on !he t 1 pmure $he.et and pa w through his dnw inp_ Fer&Y was puzzled , and he rommenled : " Why do yoo wanl 10 1I1CCm<>ri~ how I did thaI aclion? I might do it dif ferenl ne1ltill1CC ." 6 111 this shows ~ of the e"tileII1CCnt of that periOO--e"ff)'ooe "'PIing around to sec how _ _ elK did _thinl, It also shaws s0mething abwt Fergy's approach; he would IIQ\ WJp trying to find I new and betIC' wly to do lhi~ same action nell lime . I. was all well and good 10 I~am how some one did a good piece of anirmotion , but .o o;opy it was very limitina and something Fergy woold never under.

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Mgy h.,;I had no formal art lI1Iining. SO he ....as

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inhibiled by ...... omy and drawing rules . Fred Moore used to Ilugh and say. " He doesn't kIlO"" that you can'l raiK .he e)'('brows above the head c ircle , so he goes wad and does it and it gives a &real effect . " And thaI was bu. ooe of the many Ihinp MIY initio ated 10 liw: his ViOCI;: that exIra life and vitality . Marc Daviu ays. " Norm R:rguson wasn ' t the ani~l. but he wlS a shatp performer . nd .. s ho""mill-hard to know if his dnwing WIIS lhere or wasn 'tthcrc-he had his own kind of symbol. "

Fngy"s drawing during this pc:rioo in the develop ment of animation actually was quite good and had a solid sculptured look . Hi s feeling for stretches and !ension right down to the toes and his handling of the n~d! ~nd getting meat on bones-without losing the SlIusagC body and stuffed legs-were outSllInding Hc worked very rough for first te,ts-usually just a tilde and two lines for the body . This kept the staging simple and gave him a guide that ..... as easy to change. With a quid test on his first rough dra ....ings. he could see whether he had something to build on. He could keep making fa'll changes. never feeling thaI he had invested so much time in a scene that he could nOl discard it and try a ne ..... idea if something was not working. This style su ited Fergy because he always had something he was trying out. Most animators ..... ho emplo)cd this very rough method seemed to be cast on wm in which they experimented with fast action and gags-all SttIleS with broad movements. Maybe the", ..... as a cenain amount of impatience in Frrgys wanting to see right away what he was get . ting. or maybe IS Jack Cuning says. Fergy was nCr V<lW In eitherca!le. it wa, this abundance of nervous energy thai led WilfreJ Jackson to recall affectionately It.. following iocident . Someone asked if Fergy. after arriving from New York. had fit in rapidly and made his ~nce felt. Jaxon' replied. Fergy made his presence felt real fast wilh me. They had to get anOlher row of animation desks at that time. so his desk was right back of mine . He used to shake his foot all the time. and it would wiggle my desk and I couldnt draw---w he made his pre!lence felt right away with
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Fngys witch in Snow Whitr was the first of the great Disney villains . Her impact on the audience

exceeded all expectations; in fact. to many. she wlS exces:.ively terrifying . She. like Tytla. devil in 'Night On Bald Mountain . w"-' nlenacingly ugly. which was nOl a characteristic of WaIfs later villains. The witch seemed to have an Anhur R.ckham ' quality and was ",mini.cent of his evil old woman in Hansel andGrt/r/. Fergys handling of her face was less of " typical formula than most Disney designs, ..... ith shapes that did not relate as well as they should for animatioo be<:aus<: of the witch s illustrative quality . The mouth to check to eye and brow relationship. which i~ so imponam in animating expres:.ion changes. suffered from his concept in design . By 1953. Fergy had found it extremely diffICult to keep up with the new refinement. in acting and draw ing, and he had left Disneys 10 won. in OIlier uudios. He had suffered much of his life from diabetes, and that. combined with other health problems. brought on his death in 1957. Fergy~ style of animating influenced younger ani mators and is still in usc. panicularly the quick test to

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Hamilton Luske was opening the door to a new, more refined approach in which e"'(!')Ilhing 0"" hilS is put
into tile firs! tesl. Th is ~ui..,s an uninlClTUpted continuity of thought . h may lake days to do the scene, but you musl not lose the thread. c hange your mind, or lose your confidcnc<>-you mUSt be sure! Ham had an absolute fascination wilh how things moved . Eric Larson. who was Ham's assistant in the early thirl ies. says , " Ham was studying anirrullion all the time-it was his whole life. " O ne "ttkend Eric and Ham were on lhe deck of lhe Catalina Steamer with their wi~e$, enjoying the ""3 breeze and appartntly Irying 10 forgel lhe care~ o f lhe day. But n~ Ham! All of a s udden he pulled off his tie and held il OUt in the wind . 'Look , Eric! Look Illhe overlap . Sec how the end keeps going down after the center pan Start5 up.' Every time the y would play golf;1 was lhe same Ihing. "Now watch dose . See the f<:lllow through "" my puncr. But this was actually Hams way of rclaxing; and if a fricnd was going 10 relax wilh him, he Ud better be ready 10 do SQmC analyzing and observing .

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Of the four animat<>ri in thi s group. Ham was the only one wilh a college educalion. He was graduated from the University <:If Califomia al BerJocley. whcre he majorcd in business. His wife Frankie laughs about thi s, becau se she s.a.y' that Ham would OQ( cven 1001: al lhe bills or lhe bank book . Like Fergy and Fred 1\.1 <>OTe, hi s only f(>mla.1 an training came primarily from lhe classes thai Wall inilialed al the studio . Ham had to struule with hi s drawing. bul he bad I nalural fccling for animalion, story. and for what ""35 c menaining . So despite his lack of an anislic b.J,ck . ground. he had many things going for him. Perhaps il " as hi s college training. or ma)be it was ju,t inbeTCIu in hi m to have a """'1I -organi 7 analytical mind. .cd Eric Larson said. " Ham pla)cd a I~ of ICnnis. so when he was givell the chance 10 animate Max Hare in lhe tennis Kquence of The Tortoiu and the HOFe, he knew precisely what he wanted to do , llIe impona/ll thing " as his krK)wkdge and fet'ling for lhe game, and Ham had the ima.gina lion and the vision to dream beyond what he himself rould do on lhe coon. He knew the exact poses he wanted to use in his held

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po"l,on_ and j usl 00'" much overlap he I\\!~dcd I() llIe: (lO>Cs .Iive. Thi s ...a~ a piclUl'\' in ,,hich liming ... ~~ "10'" in, ""nan! 10 IIIe: I"'fSOflalilic:. Ihan anylhinJ: done so far . llIc roc ky II.", 1.i~d from I'll"" I<)~ ..... iih ~mpha,is on lhe movinl hold~. ~nd 10 folio .... the spdy ac!ion bcctw" these holds. Ham and Wilfred Jackson. the dirlor. dc:visW the bh~ Mlul; lh"iq~ . Juon says . 1'baIS lhe: firs! lime I ","~mbrr s hooiinl a color lesl for a PicIUI"C!o find 001 if the bI~ SI",U WllS goinl lO ,,""Ofl; oul all rilhl . and il' a JOOd Ihing ,.c did . The firs! IWO or thm: time:. ...e did i, did", ~ui t Walt .1 alL
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E\"cIYbOOy credi ted II.", ... ith an~lyl.ing the e.<Senct of lhe cule pose . fl'\'d Mool'\' h~d found the same: l)"pt of thing imuiliwly. While Ilam di(l 1\01 .... ve lhe $aIIlO" flair or rt;Ilu",1 fn:linl in hi. (I",,,,ng>. the)" may Iu.,"t bec:n casier for mo..l ~hcrs 10 undcrsland . E' cI)1hilll .... as pl"",cd e X""'II)" ,.he", he wanled It . nlOf"l: cnode" Ihan in Frcds dr:l"ings. 001 " Ilh 'I'\'~ cla"I). dd, .... I;"" . and caric~u"' . lie "",led outlhe char,ICle~. finding lhe ekmcnlS ia. a JIIM 1""1 ",all)" pmpoinled lhe ~U"'" of lho fttl and body. the ";ghl pi"",,, for the hands. the arch of thI: back. the lili of the head. ,,~hl down 10 hi~ famous noah n\OUlh . Wc C~n'" IQ Ihmk of II .n. in lhesc ter",s. a grown man "ctin~ OUI Ihis cUle stuff- lillie an imals. d .... rfs. ()f Pinocchit>-., nd ",cryone urin. lUred him 111:01 ,,ay. arod always with the .. 000/1 .. mouth ~l the bottom of lhe loog ui'P"r lip h~e S....,.,~y", . No one ","cr cancalUrcd Fcr~)" ac!ing li~" Plulu. bul H;tm

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had b()f11(' a symbol for Ihi , Iype of acti ng. Wilen Wah a~k~d Ham and Le, Clark 10 dnlw a bdirvablc. pully girl for Th~ G",/J,u "fSprinjl. boIh uillWS ,,tre slumped. Eric l ar>oo aoclw oot lhe ~' I(I htlp Ham captUIl' !hi: m<lnnwms. but Walt "'"IS IlOl pIc~ " 'ith the animation. (<<ling il was 100 rubber)' and Ikxible. les fvw nC> toelle!. e,'en " ';Ih 3 real ~i'l fl)l ~ modeL "I used my ~t'l(r. Mar<"~i l . for Cfnlin pusc'''' lie <aid. "J had to gel some son of humlll lllcalorny. you know. but it came off miserable. I dlWtN. And I apologized 10 W~It. ~Il<l lie ki nd of lIouaOO-i it "ff and said. ' 1 g""s.~ we coold do beller nut lime.... ' And I tllink the Il'as"" il didn', oomc: off.1tIt ctwxtcr " 'asn't desigrwd 10 be animated . T o mt, tile ke~' 10 dw-acter animation is the design qualily of tilt figu,e that you can I h;ooJ a hard time "ith the Ii~ure. t\OI thai I didn'l kn" ... how to draw ;t. but 10 ",imllt it. "
The animators were all wreslling with Illeir filSl attempt 1<.> draw the human figurc ;n ;001100, and tllty often wenl behind dosed doon to pl"Xlicc their roovq withuut the com .... nts of their c<>-" .... kers. Tm .un: Walt w,,-, thinking aheaoJ to .mo,. Wlli" ." In Clao-k ~ h,dei ... Ahhougl\ he didn ' t tell nW tllat . I a.sumcd later be"Ust S"",,' Wl\ite hnwlf wa~ de.ignc'd so that ~he <"1m'" be animated . ,. 11Ie ll1limattn ocr ...,ionally g<JI Ihf- glre, the m)1hm. Ihe rdalionship that distinguished lhe Icllding lady of Th.. G(~ldnl of Spr;", as a la.Jy : lhey evcn gO! tilt wei,he "nd Nlanc:e and I"'I"$]II;"C ""cur~lc enough :I<) thai ;n ~ S1lCS W moved ronvinc:ingly. Bill. e~hau)tw by ehe effon, they ~lie<.I on a "pretty girl" formula for the face thaI not only looknl:as if.ne "-en ,,'~aring a muk, bul defeated 1M 1 00al ~freCi by ,ivinl hel a .. nmb;e look. She CC'nainly 001 alivc and was M all y devoid of pcrson~lily or feclinp.

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After Ham had the experience of animating. Tillie Tiger in EI~r Elel'hom, he ~ali~ed thaI a cartoon ch<lracter only lived when the ",-hole dra"'-ing, as ",,,II as ailihe parts, reflecled Ihe aUilUdc, Ihe personalily, lhe acling, and Ihe feeling ofl he charaCler . His ~nal)1;';'al mind and care for detail equipped him for Ihe job or linding a way of crealing an appealing heroine who could survive Ihe growing pains of budding artisls who were eager. bul slill nol able. 10 draw an anracti,'c girl in mo~ Ihan one position . When lhey started On lhe heroine in Sno"" Whit<', Ham CQnceniraled on her eyes and moulh and gcning IS much relalive l11O\'emc:nt in her face as in her body . Crude as many scenes ",,,re , lhey bl:gan 10 live . like Fergy. Ham had a strong feeling for what waS entertaining, bUllhere Ihe similarily ended. In coni"''' 10 Fergy s nalural ability to improvise while animal ing. Ham always sumed 10 follow a procedure wilh a Slep by-Slep approach. However. hi s anin,alion WIS nO! mechanical in any way . On lhe con lrary. it was full of life and the feel ing of the characler: hi. abi lily 10 move the audience " 'ith his palhos was second only to Bill Tytlls. Ham could nol Slart a ~ ne umit he had the whole thing visualized . He would sil with his arms foJd.)(! s taring at a blank piece of paper---lhinking and planning . He fell thai if he could spend half his time planning, he would animate hi s scene bener and flSter. Eric :;aid Ham would bI: hun<;hed over hi s board. fussing wilh his drawings and saying, "1lIe~ muSl be SOme way 10 euggerale this pose." He ",ould choose Ihe pm:ise lhing 10 do and then push il funher . Ham could make that exl", drawing in tlK: ac lion 10 give more Ihan the director asked for. al"'ays going slronger. If Ihe animalor does jusl whal is on tlK: story skelch. 11K: scene will nO! have enough zip_ And that i ~

.... hat Ham was bl:st at : lhal. and de~igning the char acteNIClion relationship for ~n appealing, interesting ~suh on the IiC re~n . NO! everyone has the mental dis cipline or abililY to think these problems through . As Ham bl:g.an a &Cene. he Illade careful. neal draw ings that sho",-ed aU lhe actions, expre.;sions, and details of timing . This done. he nipP"d the drawings , and when he found an aClion lhal seemed .... eak he reached in and crodely made a big. bold correclion on four or fi' e d",wings, as he held Ihe whole OOlch in hi~ hands. It looked as if two people had animaled lhe &cene, one a Dr. Jekyll and Ihe olher a Mr. Hyde. bUI il kepllhe ~ne strong and alive with inf.llable staging, dear action. and strong accenlS. Ham "'IS always probing around: Ihal wa, the key feeling in lhose days _lhc animators .... ere al .... ays trying to come up with a new way of handling an actioo . fbm kept experimenl ing. trying 1 lind a diffe~nl 0 walk: so he kepl varying tlK: timing and relationships until he finally wem so far Ihal he no longer had a wal k. He had shifted the ~Iative timing of the am"to the legs to the body until it waS now a peculiart",i,ti"g mo"emem . [f he saw an unusual Iype of animalion or viMla! cffcctlhat some Olher studio was using. he would get I kind of pUl1.led. annoyed look and >;ay . . woOOer why we arent doing lhal. We should be able to figure OUI how to do il. maybe even bene .. " And he would Ihink aboul 1 11ill he had a beller way . A.... the things Ham thoughl about- how be could do something new, gO further and make it IllQre entertaining. give;1 more personality- theM: were all things he was beginning to understand in a way that IK: could define them for somebody else . This was one of the greal things .boul Ham . He realized thaI thi, typ" of knowledge mmt be:

IJIIIu lhe YOU"!; amnlal"," ,,.. lhe ~t~dio would And Ham', ~rI(".'k:<lg( wa, ,,.,. limited 10 _m.ot~ ... : hi, phi"""-'(lhy ~I"') CO' K"rt-' may hn~ cqouIkd ~ n) ot~ , ro,n,ibuli(>n ~ mad~_ \I'lltn .. ~ ... "", I~l k in~ O'~' ~ ~ce "e Of a "ory poinl. "" M H> ... y. "rm Ihinbn~ OUI loud" Wh .1 he !IW>IM ""'. "Dun' l take "hal I'm going 10 sal t()() >f,;',",ly)c I I 'm nol c\"Cn sur<' my,d r. And ""nlCIi"" , he w,,~ ld "'y . . Tm ~ "'~ ...."h).wa~h) on purf"lS<." .. hoeh ,,'~' a l'" \u 1.:1 )"0<1 ~,~)\' Ihal h<' wallk...J 10 ' li the 'h""~hl ali ,c. and 10 c'""1)1hinj! hcf..< "",ion, II dovo n. A. In ~n'malr,... llam prohabl) ""'WI ~ h,_, _" ghb >Cl OIl he,,,, a d,rn'OT or ~ ,ut'<"""'g a",,,,.",,-. In IY.lI. lot '"'' "nl) begonmng I" rea,'h h" peal poton lial in "",malo,"'- He hdd )", 1 "nim;' I~d ,h~ eha"":I "' of Jtnnl W,," ill \\'/", Kilhl (',,<k l/v/",, -' 11,,,,, ', Jrn") \la, " ,. r,,oWft' ,,) .\ 1"" We,1. an d through onl_1 ""'.I)- he h"d I'i"poimco;i "ha' ""lu.II )' mode hrf M \\ CM: . ho: ~) tng ,,'al ~ with the """" >It,l1,n, ur ",-c'tht. I"" charoclcr"uc ""3y ~"" rnllnlhtt t~n ~nol talh-.J "ul " r, he of her nl(\\llh I'" $lk'c....Jrd m 1"l1in~ ~., cdlenl diaIOil'''' >l"". bu. ;" I more lublle way than ~\"e' d,mo: Ixfcm_ And ,h:., ;, _ of 1100: ,hiogs Ihat maW.' he r Come off S<J wdt. lll!n (O\lI~ lell if w melhing ,,-as e,'c n one f,ame oUI of S)'D/:. Jenn)' Nd lhe slow_moving, cool. COI,lidcnl "'''''lin" !hat ,~1 .. had-no quick mo"c~ or big amic;patiMs, SII<., l '~~ ,he ",at M"" _'<""'IC<.I ,,, h a'-~ 31'l""'>Cd _ ",..a.",. "zed up the OptlO:>iU' lfI , aoo "' ''-~ ,n <"0111fiItIt e"nll<~ . The maleri31 Ilam had In ,,<lit " j'h ,,-as o,"lito!. hul ,\til no' anin'a1<'" h"d <"wr ... '"~ anylhill~ lil. II IId"r" . hW~'''ne , aid . "Th ~i"s nell "'on: like Mac Wo,t Ih:o" Mac he"clf! '" In fa, I. ~be "Tnte a ttn(r h' W. II ""mplim."'ing him on Ihe nUNandi,,)!
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caricalu'e And Wall ""ronde,1 w:t'ml). (hanki"~ I"" fnr hemS tho: in-,p;~li<lfl for kn n)' Wrcn . H am'~ ab,l 'I~ 10 ...,mh;ne anal)'>'i . sul>llcl)', aoo ~trc"glh had maok knll) an ou. ~tBnding char.oclcr Ilam had remin"k" lho: ~''''''J! a"'",al>"~ .. 'Ou. fi 1 job is 10 tell a '1"1)' Ih,,, i,n'l ~oo",, to I"" ~UlI;" ...... Then ,,'~ h3" C 10 (ell a ' I"'~' Ih,'1 ma)" co'-cr scwr~1 da) ., . "r !>ever"1 years. in a lilli,' O''a an hour: M' c,,",c'I"e ntl)' we have to lell Ihi1\~ ' la,leI Ih"" tbe)' haPI'<"" in lit" 1\1", w,' wam '" ma~c Ihmg' m",,: "k'f\' inlcrc in~ Ihan Ofdina,y lif... Our '~h.-aN.-.J Ihan n,,y.t..y pe,)pk: ,f "'~'k-~)"~' nn 3 110"", ur 01"'''' ~ <Ioor or ,," no ~ eM". "'C "-:on. to'" 'I ~s .intpl~ ~"" pml-..."" ,,,,,II) ~'I,,-,>,,"k . Our .... 1< .... mU"t be 111or~ ,"(~'c'lin~ ~".I ,n.",- unu,,,,,1 Ih~n )""

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and I. 1lIcir lhoughl process mU~1 be quicker than QUI'$. thoir uninlCfCSling progressions from one si ru lion to lnochor mU$t be ~kipp:d . " In those fcw senICfIUS Ham had summed up much tlult iJ in,portant about picture-making: the Cntertainment , the time demelll . the acling. and the elimination 01 un""""","ary action . Similar principles ha~e long been known in the freld 01 ' il(11lture. for II.S one di"inguishcd prOfessor has said. "Great fICtion is art and in~ention , not dupli _ Cited rulily . Most lifetimes do not POSSoCs~ the crises you find in novels"" h that not what dO ll"a is any_ way. life with the dull spols Cut OUt? Wall probably wondered man y limes. i$ this the right time to sun SIIOW Wltite? Have we got tho man , power and. most o r a ll. :m they capllble of doin&; the job1 Who should be tho fim animalor to lead o ff on tho picturc1lbe aru;-""(c1 to those qtIC$tions came in a casting memo put OUI in laIC 1935: " From 00Y0' on

Ham wkr is definitely anigncd to SIlO'" Wltirr!" U....",y a casling memo is just . routine ~ of infOl'_ mation , but this one fai rly tingled with e xcitement IS W alt announced the fim man to be cast on this dari", new proj1 . This iihows the imponantt that Wah at tached 10 casling and ea;pcc ially his great dependellCC on Ham al !hi! time . " Ham Luske moved up quile fast," recalls Wilfred Jackson . " He w.. one of the firsl guys I re .... mber who had nlOre t/uln JUSt an assistant_ prOmising young guys ho would hand o ut lillic IOUnes to. One of tile first guys .... ho bad a c rew to supe .... ise . Then On Snow Wltirr he took complete chargo-ltic girls. . tho ani_ mals. If you lIIIm: dirttling the se<!"'"occ' with the girl. you didn't have 10 direct the &;ill because Ham did it. He bEw the way it was s upposed 10 be . tic shot ~ of the live action on it too. lie c.me up very fast and Ile sllO"'w his ability to organize and put things together."

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OI'kft .... II<'ft llam ~1IIl Fml MOOfC "'ould be dis 1ur11n11IlIouI <o"Imtthing on the pi<.-turc the:y would run
,,10 W._s o;>tl"oce. full of cnthUSIasm. hoping 10 sell lIinIlhrir ide. of ho .... 10 corrttt it . But .someho.... Wall oouldll .... y. scmc if it "" as WffiClhing he did not .... lnt 10 hw ..,."" 31 Ihal Ii,"", AIIIl be.ides. he: did 001 warn .n)'one in III<' position of telling him . o .-;e ll ing him. Of conf."",,ng him . Wall had", @rcal curiosily. but he pl'd(l'f~ 10 find thing, out in hi.' o ""n ",ay. til<' quc51ioo. he "" anted an5WCI$ II): arrJ his opnIi", ~m'lflt) .... e..., usu~lIy duigMlJ to pUI you I)fI .., dd...... I~c Of! 001: occ;o"ion. before Ham arrJ Fr.:d cwkI JCI.' 00'00:1 OUI. Walt ,>,,-id ... ~. Ihm. 1 dodn ' t

1IIk.,

bow)'OII f'"<" "'''"' l

offba~

lie to """'k ."' whi<.-h gOl thc:m and off Ihc: .ubj""" They had a nice chat. and he~nll""'m on thcir way, When Ihcy gut ha lfway dooon til<' 11;.11. they Slopped aM I""kc\l al each tllhe.: Fftd >aid. '" Iky. ",ait a rninulc~ 1)0 ),ou r.:ali l.( wc didn'llI'l a ,,'ord in'!"' Ibm si~ and said. " Yuh. he: did it again "' ~ "'JS of",n d,fr",ulllO koo'" prccisely " 'hal Wah loa" ;. pocu of business. and .ft... eac h ITICcting dim wouW be wme di&agrecmCnl OVtl' ,,'hat he h.ad Aid.:on:I c,'on more confusion o" cr " 'hat he: had mtant. Durin, thom SIOQIO' IV/tjle \lays. Ham was u.ually the IIISI at kntw"n! jUM ,,'hat Wah wamed . As O~ man p;ot~. "Somoonc: ,,'oold say Ihal Wall ui\l M want S il liM '-;l. Ibm " 'oold ....y. No. lhat' S not what hc: _ . Tho. l< ....11;01 he mean< ... But no one hil il

riP .. tho Un", wilh Walt . and Han,' S fint Iry ~t the:
a~ Wait and n100M of klk.., .. , ,,'e.e cOfICemed . llam had an Inl ....csting idea. iIol>'C"CI , H i~ drawing . ugge,ted an aw~ wa.d. pIJIy teen.gel' ".. ilh a wim;"mc " harm . who could Cf'j .-ell b>w t....,n animate<! without liv( ""tion, ilUl !be WOf)' Iu<J >I:utcd 10 go a diffcr.:nt way b)' this lillie .

S-- WIll'" mo<lel missed as f ....

!bon's F"I "'.." lurMd oo-..n. If a ~tory $ktl<:h man lid IIII'k the dr:l" m! it " 'OOIld not ha,'C attr:oc1Cd I i -acrit",,,m. bolt when an an;m~I()f lUg~tS a " 'ay 1(1 *t.... the ch.u-a.Mcr , c"cryonc figu.~ thai IS lhe " 'ay it is loin, 10 1),;. Siocc he: i. the uoe 10 pul {he char", 111'011 lho: >c.een. til<" animalor r,nds him~lr in a "cry .... omble p<"ilioo. and oflcn he "'inds up ,,"ilh a
WOUIIIIod <I" Some of II"", '. best thouj:hts came OUI in a lal k Jim! .. 1'133. "Our :>elors a.e dl'll"'ings. We cannot

" '00 on lhe in~pindion of lhe: """"lent as an ao;1Or \1""5. bul mu . 1 prc~nl our Char.>Ctcri7.alions through a combil\;u~", of an. ltChniquc. and mcch;onic. {h;ot takes months fMIIl lhe concepliun to the finishW I"oouct. And ,,"'c h ~"c to make the au\lic~ rorget that the~ arc \I...... ing . We Cannot ri.k ruininl a SC<j ... nct or good Ch;or.octCri7.ation w;lh WIlle mccllanical irnp:rf-lion <If J,II( I lhat reminds lite auoJitnce that ""C are

10rJ 10

IMfill1t >/I"Jy ~ Bdl and '" '" S.... ,,' ,.;"", Iib.JIoI M;, "IJII~.
duling wil h drawi ngs inSlead o f ~al being~ . The .uc ccss of Whil~ wai d ue: 10 lhc publ ic accept ing (IU' ChvaclCr$ as living beings. and llw: Ixt of 5UCCC~~ of the PrillC'C and llw: Huntsman las clw"~Iersl "'as ~ 10 lheir unprofcSliional ~~ult ." ~hfgie Sd l, who did the Ii"e action of the girl in S"",,' Whil~, Idls of a funny incident during the shOUt ing , So Ih . t Ihe g irl's head size would ha\'c bellCf car1 "on proponions and relale more 10 the . athe. la.ge headed dwarfs, SOmeone sugge sted, " Why don ' t wc 0 pul a fo<)[""1I Iw:lmel on Margie 1 make Iw:r head biglet'l Th:1l oughta 00 it . ,. That did it all righl . Margie, who 12tc. achieved fame on TV as M arge Champion , said thin " 'ithin minutes. under those hoi ligm s. $he was re.spiring rr..... than a 260-pound tackk . She added. " We lave that up in a hurry!" Ham made an enormous contribution 10 Snow Whilc by ~ way he directed M argie fOf the Ii,'c x lton . Ham', chokes in handling lhe gi.L lupin, he. inno. cent. feminine . appealing. and .ince~. ,,e. e lhe ~al

from

s,,"'"

keys 10 her acceplance by lhe audience , Th is Canno! be done arbilrarily. The live action mu s! be s!udied m:I undc .... ood Of , wilh a chaf3O;lCr like lhe girl , it could bc<:omc comical . A I llw: lin~. il was juS! lhougl\l of IS a Iw:lp 10 gclthe picl u~ (lUI. Of a cf\llch fOf animal"" who could no! dra .... 100 well. or I way of keeping!he elwaclcr ronsisrent even Iho\Igh :ie,'enol animalQr$ \OUt handl ing. her . Bllt looking back <)11 il now. " 'i1ho.t Ham's control and imagin;otion. tasre and inventi~, Soow While " 'o,dd no! hav( h"" lhe conviclion and appeal lhal reall y sold the c haraclcr. Wall fell lhat Ham had Ilccn ~ uoxess ful in slunng the fellow, in th~ Ti ghl direttion on Sno'" Whit... and for llw: n\OSt pa" he h"" achic\'l:d IIw: ~suhs wanted: SO Walt rewarded him with lhe very difficlill la.oJ: of shooIing li,'~ xlion for lhe BI~ F~iry in Pi_'flll" . In I tal k given by Ham 1<> a group of animators m:I direclors. it bc<:a"", obviou, thai Iw: was npecially valuablc ,.. a con,n,uniUlions ~id hclwttn llw:l'C {WO groups: LeI' s say the character of the Slue Fairy now tI pene<:tly c""""ived and perf~ll y ,:0.>1. 'Illen I ~'"t 10 go over to the """nd stage and shoo! livc actioa on her that will appear na .... less and life like as ani malion later on: afllJ 1 do thai . I have to in"m! 0 m,l" enlCnts agai~nough movements 1 be ablo 0 to be inbelweened . And IIw: only movemcnt< "'c can find for Iw:r 10 do ar"t 10 have Iw:r lean f"""'ard and b.Kk . So con:ie'l~ntly. in cvery scene. we IOId MlU"gie Ikilio lean ("""lnI fow one ph""'" and bact fOf the nUl. unt il it "" funny . We did cono...,i"C s.e,..,ral walh and one ~ne o f her bending confi dentially inlO a cl~up with IIw: Crickel- and thai will be OUr be .. scene of her . . . . You !Ihould rel111w: actor wh~1 1 000, no! how 10 do it . J think the trouble with mO~ 1 of our li ve ac!ion has been in not giving lhe actor enoogh business to do. and then meddling w ilh the way Iw: docs it wben the scene look. "illed. If the movcm",", scems inad C<juatc . invent sonIC b"sioo:Sli. ~\lC h ~. pr>I: ;ng lilt fire or SC'ralching the head . An uample of in"cm ing busine:s. for ~ char.ortn occulTed in lhe scene: "'Iw:~ Soow Whire (old< "" arms as Grumpy " 'ould. while slw: os ,,'atching him. lr

'lr IJIId ,,,,,.

*"",~! .,\m ~ Ij"", 11><

""", IN ""-

",,",. -.I.
tdrl;tT,

for M I. bcealiK il lit! sentk way of tc:a$ing Grumpy. And if H-llid JKII u!oed an action of Ihi' typ<:, he W()tJld ..... betn IhlCk ".. ith hlvlnilio move her either ,lighlly blt:k or slighlly forward . Ham continues with hi5 IfIPIllKh:

*"'"

.... vtry

JOOd \:~e of aclion

I r

WIn ",'e pick our Ii>~ ;tC,ioo lakes, a person !hat !rtIM', aaima~ is '~ry apt {o pick them for flCial 6prtlSlOt"l!' . and 001 for K tioo . And we can' fford 10 do lhll .

Ham', capilCity to analy~c and

to work OUt

a proce-

clift WI rould be ",Titlen in outline form as a guide

lor othm rudo him " too yaluable " to be oonfined to _ board . I" ..." though he did some an;mation on the PI in S/ICIO' Whirr. Ham wa~ reall y a directOi on the pK-llm. Wall felt Ihal Ham' S value lay in the influence lit could 11>.,,, on 11M: younger animators. So , much of ....."mation handout, on the Prince. Snow While, .. IIUM$JJIaII. and the: animals was IUmCd over to HIm. SomdIow Walt always seemed to Iod Ham up .-idI.-. wOO: than anyone else . Fred and Bill sham! the supervision of the dwarfs, ~lId Fergy took over On lilt wiu:h. Any Olle of these: jobs was a handful , but
Ham'l WO\IJd have been inl unnountable for I1"I05t people. KowcVCl, he h.ad wly of spreading himself ~ .. hik still be ing effecti,e . Ilul 's arW)'lii. of tIM: beSt approach to desi,ninll a d:w1ClCr that ,"el)"OI1I: rould halKlle i. s till in use klday. Cflliinly the execution is more sophi)li cated . but lilt princlpleli are the ,anle-a, arc the problem s. k II _~ing to see in lIam's 1938 outline (in the "wt.:Iil) OIl his app.....adl to ellar.octe. handl ing how ~ iIIIJIIic. !<><by. As lhe "Knch ~y. " n.c mon:: tItiIJp cfIlIIgt". the mo<~ the )' !<lay (he ~me . had a knack for being crealive in helpinll to de>dop areas of animation thaI needed Stren~tlll:ning . He w~ gtl":M with the you nllcr n~n, and . alo na with md Moon: . WIIS prob;I.bly the beSt "'ac~. ;tIl_Jthe 1IIIioruIon. The suptn';~ing position tllat Ham held 0- 5_' Whitt" ...,." MkaJly SU;ted 10 hi. abilities. lie _ " his pc:ak when he wa~ working do..,ly wilh lhe youn, ",imtiOtS and still had 50"'" lime at the b<lard bimsrlf. He was usually gentle and easy going with lis o:tnlc:i-!m. but'" wuld be quite blunt and forceful

"lilt

if thr sit uat ion IkmandW it . For one: thing. he roukl 00( wlente anything that "'"as 001 clear and definitc: . " If you are going to ~w ~thinll. be SUIT )"011 don't do it halfway !" When ~ drew fOi you he would oontinually "'ork his mouth and his brows. and he seemed to be uraing hi~ pencil on and willing it 10 <lo wllal he was visual izing . livery time Ham would do or say >Omethi", ... thought wn really funny . ~ ",_Id laugh so hard his fllCc ",'ould lum red IU1d teat$ would roll do"'n hi~ cheeks. His favorile joke& were punr-the visual kind. and the more farfetched. the bett~r . 01{" in a meetin, someooe mentiot>! Bell &. ~Io... ell projectors . In an ;n!;Can! Ham "'";IS on his fttl ringing an ''''''gmlll)" bell and then ju~ a~ quidUy I'amo miminlt a , ikal howl. Aft~1 that he would !;Cart laughing . usually in lillie $hort bursts. Rnd our disapproval only made. him laugh hallkr until finally he ..... ould Ito inlo convul . .ion_ particularly if he Wlil reall y proud of his dfO!1 . When he " 'ould eventually regain control. he "'ouid look Nd and fonh among us with this halfbun upR$' ~ion and wonder why we could 001 iCC the humor in his joke . Actually he had such an infectious laugh that it was harolo resist getting inlO IIII' ~pirit of hi ~ gagl . It is doubtful thai Ham or anyone else could hive realizc<lthe far'll'aching impao:;t hi s procedUlTli wou.ld have 011 the fututl: of Disney anim;ltion . WailliUd tile .mlltmcllls thai the... proo:cduTC$ b",ughl . and ;t _ obyious from tM popularily of t... pio;IU\CS '" the bo~ office that the audience " 'holehealledly IIttc]>I"d theM: advancemenU. TIle direction for the funher develop ment of.nimalion had been SCt. alKl much c~dit coo ld go 10 Ham . ..... hQsc ability to Bn.>J YI.e. organi , lind plan had helped open the way . Ham was a top dir1Or on both P;If("-rlfio and Fd~ ' lus;l>. a position that he e njoyed. 'Iing;t ga,"C him the Iype of conlrol he nded 10 be mn"t effeclive . Dut as lime pan ed his interest. dll'w him funher Iway from animalion. and iIJi lhe MW group of M1ptrvilins animatorS added their contributions to the rapidly de~l. oping craft flam h.ad Ie and It innuo:nccc Oft the an. fOOT! he had done iO much to advance. lie ~inucd 10 direcl memorable ...qucnccc . notably the cartooo _ _ tion of M a..., PoppilfS. but. in<:reasingly, more of hi s time was Spenl o n live action problem~ for the weekly TV sOOws. until his lIcath in 1961l.

Ion,.

Speed Lines, Staggers, and Vibration s

.hQrI film' .if'he ~<ldy ,h;,,;., ,,'ere full 'ff<lM <lClion. slid,. fin,l ,,mlle.' . Each "'Of< h,d for" beller or f'''III;'' 11m- I<J dra ... Ih. '!f"'1 II,,'/e'/ I<J fi"'if'hi, "<"I;<>I! .
n~

{mi"~"()r

.","
"" '/MAfOlt

iii

Frlln' Th"""ISBc~uly.

Siceping
F'alur~

film. al,o IIr,J,.d

'IS

'''' w.u,,1 d,m"; n~ "!f"

fi"

c,,,,,i,, {/Clio,,'. Whe" 110 .. fI(}Od fain- Flo", had 10 shrink in si:~. " spfd,,!

d,da ,,'{I' " ....,1,,/ I<> ""'ke

lines "US uud .

\--\-+--+-; ',

. 4
,<I"'" { ",'r\'

,hi, I,,,,k plau.,ible. II kind

of " 'iPM"" m,l<l, "f _ 'I"",d

[h. mo.II ,'Qmm"" ,/agger i.,' llor }.J.1.J5656767IJ7IiY liminK for I(n ,>loll "'hen rm8yc.,_ ,;"n " dc.,;ml. II i, ''''fnl in

1',,1/, "'''/1'",10 ... ,md on 110, ..",I ,if <I ."''''"~ I<lke. ,,,MII'~ ..."'" Ih. <lClioll . [iii, '''''fI~ ..r is ,1<11" ,"'ird.,' wilh ,10 .. ",,,'hllnie, <If""I""inR Ih .. d"''' 'i''~s ",,,/,, II,.. "(1"'m,. IniNlWeem ",. ",,,,/ .,I",,in8 inl<> d"",;"1' No. \I "",/ Ihe 'f.II I." I,.ji up '" Iile ,'lIme",m<l"

'if' '"

Clo<~

"'w_.... "

Bill R'''''''I.~ Clea n..,.

Til ,-'b,mimr ,,,...., ,. ,ll"hin"tJ by oni"..,.", "'''/.

,I, """,,-SO Jf'ITh'/'~"

u .....

,.,." "''''!;<"S "",tr- " .<IN

" .,,, Ira, '" INMI."ud. ..1I<I ,,,,,. f'<", ... u/',r 11<"<"11 <1/ , ....

i, " "'",dl,,/ . .\"" '~'v m",!I''

a "'''1' '" II/f "m""

,,',1/ J"~'m;"'

t..",

, 1"",I,i .... in ,h, ,.wn,' /,1,,, .,. on ""Il , ''''eeom', .tr"~' ' i"lI' . v' 'h, e,'e ~ ...II ,"." ,".

" I

I I

Ie

(I
,

"

;1

/
I

6.

Appeal and Dynamics

FRED MDORE AN D BILL TYTLA

"W. ~.m 10 too... "'h,,, 1 "'01' tit, htoTl. ' O,h". ha,~ hit 'ht imrliter. 11'. r.." /rillh,,,, h' '''' """,rional"Yl}'. 0 1'IIou IO'/w uPINal tt) lit, im,lIrel only "ppr.d to a lo Umiud group . Tit, "0/ rM"g ~hind ,his is : rry (IT, in lit. lIII)fi(Jft picrwr, tn..inus, onl)' ..... ar, ur"K'ing Ih~m ;"S I.M of pholOgruphinlf. rhm':' Walt Di~llty

w,

Fred
frtd Moon: never did It I 10 be a bilIUY, and wben be " ' youn, be ,,'as mIlCh smaller than his broIbers . l1q ..wid all pl~y buebaU IOgelhtr. and. OfCOUr5c. !bey always made FrW play in I~ oulfidd and nevtr ga .( him a chaoce at bat. Finally. his mOlller made the bt"uthm leI the linle guy bal . BUI the firsl ball wtnl ovn hIS head. and t~ KCOnd one came along the JI'lIIIId: tach time they " 'ould yell. "Strike!" The third pil~h was Ihrown behirKI him . " Slri ke Iltr. you'", OUt!" F1l'd wou ld ge l so n,ad he could eat din .

However. his brolhers did 001 know whal Illey were missing. bee.uS<!: Fred really was a good .thlele. Ten yean laler. ,... hoen Frtd was al Disneys . ......as bMy,o.o as ",he most ooordillll1ed guy in the ulidio. Acoording to Wilfred Ja.c:kson, " He us.ed 10 do all ~ vmnaslies. Fred l\lld knock tile ball clear oul of tile f'tld where we were playing." Bul he look a 101 of kidding about his s;u . lIam Luskr was juu enough biger !han Fred 10 eaU him "squin." Ik lited 10 let FIN 10
~Iand E~n

back 10 back "'im him so ''''Y could measun . wilen Fred "'Of'<' his lhkkc~t shoe he was ~lill

looking up II the OIlier feUows.

BRAVE L ITTLE T AiLOR

- R:M 14 -

He ruUy wa~ a funny liuk iUY, bue IC..... ~~ noc Iliac "" " "as If)"ing co be fUMY . h " 'as jU!1 Ihac his propor lions ..~ ' Ule. lib, his d.a,,inp. MId il kind o f licUed )"00 10 " 'IIl"h him moye:.round ,m'''linl ~ like FmI ASlaire orChaplin. or trying _ raney jll"linl acl. Eyen if che stuff dropped on the Ooor. Fred .... ""Id al ..... a)"~ end up in I good pose-junlike hi, dra,,ings. He could IIOl Secm 10 do an}chinl,,,kw.rd . The chinl ch.1 firmly csl~blishtd him a~ che Ir>p alhlele ~ moni the arlislS " 'a!i ilK: way 1M: cou ld Ihrow pllSbpin.nd make lhem Slkk in lhe ....oo<Ic:n (\QOrl al ,"" old lIyperinn Studio . Hc I!oc :10 (IQII<Ithal he ,,"uld throw IWO with each hand at Ihe !>ame lAd make all "iel:. This " 'as an ;no;mJ ible d"pia)' o f lim;nl! and nalural ahi,ily. beelU,"" the a,er.se feU" .... '~nnoc eyen bo: ~urc of sli, ~ i ng <lne al lillte . 8U1 cva)"onc w~ s tryinll 10 do il. and wilh aU lhe~c pins banging againsl the doQrs Ihere was an awful racket up and do ..'" lhe hall . The noiw ~'>1 "" loud Ihal il carried up"lain ..... here Wah could hur ;1. and he could no! "JUre oul " 'hai .... as going on . Gradually 1M com~li lion la~red off becalU" Fred had ma~lercd "'''ry ...3)" M could chink of 10 Ihrow lhem : MI he 10SI in le re.<1 except fn. an O"asional h ISS behind his bac~ '" O\c. hi s shou ld.r . An(lIhcr Ihing about F.cd--}ou ...."OUld ha"c 10 ~all il a ~r :l<lMlic)" Irail- he cOlI ld flO1 laugh al Of . eally enjoy ~ Ihinl by him",lf. lie would keep the hu,"", all botlled up inside unt;ll he righl people " 'e,,, arOllnd to enjoy il .... ilh him. One nighl he .... as ..vrk.nl me. Ii.... alone on SIlO ... Whilt ~nd diwo' frcd ho .. fu nn)' lhe d...,:wf, ~okcs OOnded " 'hen he ran che film t>.xk " 'WIO re .... ind i1. H: probabl y .cl)"fd a.... ake half .he nighl Ihinking how funny il ..... ould bf '0 run Ihe :I<)(lnd backward fur us in the mornin g. TIle ne~1 day he .... as lbere ahead of any of u . ... il'lIl OUI ,n tIM: hall and about to burst " ';Ih ~nlicipa lion . lie pulled us inlO the room "here Ice ha.I the: ~Io"ioll all ""V1TICd up and ",.iu"l " Wail lill )"ou guy. he .... lhi~! He stepped on 1M pe:<.b.1 Ind imn",di alely Ihcsc e rv.y sounds ... ncd ,~,mi,,~ 001: " Yah. yah . yah. osker baby. (FQfWanl Ih is is . " He nevcr lried. hah . lIah, hall .") Then. " msnik de middem. " .. hic h Is. '"1" m agin' . em .. The lau~hler Ihal Fred had penl up fromlhe pre"iOllS c"ening (lme OlIllikc. dam ~aking. and " 'e III doubled up laughing " ',Ih him.

as funny:' hi " 1 kne'" )'011 IU)'s "'OlIld chink I!'~p<"d . And lhe ",eird ~n~u:lge contin""d 1 1"""" 0 of !he ~"u"'er. Fred ....... onl) eighteen atlhe lime he ....... hirtd. 1IoI art lraining had been limil'''' '" a few ni~h. d~s>cs. 101 in e~c hange for janilorial " 'nrk al Chouinard', M ~ In liIUl( . He ",as given a ~" rlCAI 10 Jack CU lli",: ....h" wa. nne of Ihe )'oonger ;'ni"'~lor... Jack <aid. Fr,.,J ....()IIld ~illhe", ... ilh hi ~ anm fo l<kd rOf a _ c~ utc . 'ncn .. I:on d,,,nl. lie hadn . I be.:n lhore ..... , r, Ihan 24 hours. Ind he WI' IIlaking the"" gr~aI draf,.
da)'~

'1...

row

,i_

i"p . I c<)uldn 'l belie .... il . lhe end of ~ c~"' l he "'as slan ing to animale :something. " "e,)1bUc came ca.) 10 him." Yes. Fred "'a~ j usl ffghl for the Ii....," W.4 Kimball sa)'. "He was Ihe one In e",ape fro. lhe m., ld "f the nJbbcr h,,,..,. ,,<lund circle .<chuoI . He ~ bell-a n gelling cou nler n",,cmems. ~""nl cr Ihru,".", ,he ..... a) he drew . He ""'i1kd ", makc Micke}", ,hcrlI l mow ",,Ih his """'Ih ...... hich lhe ~' h..! "" Cf do. hefor~ h"<:au~ )'ou d"' ... ""Cf}'lhing i""ode the nmr. lie "'Iua~ and s'reICh,:d him more and ......~ riglll. lbe .ime. 001 Fred " 'as a lIi)!h ",'''''''I 'l3 i''''' an;n_

lJ y

fi.,.

. .. be n""" nr less cn",r!cd Ihal NoI:><)('! y '"""~ 10 rctll<.mber any dc,d upn",n!. n. rnl of us came inlO Ih i~ I'l:u:e- it ....as a strang! placc--"'c adapted 10 il. and .. e k(pllryin~ I" imp<<l't ~nd chanlle . ami .." henmc stlld.:nlS.,r il . 11M"({ lhoughl vi" CI'l:!I. he w",n'l ~ >tudent of anin1<>lioot. IIr ...'" JUS! a !IlIlural. J!ifl~"" ani m:llor . .. ht.>sc "iIl'k MIl dc ,d"l'mc:m " 'as perfecl. IIming ...i ... for lhai pooa in Ii"", ,' " E""n lhe old hand 1\1 "'k~y nrcn. su" h as I.e, C"laIt wcre "'l1a1 a. whal F",d e,,,,ld dn. 1' ......1 ..... a~ I .ed natural . li e had a nalu,...~1 now 10 his w'''~ . Ile"ooklD'l m~kc a h:t<l drawin~. "'all}. n, is w..., I"lt:cau,"" Frtd ..as ~n intutt"c d.af"""n. and il is '1",,>t io llObk ...helhe' """" fonnal an train,n, " '0II1d ... ,.... a.j,-ancal him . Ik JUS! " 'as not as ",icnlw 10 ... assmo. ...... "'" lc<1urc.' ~, >OlIte or the "",n ..."re. Ik wuuld '""y. .. Don G.aham can giye )""u 11'1<: ru le ; I j ll" !oay .1 looks b,w er ...

~nd

dr~wing

".IJ"'!

"",,,d

Thi ~ is Plnbabl}' Ihe I)igg(>1 Ihing Fred had ioin~ for him : he h:t<llhe abilil)' 10 cell " 'hen ~melhing ,,-as boue, OM " 'ay Irn.n "",.. her. II ,s difflCuh .(> r.."II. .. F",ddic dJII"'ing" lhal did 001 hl\'c e Y ' ything in 1!If e

juSt did ii ," Fred eould communicate his ilkas Ihn.lup drawings bene. than anyone around. and that i. one of the nu,n rcawns Watt made him a supcrvisoron S_ Wiliit . II was not that Fm:l1Iad any special leadership qualities; il was because he: had such gn:at dwm and

appeal in his drawings . When

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typifird ~II ... an/lUlU . rd h)' lNt.

right place . l1le arms were always retaIN to lhe restof the dnwing. and e~en if he put !hem where they would nOl ~ lIQI'Tnalty . they still looked right. The head ~med 10 ha~ the righl lilt for t~ shouldeR. and w,,",n he su=hed _thing O~l he could make thai 1001:: ~. too. If Fred drew il. it was pleasing 10 look '1. and it was this pleasing quality that earried his work II\Cn than the acting. FfW could not uprns hi~1f in words ~IY wdl. but hi: had feelina for ",hal I drawing ought 10 be. As Larry Clemmon s says . " He WI, such. hdp to

other guys. Guys would come in his room and say, ' FfW . how would you do lIIis?' Fred would say. 'Well bm:!,-and he 'd ~w thc~ didn', in;lUfI:, he

rom.:! hing well. Walt wanted everyone to benefit from it. Walt kept prodding Fred to make drJ,winp fOl lilt upe~nco:Ilnilmlors as wen as tIM: youn, ones. 10 Ihat .n tIM: dwarfs would look like hi s. This wu. very difficu lt assignmenl for Fml . He would say. "~.I ~an'l go inlo some guy's room and say 1(1 me sitdowl and make I <lnwing for you. Walt keeps ~lIing me ". bul I just can' l do it unless tIM: guy asks me 10." It is hard to believe Ihat a man with Fred' , Lale .. would ever have any real diffw;ulty wilh dl'llwinl , but aboul every four months 1M: would ha~ his trotlblts. For two month' 1M: would be happy : tlM:n . in 1M third month. he would be reslleu and sian .searching fOf somelhing 10 Slimulate him , looking at m~gazir.es &nd at dl'llwings by animators whose techniques were dIf ferent from his . BUI 1M: was not reall y ,"\>dying much as looking . Ariel' that 1M: would spend a mism. ble six weeks or so trying 10 incorponlle what he Iud learned . He would have no end of trouble mastc:ri" 11M: new ideas thai 1M: was trying 1 gel inlo his o.ul. 0 Sometimes il was hard 10 \ell, during this period, ...'bIt Fred was talking about or whal 1M: was trying to lIIXOfI\o plish . But finally 1M: would come out on lop and ha .... another period of. couple of months in which be mi Iy was happy again . AI limes Fred felt Ihal B different pendl would givt him a new s lant on things . WlM:n be could not dr.tw what 1M: wanted. 1M: was inclined 1O.\.U5peCI the pape!'. the color o f the lead . or 11M: weight of 11M: pencil. " I

don't know what's wrong with this p.;ncil: it ju~t <Joesn't 5m to work anymnre'" Th" prompt~d ('..:orj;e Stal linp' to !.IIy. "You guys are like ba",ball player.,; ~)' billie 1hcir ~Iumps and their 'urel"liti tion~ . They think they b.,. 10 have a 'ped:.lbat - Iheir 'Iucky' bat and you !law: to have your spo:cial p.;ndl. II WitS imporumt thai Fred he ~ompletely bUM on bi , sceneand ha"e nothing undermine hi~ confidence while he was working on it . ~cauw he could not ..... orl< until he felt right. The <10')' business ha<J to be ri~h1. the layout. the <taging. and the footage for his '"",ne. These were .11 the responsibilities of olher." he fig _ umI. Then be had to fed right ahoUi himself. He had toapproach the M:ene with confidence. gel his ego up . ~ ...oold say. "Tell me how Itood Jam , fellows . " We alwl)'S overdid it and told him that Walt neede<.l only one animator a, long as Fred Was around. and he would say, '"I don't need to be Ihm good, iI's only a lihl. soxnc!" But laughler arnl the 'piril of fun had 10 be !he atl1l<"plicre or he coold not wOlk. \I.'hen he w,,-' all square with lhe world and himelf. he would perch On hi, chair and 1-ip. zip. I-ip-hc would go Inr<)llgh a ten foot scene in an aft~m(lOn, and 1h:n have lime 10 slarnl 3!"<)und and joke about how IIIIt .11 tllw;e things we said aht .. ,1 him were. J Ie h~led to ~ '"OI"T"<lioo . believing thai all one'~ crcative ....It;.. \hould go inlo th~ linn exciling. complete olTon. Whal came OUt 'parkled and lived and appealed. and if yoo arc an emotion.llype Ihi, i. tile only way to JO! Otwiou.ly, IlIi, procedure is hased on cmifidrnu. The dlllwing' ",nected il. and his speed and (oocen Ilallon ,bowed il. Fnxr. grtal facility with hb dr~wing fascinated ~ve.)'. OM. It WaS uncanny ti}c way h" could plll hi s line down with .\lIeh accuracy-shon or long nowing li..... ;1 made: no diffcren<~. lie COI.I ld control lhem

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Snow White .
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Til< Mood S~ .., D'fKJ'" NJd rtJpOIUi/>1UIy 1M diJlTI/Ho,i"t dnl,,'i"t~ ,Mt slttTto"td 'M t>ppr1W'd
_~,

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NI'JlArot/ F,.d M",,'~ Pluto', JudiJUtlll Day.

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- .. W....d KitJob<,lI ..... .,..id ",tid ,Moot IIyfrat... u., IrUruIIf u. il. woodtl Wtf . ..1Ik~ Ms htnf'r dnno.;~,. ,Iwnt _ y "" ,lot .... ~"', ,IWJW. i w pi...,;. . h ..pts. ~w l ,

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all. His line Wls beauliful; it aimosl had a quality of $ba.lin,. When he nalunlUy made the line thicker at ~ bonom of the dwarfs' juwb. it gave them an UU"ll ktlill, of ..-ei~ and dimension. Will IIIU very . ..-an of the , harm and plus;ng quality of Fred's drawinl! and usually brou,lu the impo!\lllt vi.ilors inlo his room. Fn:d found Ihat lhe visilm wen: pani<:ululy enlraneed wilh seeing IWO do:Iwiq:1 llu.1 could be flipped to show a dlange of upmsion. goin, from a frown to. "lIke : ' CIIIWft 01 ~ eyes that showed tho: brows and the ria: lIIO\'in&. ~ shapes Inimating . Fn:d rommenled om and over . 'llIey love !O s.ee tt..: d",wings move IIId the characters think! Remember Ihal! Ifs what IIq like to!iU in our scenes. II's what they liked wilh Fern's l'Iuto. you mow. We should always let them 101 tbc dwaclm think r' . . . dIIring this pIwoe thai the animators diSOO\"ffW ~ INt imponaoce of !iUing the characters think by a of Clpl-eSl;ion . llIey were concerned wilh the principles of ""ting when lhey stumbled upon th at idea .

web.,

than,.

11 was just lhe heSI use of Ihe medium in showina audiences what. you wanted them to "'"" . o.o:r the )'ean " 'e ha"e upcrimenlCd ronIinually. uying 10 I11#e the most Utreme statement oflhe change between tWO e1prnsions on the dnlwin,l . Ward Kimball_mcd 10 go further in this exer<:i~ th~n anyone else. but Fred 's drawing. moved just,.. well. Fred did no! Ihink in lerms of eure,"" movenW:nI hi''''idf. Out he was ~T}' impre !.SCd when he wo,dd Ii it in _ elK', dnwin&,. AIbef1 Horter did I dnw ing of Sleepy with his mouth "',d~ opt"n in a y.wn . and once Fm:I had Sttn something like that he <:I)U.ld inrorpontte ;1 illlo his Own drawings. making il look even beuer with hil natural !;fnlt of appeal. The tTlOfe F~d worked with Mi'kty. the more he suuggled w' th over<:oming the ~itrictionsofa charlo: Ief whose t in:ular head and body the lJIimawl"S had traced rrom qUll1trS or hair doll ars . He kept puul in.g about why he was not able 10 make the drawings wt would give him Ihe aclin8 he ",anted. "Suppose [ WlJlI Mickey 10 be cocky. well then I have to make

 "";"""OF could

,ltMbby

pigs ",/iJiry fi>1Uld i"

lirll~

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him chesly- and Ihat means arching his back. To do that I have 10 push some of the mass of the lower body up into the chest, and I Can'l do it with thai rigid body." As Les Clark also observw. "Us ing dimes and quaners for Mickey's head was li ke moving a cut-()\lt across the scn:en. We found out that if we pulled somelhing oul and then brought it back to its normal volume. why it would look good.""The anima lOr.; realized that they would have to be able to shift that mass around. 10 drop it. raise it. squash it and slretch it for whalever the attitude needed. "The natural evolution for Fred waS 10 a pear-shaped body. replacing the hard circle. Now he wu ld get the flow and rhyth m aoo flexibility. With thoese new shape n:lationships. he began to get a very appeali ng Mickey with stronger aUiludes. beneT acting. and more personality. Mickey could be anything ""w~ with slopi ng shou lders. chesty. or angry with shoulders up. "The head and body wuld stn:tch oul. and the ear$, 1 00. for a take or an accent in dialogue. Now the animators cou ld forget aboul coming \0 work wilh all Ihat loose change for the diffen: nl- sized Mickeys Bob McCn:a, who was an assistant at the time. n:members that when Fred made SOme of his changes in Mickey 's appearance he W nervous about showali ing lhe n:suhs 10 Wah. Fred cou ld not bring himselflo tell Walt before sweatbox whal he had done, so he Wali

perspiring ali he waited 10 see if Walt would notice. W"'n the SCene came on thoe screen, Walt called \0 stop the projector! "Then he had thoe see ... run back and fonh several limes while fred sal there and died. NOlI word Wali exchanged; then Wall lurned 10 fred. one eyebrow down , and said. " Now thafs the way I want Mickey \0 be drawn from now on!" "The squash and stretch of the walks that Freddie animated had man: life, fell beller. looked bclte lIkl probably seemed more real jusl because of his ability to change lhe shapes. He had such a simple. clear wty of showing the straight leg, the bent leg, thoe soo...eoff. and the high!; and lows of the wal k. He did not expo.imenl with a wal k in the same way Ham did. varying the timing and the relal ionships to gel sometbing unique , because Freddie's was all feeling. He alwaY' thoughl in lermS of a nice. plealiing drawing. He camt up with new things. but they were based on whlil looked right to him rather than an analysis. He hlld I way of hooking hi~ fonns toget ... r that gave a nit. solid look . No one drew the Ihree little pigs the .... , Fred did. nor had the freedom that he felt with Mickey. Mickey Wali not a design based on logic. there v.m 100 many cheats.. BUI that kind of problem did 001 inhibil Fred because he only would pick a view tbaI looked plealiing 1 him. 0 If a drawing looks clumsy. or lacks appeal, Of 00

IIHd ill/1M a"i"",

III"", Fr~1 modd

-I,

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",odel, perha~ the animll(" is IIw Miould noI be .,hc,own. givi,,! a ...11< on drawing Mickey . he ~. "How <k> you draw him lookin, ri&hl down 'f hi, head'! " fred . esponolcd . " Why ww ld "('pta! in the dc.ign of the ClwllcleT "'"s II:M. bIlaroce uf the can. 1 the fIOC: . 0 Ihe I ' of the cheek. to the C )"Q .n<J the hclld lmI ..."OI1IJCmI why )"ou would deliberately OWlY? Why would you .how a vicw 1 1\;01 mIlCh going for it as possible? ~I!Y ,,"c~lbuxcd ~II of Fred 's early wnl .

lik~ ~

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A6mT I'm MOOf1I' _ Throe UttIc Wohu.

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90 the I'-'!nl where he even picked on the .ite

in ooc SCene. For some ""ason Fn.:d kepi
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1ft.inB the fi nger; it just did n()I seem imporgh to do right away . So every week in sweat

ItO<Jlro on Snow While "'W'

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in ~""'tion. and 1"'-'" M the projc<.: lioniM S ~n ag);" 10 the 00, 1 ,;cene Wa ll wou ld lum to '~).' rh.1'5 '1, Fred, lhe: finger 1I 1 Ql> b ig .. ~ "Ht sccne WI, nne thaI Fred wa~ very proud rl,od Wah 1 0".,.,.00\ wh,le it wa. running by ioIld b. tooling al Fred and OOId ing his Qwn l ~ !oII}m" Yes , lI!at' ~ II: tile lin,er i> 100 he would '"m IlfOIInd and look ~l lho: J-..t 10_11>0: nexi ~ne In o rder Indo this

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w llIctlli,,!;.: 1 ...... !;Ilt~ make a ~;sn a"d Slid it" 'n {",," of me on thedC".>.k so I 'hl>t onidc a~ ain . aUI ,he, e an: "bool a doM~ n Ihin~, I "" ..:va s hould (orgel. Instead uf ~ s i~n. they oo#lt 1<.1 be "". " heel : and ncry <1<1)' "",,,",n }OU ,.""", in. }"" j1.I>! ~i\r Ihal III" wh~e1 a lum and that wa)' it ,," ... ,Id k9 rem'niling )~ .. ,~ .. So he st:utC"<! ~ 11M o f Ih .. rund.mc. tal Ihlnss ~n ~nim~(Of s hould ~I"a). "'mcmm. "'" he d'.""I<"c,.".1 Ilial he had 14 b;a,i<: ptJinb.
f(lf~t

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Fll.!il>"S ,,, POINTS 01: AN IMAnON I.

~. A~al

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2. Siaginj:
Most im~"''';ng way'! IW""ld anyone ,~hcr Ih~Ul )'"u r mother lil~ al It( it?1 b;t the m"~t CnlCTIainin~ way? Af'e )'00 in chara<"t~ "'",,)" ...... adYa ....in~ lhe ch;ll'a<'I~ Is thi. r"" $implc._1 Slaten",nl .)( the maIn idt:I of Ihe IKflll:? I ~ the >II><)' point dcar"? Arc lhe !\CCQndar)' ,...ti""' working with tbe !Nit a<.1itm ! Is .he prc""'Malion he:<! fur lhe medium'! ~ it h~'e 2 d imensional clarity'! l>oe>; il h3~f 3 dimensional wlidity'! Don;t h~,c " dimcnsion;>l df~"" in,"! Io.~, ~"d (,,1 ..' Ihroo Khl 10 Arc Y"" Ir),ing I" ,10 SOffiClhing Ihat should,,'1 be.

lhe projection i" " 'ou ld ha"c to run !)xk ~g ...;n for a fres h ~t;u1 and he would overlap into 11M: -CcllC ""i(1t the bill-linger again. l"hcn they "" ould ~ off on anoIh<r round o f "( hc finge r is 100 bi~ ." Frcd WNlld crin~c and wunder why he did II()I j u ~t ~ il do"," and 'OITcd that dUlnb finger. Week after wcek the s""calbox notc "'oold be: lite this 0 "" from O:l<tber 25 . 1'136 :

". 5. 6. 7.
Ii. \I .

Scene 26. O .K. for c leanup with ch.an~~):

Make [)opo.y . Happy and Snn-' y smallel . Gronlpy'S arm and fmger gct quite lar~e " 'hen 1M: says. "SHE'S AN O l.D WITC'II ". TIM: ~cti"" b okay. juSt Cll( down on tht . iu of the flllt:.c r and Ihe lenglh of Ill<: arm. TIle Ilvu ,h~r.acte~ in the rij:hl f.g . ,'ollld hc sil houo:!lcd ~ litHe b it .

10. II. 12.

13.
14.

,mt"lf"'-.[ '
ILike Iry ing 10 ~ho... Ille lop of "1k~~y 's lleooJl

II is WfIlCtnncs hard on the ello to lakc all ihe criti cism thai goes ""ilh s"'n,b<,.i"~ . bur F,etl mu,t ha'"" ",aliud thai h~ WM one of thl: fe "" thai W~lt Wi<> usmg 10 set ~ Manda.d of excellence fur hi s nrsl featurc. E"crylime Fred got "ac~ a Ic, l with " t,n,lal e un it or an Ktion Ihal did noI pk",<,f hinl. i, wool.1 hc bee"u"" he had foreonen wmething basi<:, som.:thing he h...! a<.:lually kllO""n for )""M$. lit would lool; dis~u .. ed and ~y. " Hk. everybody kno",'~ rhat. I I-hout.lnt m;l)(c. mii l.l&ke like thaI. h 's ju~t bc<:au,,", ytJU a]",'''YS

'n.., rela., .. .1. ul"""'f'IIiSlil."atcd nll,"n". th.aI lnotr hi, d"''''lI1p !\t, grc;K al..., nt.adc" il difforuh r" I'.....t to :tdjuSl 10 Walts 'OOSI~nl p""-"''''' for ...". thinp . On.: ..... y Fml nn", hock from a 1II<"tI~ allll a;~ed . "Why dove; Wall alway, Iry 1() ~, .. to Ju Ihi"i(S "'''' " "n', do '! Why (\;""n' l he ju,1 let u~ d., the Ihinp ..c .."n d,, ?
In lhe publ",' , ",;nd lhe", h.,e bc~n "" ,,~ ... Ill<:nlOl"ahk d>arKt",. tJun Ilk' dwark and lIo..... ., in p;orticular. Dopc~. smed tV r<'fk-cl .... (on_ .;0 mu.:h uf Ff~""<l himsdf innoc<"l1I . but 1<111<"11 of mi.chicf; nai,,'. l>ut with ju>'l COIlUp,

,,,tII

"fI'(WldJi"'m, Tho.., '""a, !IOthin, h;d~n or m)stc riou5 aOOul f m:!. H i~ pe1WfIa1it y ",-as on the OIIt_ low t'~\IIlC 10!; ....'hat he: lact ed in sophisIiaIion tit ~ up in cllarm . Ht had honu ly. _grity. and ,..." al,,'ays ,..ill;n~ to help the youn S .,i","fro. As Dick Huem( . said. "He was the: 1'II'rtlCIIIU)' )"1'\1 woold want II) know . " "My God ." M.,-" Dav is ~~ys . "F,-"d M"nfe """ Disaq ""',.,;ng ! W( ' ,,( ~ II done thinp on our O'II'~. bul 1M w:os the I);,.i. " f "hat Dhney wood 1(11'. II " '-a> <..,rt~inly the opr ingbo.a.<I for t\'tryt~(" g Iltot came afte. , Ht h~d 10 be as d ose to I bo)' geniui no, . lit nc"er grew up, and this i. '11'11;01 he Inim.ted , He animated what hc: Dtw-, ud he <I"'" that "" Y- lle" cr gm"'ing up, " Tk b>1 IeIl ye~rs of hI> life Fre<I txpcnenced
~m.,," ~...

fru>lr:lI ion.,

He had

bUl>l

nthe ,.,. ..-hole tl icnt, flowered nrly. Ilc found that he

0IIt0 lhe s.:erlC in full bloom a .... li ke some

h<>d achic"ed all his gnal . in a .ciati,'ely short timt . He "'a~ quoted as sariiii-.. h;lse ..,ached e' 'Cf)'lhillg wanl_ and ' -m (,,'(nty-roor. Now ,,"'hat do do'!" He could nnt h" 'e .eali~cd 11131 the ,'ery Ihing Ihal made him greal wao now the thing thai held him back ; thi s childlike qualit y tbat pre~ente<l him fro m g"' .... in@ with the changins , tandards. ' "Two :mimalors \.,hom ha'''' al ....ay. lhought of "" ~ '-;elim. of t"is ~"dopn"'nt .11 ~n i maliOf\ :- ~id Ikn Sh3rpMn. " "en: Fre<kJic Moore ..00 Norm Ferguson . Th" y . imply <li<l tKJI ha"e (Iw: background , the training , and tm: ;nlui!;"e .bility 1 <) mn.ur~ up 1 lhe hest nWn we la{cr h3d on our 0 staff, Wh~{ i. >Old is (he f"'l 11t;o! they were IlOl secondal)' men : they both Iud hecn lop 111m, and I' m sure it "';t.~ ~ c rushillg blo .... tu r""' ir pride _- On November 23 . 1 9~ 2 , Fred Moo died a. a resuit of al\ auto accident at Ilk' age of fon)'-{wO,

""'y

, , "

polite 10 inlerropl: so while he was wailing for his he would unconciously Slarl maki", fUMY linle half-whimpe:rilli, hummilli noises. IS if he _re luning up 10 be ready ...hen his oppor. lunily CIIIX. a kind of an1icipa1ory sound. 8ill lo~ed and believed in 1he chan<:ters he ,"'IS crea1ing. bOIl he was concerned aboul whelher he would animale lhem U ~11 ~s he should, fU rIttd 001 have worried. for he had 11M: s.cnsili.ily
~ning

Bill
Bill Trlla was (he last of the fou r supervising animators on S""", Whi/t to come to Disney's. Part of the great strength of these men was their dissimilarity . and many would $lily WI Tytb. was the lea$! similar of the fou . Dick Hucmer said , "Bill Tylla was the broodin, type . He was the grealeSt ." Physically Bill was very uriking with his 5wanh)' complc~iQn and bn'.Iad shouldcn. He "ad a big mop of coal black h.ir, heavy black brows, and very piercing dark eyes. \JUI more than (hal it was what was under the surf""" thai IIIOI<k Ilim sWld out. He had gn:at flings churning around ins ide of him and tre mendous nervOUS ene, lY . Bill was a very in~ penon, oIlen moody and ~ often very emolional. In spite of these volatile nits, he was a very shy. gentle. and sensitin man . When he had iIOmcthing to say thai he fdl Ilmngl)' abouc. it would come OUI in spite of any shyness. The wonls would literally pour OUt of him , his mi nd worting faster than he could talk . If 1Oi'1eOI~ else was talking he W<lUld be 100

,/

., IllldersLand his characlers' motivalion in tenns III a1ing, and !he abilily 10 interprel !hal inlo . . . . and staging. He could ~y !he darkesl CYiI and !he mosl frighlening lerror. His powerful . .wilIg of !he devil in Ihe " Bald Mounlain " ""......... of FanU1SitJ was the mosl awesome pitQ: III uimation ever 10 reach !he screen. and hi s SIromboli was probably the moSI lerrifying and WIly evil persooality of all lhe Disney villains. [I

is !rue thaI the basis for these characters is fOl/Ild in the story. bul to capture SlrOmboli's mercurial moods. his lighUling c hanges, and 10 show !he emotions !bal came from !he inner f"",rings of his characters was one of Tytla's greatest achievements . His conunenlS in Snow Whi'~ Slory meetings. wbere personality was di scussed . all show !hal he was looking for !hal inner feeling and mood to

I
/

(
\

Nil"'.."., Bill Tyfu.Nigh! on BIId M....ntai

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s"." .

help him determine Ilow Ihe chanc~r wookl ~ac;t , Amid constant suggestions by OIhers that the~ ~Id be $peei.1 anirudc in Ihe drawing on each dwarf. Bill !!ubbomly came block to Ihe ....,., II'gIIIllCnt: the way 10 get a diffCTt'llCC ;n the appearmce and Iltitude is by knowing the mood and the pJOnality . In a meeting on November 17, 1936, director ~nd storyman Perce Pearce pickro Bill's brains on this subject:

Pcr<:e: let'S take Doc. get him from scratch. an;! uy, noOOdy knm.-s him . f int hi$ most obvio. feature is his pompous Iltitude . lie show$ this p0mpous altitude with his che!! . For instantt, Ilow do you $e>e him. Bill. when he is pompous?
Bill: Hi s pose is a reaction to something. It is ooly I ~action of what he i. going to do. otherwise y"" are juSt making a drawing . Since ;t is up to Doo; to

",'I,WAr""

8i11 T. lla"

then do a quick half gesture on the mistake. and follow with a broad gesture On Ihe-MEN . FOLLOW ME, The half gesture is not too defmite. but just a ne'""oos feding Have Doc tum on t~ fOLLOW ME in antici~ tion of "'alking OUL The range of BiWs characters was phenomenal. His ability to get inside the innermost reaches of tlte;! personalities enabled him to develop great scope in his work. He .eemed to understand the problems that his characters faced as well a~ their feelings about what was hapl"'ning to them, Could anyone's thoughts be ponrayed in a betle! way Ihan Grumpy's afler 5now White ki ssed him? The audicnce literally could feel the warmth thaI ,urged through him as he finally released his bottledup fcelings . BU!, Bill"s mosl poignant scenes were of the lillie elephant in DI/mho. Bill', inspiration for (he of Dumbo b~lhing ~ame while watchinj!. his 0"'0 ron playing in lhe tub, and hi, great pereepti"n enabled him I" adapt to animation the spirit of w!utt he saw in real hfe. Hi, draftsmanship is at its best in this 5<.'<:lion. and I~re is excellent analysis of ",hat to euggerate in the action as the baby s.eampcrs playfully around hi, mOlher. But through all this. the big overriding theme is the elusive quality of love and affection that Bill's animation capture, '0 beautifully. Many of Bill's characters were muscular like himself. and when they came on the SCreen il was like a charge of eloxtricity, He made everything ",ork for him. be~ause he drew >0 well and felt the personality so Mrongly . He wanted his chardctcr.; t" move in a special ",ay. to really live! ~Ic animated the head, body, hand" and dr pery all in different colors . [I was .. nO! until he had each pan working. communicating, and mm'ing properly that tlc would make one oom pletc drawing in blac k. The eye" the mOOlh. the ges tures. and the SC<.'Ondary actions ar<: an: all brilliantly ther<: in Stromboli, Thi. charJetcr has been criticized for moving too mu~h. making it hard to follow on lhe sern at times, yet no canoon ~haracter has pul over any beller a rich. \'0Iati1e. and complete personality. This character i~ extremely powerful and frightening . Bill felt all these things through his whole body when he animated . alwa)', trying I" !fan,fer his tre

Snow White .
ThiJ PO>'P""' ~lIil"J, QI! DO<" cam, fwm Ih, WI'"," 10"'< kM ...I.d~r oj ...hallhr
chMocur ,,'uslhinklng,

expllin to the group what is going on, ~ son of tmS the leadership whether he is entitled to it or not He immedialcl}' ,;trikes that al1itude He gelS flu\lered. and doe,n't ~now ",hat he says. trics to mike OIIt-><>r1 of ~ French Provincial Mayor' s aUi hick. Grumpy Ihrow. him off balance Doc recom(l'.IW ~imself and tries to regain lo,t ground. So far we had no oppor1Unity really try to do any Ihing IS far a' mannori,m Or ge,tures are concerned -ill '" far IS g:stures react in dialogue. There has been IKI opponuoily to us.e any ,cratching or Doc fooling lIUl>nd with his beard. We ha,'e only had dialog"" '" far.

h,,..

10

""I"""""

While Bill"s wOO: <tood oUl wilh all ilS power and $ll!ngth, it, em<~ions and inner feelings. its pathos and deeply tl)ll(hing mO"""nt', it i~ rea"uring to Ihc resl of us 10 kllOW that he sometimes made mistakes. In 1M pm:eding quote he explained vcry lucidly how he leh Doc should act in this Iype of ,itualion, but in !he following .,,'eatbox notc from Walt it is evident tNt he mi.sed on the timing of the f1u,tered f~..,ling and its relation to Ihe di.logue. D,)C seemed to be an ticipating his o"'n "'i'take. and thaI was Bill', mis
tII!;(, 100.

March S. 1937 Walt s",calboxing with Bill T~11a T)'lla Sceoe 8 5eq. 4D Original Make Doc' s "come on" gesture 8 hmader oneno! a point at himself on . 'follow me." The feeling now i, that Doc knows he is going to say HEN instead of MEN. He should say COME ON. HEN "'ith a bro~d gesture. seeming to com picIC it. ;IOting as if he were saying tfle righl thing.

mendous energy into his characters . T . Heel recalls a day durin, the making o f ""an/asia " 'hik Bill was working on the ~vil in " Bald MO\i~ain '" f-k " 'anlC<! to see Bill aboot something. but he opened !he door to find the I"QOm in ..,midarkness. with Bill inltntly curlM over hi s board. The only light came (rom the glow of the nuorc:scent lamp under Bill"s drawing. which was shining up in his face in an eerie way. As T . Hee waitM at the door he fel! a tension _nd a mYSlieal fortt II wod . SU<lnge thing$ " 'ere: going on. T . wa~ 5(1 unnervW by this s ight that he quietly backM out Into the hall ... ithout ever saying a nything to Bill. T)tl_lud studioM at the An SWdent s League in New I)fk with Boardman Robinson . " 'hom he re:garded very highly both as a man and a ttllCher . Robino.on

that Bill leaned a liule toward the nw.y $I)'1e of dnt.,,ing. So he n,ade Bill hold his pencil ill tht very tip. He IOId Bill that if he k .... w " 'hat he ". trying to draw and rc:ally knew how to d", ... it , lot CO\ild 00 it that way . Too man y ani sts have Icallltll tricky ways of making a drawing look imprc:"i~. even when il i. actually "out uf dr~wing" (i.aceu rule) . As Bill himself said .. A whole bunch of nit" can draw the figure. bul one: or lWO of the men n n do something 10 the drawing that g iv~ a hell of a 101 of meaning \0 it . ... here:1S ~r$ in thr ,""'pcan imprtSl you. for the time. wilh n:WIy >luff.. Later he st\ldioM sculpture in I'ans . .... hich accoullli in pan for thr M1lidily .nd weight and e~cellent rela tionship of forms in his wl)fk. Because of thh an

" 'as

a"'~

",. ....," RIll TIt/,, _ S_ WI", .

G""""., ..... /, " S'n" ,"'...

<If ",dillfratiofr
Whll~ kiuM /rut d, h~
",()Qt/ M.~(I"
~. ~..

$ .."",.

.,,,"ylfii ~ " '''Y hi,

h"" /t<~J.f;yt-.

th~ a~di~"N

"'hole />od,'.

,-,,,,M /<.1 ,h, ""I'''' /,,'" ,"""""''''''J( hj,

""'fI,'''. ~,"'I

",,'' '\"'',)I.n ...

__ ~MI!Id. lIill tl>ou~ht of hi s "'tn~s more in tern" than 111",1 animat,n l ie ...anlnl Ucpth . DOtoaly .. the dr:lwin~ 01" tm: eh;,ol"Kle hUI ~hu 111 lhe ""Y it """"~ d"'",gh tt... la)~lUI ; ...... 1m: tOl~IIk"!n " I" !lIo: >C(II< II;od In be riShi. Ken Anderson ~ay' lh~t it diff""ult 10 mak~ a layout th>t would pleas..: liill: be: 11"'a~s h:ld ""me adju,lmcnl Ihnl would make Ihe 511( more inlc","inS. h~,c hellC' ~lagin8. and t>c
_~y~m ....

, I y "''''' in Nc,,' York \

neVC' ~tk"W ahoo.t1 a mowi

nne of It... fc",' animat" " ~llho1t lime " .... , 11~,n,n~ . He ...-as <la:rl)' appriat i~e I~ "'1 looking for lI'W)fe '1ualil ~ ;ond ....tlct . Iron> [he ani mal~. Ih~t Wall ........ Id.s0 M' f~f "10 $e1 up hi, own an seh",,1 unlk. In e~pcrt lil:e Dot! Graham I Kill and Don !r~w to h~.c greal "".' pc"t for <.Io<h "Ihe' . It i~ OO\";ou, f.om II ill's .(ma.h in a 1Ic1un: 10 the )''''n~ animaiOl") that this an ioChooi alrno iphm" ... a~ hke a breath of frnh ail to him:
Iud atI). an Wdio

8~I'u,

_in,

)Ql. . . .. 'Ioc~'

Vl1Im I fiN C3 .... ou1 ""'" aboul t,,O :md a half >I..ned ha"ing xti<'ln an.al ~sb cla~SC"S

o!:a- he f"'Oh;obly >lin docsn ', When he ~~" ~ Ictk. from uno.: of ,..., !:>o>'s here "-'Ih ng about 1..... IC:<I,rouFh,. ",mi-r\l"ghs. ",,,udunups. cicanup'- and fjn~1>- lhen lhe "hole thing is doni: again. he would,, ' t hclie"e il. My t>o.;s lhoo~ht il ,,'a, runny '" 1H:11-~ hunch of fellow, runtl'ng a.ound in h.111 ".. ,,~ s with pic<:e~ "I' hlad and whilc fil", in their h~nd, lo"k,ng (or mo"i"I:" . H... ""d. " When! h"e a tn.1O to aninlate. I " -an' h.m 1<1 kno .. 1\o.oYI 1".... tb,njt> doni: Ix-.~ '~''''' . I " 'oold n...,.; .......n""tk,"~l . and I k""",- tbe kll,...'~ bact C~.I ~'~r Ihcm lo( nsa[ional ... htn lbo.y heM dcsc.ip1IOO' of the I,..~i"'n~ and opportunities "'....., . lim he", al Ihe _ ""U di" rhose ,hint:. art con""" .... d conmlOnploc;: . Tilt' a,e.a~~ (cll" ... he1\! dIX,,,'t ... wo reali,,, .. hat i, beinj: .,II<,,'~d on him . lit is bo:,n~ ,'oaxw ~nd en~\lU"'Agcd 10 belle. " -ork . ~nd Ix- pr..mbl) lhink, it .. a p;lin in ,Ix- ........,1:. I ,ull)' can ' l con'pli .... nI Wal' ano.l I ..... ' ...~ani/.alion mouJh fOf h:onding nUl ,he , luff. ",.,~ is no olh... , fdluw ............ '11 ...... II .

m .,

.., 1 kll f<lf them lite a ton 0( Mich. I ""a, in a ptriod bet .. ' n lhe old and lhe roe'" siage o f anima tloR . Runn;n~ . ,uff in ,low ffil~;on w3 1 likc lifting a ~rtain IN "'.... Then ,W(3Ioo, sc"ionl we.e arn,th<:. rt .. lal~m . Afler all. if you d" a p~ce of animat i,," znd f\JI\ it 1.1'' ' enough tinH:~. )'011 ",USI sc~ .... hoIt is ",.,." .. ,Ih i[ I'ormc:rly. I !\e"C' sa"" ,,"h~t I ~ni ..-J. Wc "" o~kl C3lch a mo.. k " 'c ry N O ,.= t s 10 5111IC "'.., had upcrimemcd on for d"'''' in~. o. 'f'Xinr ," ti"'in~. hOI ,,"c C<JOld" 't gel ",1I<. h hendil from uno: "icwing. In the the"t", lhey would nnl)' run ,tic rl(lu,c I.... ice-Ihe who.11c Ihing whi1.'lc<l b)' znd)vo f""'~01 all .bout " 'hal )'00 tried 10 do. Ami lIftIt" ~..... did 1.1 to the m,,,,ie . you " 'nu ld new. ! "'~)'O\I hild done . Furthetm(lfc . J n,:" cr ""'" . a fmll Nft in reverse except onee in Nc"" York ,,-hen ..,. Il1R ~..c.:nc bacb'ards of a fdlo.... di .. ,ng " ff a torod .

8,,~ide . 1 II;ng K lot ~b<l\Il lIill . Ih i, ""' I"rial "i'..,1 ...

3n ;nsi~ hl in", ... hy tIK- ,tudi" .~ aoov;: all Ill!.." pla,Ci. alld;1 ~ive, a graphk I'klur~ of Wall', I'hilos' oph), :md .. 'h~' th.:rc .... a. ''''''h a th.n g as In.: "(~~,Io."T1
Ai/.~ . "

Hill "",Id noI , land lbe ",d,naIY. If you "'c,e inln' eMcd in )'fltl' "" nr~ . Ihtn ~"" >hould late ,he pain, 10 ob."",'< :lnd . tudy and makr P'''' charar"lcr: diff"rcnt and uniq ue . N" two SCelles should c~e. tIC' ali"" and dO 1... 0 Char. ... icrs should ev .... "0 som"!hin~ lhe ..,me wa). Ijill pul it Ihi~ way:
Sh.d u""hod , of doin! IlIinll' ~r" """,1<:" ~nim. rion: "(f)' nften . morro'cr. rhey arc b;o"..d nil "" oIr>'Crv~lton at all . ~""'n1ly . ,;orne animalrO' will animate 001 ..rmelhing he ha. ~n..,d . but so ..... tltill& hot h:.o.' nICn)oriwJ ,11:11 S<'mc.' QlhN anim:olOf

lias dooc. In such cases. it is a matter of ""'" anima copying another. memorizing a 101 01 !tinct stuff. Thi. is ev.nt in eanoons ....here all the dtua<:ters. regardless of pcfJ(>na!ity . wal~. run .nd move the same way . The animator has not given even a thotlght to the pcrwna!ilies involved. 10 dcline~ting character and pcrwnality through variations in reactions and actioos.
lOr

that i. already funny to stan with . Yoo may CtI very dry pic ofbusorcss to do. and no mailer you work at il, you .... ,11 f~1 )'ou can 't make n funny . If you Can make it done a very good job. But if you c: business that is dry and uninteresting and i YOllclO!! animate il so lllal it WIll be ali"e and vital. then IS an animator. I think. you llave fulfilled you. duty. Not evcry aspect of B,]!' s animation can be properly for hi s thinking was complicated and in volved . Uo,,cver. it is intcresting and cnloghlcninlllO list the comJlOf'l'nl$ thaI are found in BIll's work. bt his IJnt an imation lhey Ire all '~r... It takes steady ooncentratioo to h.~ this kno"'ledge and ~klllll)'('lll'
analy~ed.

jmer~5r"'":,':;',:,:~ .:~,:~:; I

Bill was intolerant of any animator sloughing off on

I

scene just because

it did not

inlcre~t

him . Ui s advice

on an animator's resp.ms ibility has become a dassic:

Another thing in animalion . When yoo sIan yoo will probably wi~h that you coold get a lot of stuff

'" 8i11 liltti",

"1X:,~t

..

.,
tII j~ "", .........", .,M "",,10 CA '
r;~il

rkJI

flllJMlpli and be able 10 lise il righl Like a baseball pIdwr who 11M Ih-. rn<)me1lWy Ia~ ud giv"" liP' home Nn.1be mimalor ~an gel himself ;nlo a hopdess IoIhUllon Ihrough lack of concentral ion. This lisl of components in good animalion is quitt an imposing JIIlUP l(loombino in any scene:, any """ element on the till ... challenge 10 \be 1:>0:51 of ani ""'ton.: Inner feding~ and emotion Acting with clear and definitt action Owacrer and po:rsonalily Thought procus through upres.sion chang"" Ability 10 analy>:c

Timing Solidily in dnwing Power in draw ing St re ngth in movemenl

l ma,in~lion

Clear 'lliging Good composilion

Bill had done I scene on PilltKXltio that he and the other animalon. thoughl was grell . . ' Welt , iI's good," was Wall' , comment. " but il'$ not what I'd cxpect from Bill Tytla ." Bill wlS crush<:d . For I time, like many highl y emotional. sensili\'(:, and ern t;\'(: pe0ple, he fou nd il impossible 10 wort. A week . maybe two Yl'(:l:u . pas$Cd before he plo.u.tly swted 1(1 JaII"tIt around Ind explore other possibilities . In the end he ,lid find a bcuer way, and Wl tl liked il . This had been

Pinocchiu

_ _ Bill T,'/II S - White.

,_.

Wilt.. ,lit <Ii.ron. ,lit fit"'I. lit "'"., ......... bt '" ,lot oritiMl

""i_

"''''"1'

Ie ,
(

e:(

turibiy hard on Bill, bUI he had been ,hown SOme-

IIIirI& aboul hi, own greal capabihlie" . Ihal he had

more 10 offer than he realized. and Ihal WaS why he iovtd lile ,Iudio. According 10 Ben Sharp,lcen. "T"lla ,umchow gO! ptued as an animalor of heavies, Aflcr Sn,,~ Whirr lie was ta>l on Siromboli in Pino<,<,hio and Ihe dc"; I in tile ' Nighl 00 Bald Muunt.in' sc'lu~ncc uf ,",''''IlIS;(I. W mad~ ~ui le a point ufTYlla 'IOd his ahilitie. on all tile tal"'r character, He buill il up as a spedal fca hUe." Wilfred Jackson. who direcled Ihe " Nighl On ibid Moontain" sequence. describes how he and Bin TytIa worked lugelher On it; 1 was told hy wmehody . maybe Wall. I was SUp' posed 10 gel IBela I Lugosi ar><! .hool live action, So w( got him and he looked upon il as an aClor'job. bullhis was IlOI whal Hin wamed. He was inler. CStrd in Ihe nlOyemenL Lugosi sianed showing him how lie cou ld unwrap hi, "'ings li ke Ihal and we were gelling along greal. bUI Rill was having an a"ful lime-he was Ielling Lugosi huw he should 00 it Finally Bill gave up and wenl over in the oomcr and su tke<! . so I gOI the besl Sluff I wuld uUl ofil and afler il was over Bill ,aid. "J"d. ! don't li~ ,,"'hal he', dune . I li ke lhe way you do il: won'l ywlake your .hin off and gel in fmnt of Ihe COm m?" So I look my shin uff and he ran Ihe mu,ic and we "",d Ihal .Iuff. Yeah. Ihe photostals of skinn)' me . We ncver lold Wall . Bitt and 1 made it up in !he music room before LugO!'i ever came. Ihen Iju,lwenllhrough whal I had been duing wilh Bill. Each time we'd do il he'd say tine, I even did lhe box", pocu, Ihing with the linle guys on my hands . I'm!lOl ,ure Wall inlended 10 h"ve such a power. ful cllaraclcr. bot when you haw a piece of anima I;"" li k. Ihal you ' re nOl going to tum il down .
Someone once asked. "Who replaced Bitt Tytla whon he Ht','" The an,":"r was. of COUI'>.e. no one- al Ihough .Iomeone may h3\'e laken o,'er his assignment 8ill Tylla. lih Fred Moore . Ham Luske. and Norm ~"son. brooght his special magic to Ihe screen, and wiltn he kft Ihal panicular way of doing ~"melhing disappeared wilh him . Il would not be possible for 1II)'OIIe clse 10 duplicale Bill'< way uf animating Ihe

powerful devil or the lenderness in his handling of the poignant Dumbo sceo~s, What OIhe", do mU~1 be dif fereOi. for a. both Fergy and Hill said. "Ii is too limiling to copy someooe else." BUI il is IlOI U\l1 of reach fur those who feel as dct:ply as Bill did. 10 do something eq uall)' grul in their own way. No one thing seems 10 explain Ihe reaSOn for Bill's dcpanure from Disney' s io 1943. Ihough changing st udio policie, ar><! Ihe (e"ling thai his famil)' wwld be more ,""ure during wanime on his Cunnecticul farm were cenainly slrong consideratiuns. In (he East. Bill conlinue<! in the animation business as bulh anim.!Or and direc{or. hUI he was never "gain to find the selffulfillment and personal gratificalion Ihat he had four><! in hi< work during those greal days "I Di,ney's. Bill died in 196)(,

7.

Hyperion: The Explosion

Wall Disney

t.t.~ .phi~t has obsen'ed (hal 1 pcr,;on's phs-

ir;aI_iIonmeN Fa.ly dct~ITI1iJ\eS how he ",ill ~It.a,,,

JDd . 'haI he is ap1 10 do. One historian 01 aninwion J.claimed tllat doc: okI .. udioon Hyperion """nue al IIIe farcaslml edge of Hollywood w a.~ t~rgdr rcspon Wk f<lr the in!>Ontiv .. and imaginali>''' thinkinl of !he lI1iru who worked inside. The .wdio was indeed unique . bill I""" it would not have been filling for W all', "udio 10 bo: like any other place of bu.;",,",. m.n III insignifICant beginning. the sHidio seemro J1IduaIly 10 take on a li f.. of its 0"'0 and crow like the IDfCicloI ".."Id i. waS creating. The Ql"iginat building. ,..,. oo:upied in 1926. was a mere t .fA) square feel 1IIl ....,.lLu\tly ~i<,:ed on a quiet 5t~t 1M. munllernl down I 'l1l<I11 valley. Ne~t to it was ~ pipe organ faclOl"J . butthtre was space behind and a vlIC. nt tOt on 11M: Olh<r , ide thaI gave plenty of privacy. That firs. IMrilding oould hold .ome (\Oceoly men at most. ... it _101 before an additico1 ,,a s~ . The orpn fItIory " 'as purchased and rombined wilh lhe Disney

,.,

.',

.....

lon,

Wlllin rno.uhs ~Ti ll """" space was ,,"ok<;!: the rttumW. and soon the liule building w~s bultin, and prOlNding in unexpecled place s. In 193 I . Walt ~iOOJ 10 PUI an end 10 1hi, rnaktShifl arrangeWill and 10 build an edifice especially de.igncd for animMion ..... ith In offICe for each animator and his 1SIisIaM. and I"'''' rwms fOl"" directors . Hour. and hours of pI1nni"i ""till into The design of this " perfecc " !ddiag. bul il W;tS ouldJled bcf~ Ihe ~inl dried. f"onI . theft ....as only a SllliIII addiHo n 10 fl. then dim ..as I tonnc.::tion to another buildina. lhen >ometIrini 0111 in back. and lhen suddenly a " 'hole new. imrnell)e tW()OSIOT)" struclU",. Soon the swdio flowed clw 011110 the side .l rUt. then back Ihe other way.
arptnltll

with alkkd bungalows ami things on top or thin", including . finally. a special Ink and I'~int building thaT used a ll the propel1y up 10 the Streel un the eaSI. The studio wa~ spill ing oul in all directions .

ilCroU the SlrcCI. In Ihc main building the rooms ...~re

small and evCl)'Ol"lt "'"IS so pmmcd In ~elhc<" if one IUY " 'amed 10 I,.'et (lUI, a ll thc <)tilers Iud 10 move thcir eh~iB to let him through . With e"eryono that dOW, there ...as an exchange of ideas ;t.l. ...elll! I lot of funny incident, and aags that wQUld n\lt hhe happened otherwise. Walt kepi Il)'ing tll shkld hi. animalon from disU"aClion~ and annoyance~ thai WOIIld drain !heir creative cnergic$. buI. ;octually. more """,. was achieved through thi, a.mIn!.~ment th;on if ""C hld been SfIIl'W out in neat ro ...s. Exciting new thing. w~n: happening all arouoo lIS. and Ihis dose personal rontact and lhe cruy a~il' lions kepi u. stimulated . Wc wc~ all uying 10 OIItdo each 0Ihc. in thinking Q( Krc ...y actions. delibtralely trying 10 be difTercnt . to be fUMier. 10 cume up .." III an unexpected gag in everythin~ wc did-away fro.. the sludio as .. ell as at work . ~ uf the carly anillli' lor . An Ihbbiu , said. "[ach teSI you did. )'0\1 tnN to be as inventivc a~ pmsible..., the <)the. guys would
~

n.c~ ~ ;d~ a buildi", across the ~Ttthat had been built compkte wilh I skylight facinl tIM: north for tIM: 111 c1;ISSJooms, offkes (or Don Graham and vi~ilin8 lnists, and endle5s cubicles for youni hope fuls learning !he craft . The ~hape of the peaked roof irtUntdil1ely ~m.inded Wall o f the chicken sheds hc lI!OC:d 10 know as a boy, ~ he dubbed !he bu,lding "The Incub;l\or." Before: long, he added 10 lhe back 01 lh'll. thcn inslalled pens be side il for Ihc animal. needed for study md drawing , Like lhe cooking pot in th. fairy tale Ihal t'Q!1tinued \t) produce oalmeal because someone forgOlth. magic words. !he Wldio t'Q!1linued 10 If)tIwl and spread and COVtt the wllole ~. in a s iow-molion CTUption. Then: wen: tunMIs and pu. sagewlyli and bridge. and link: """""', ~nd partilion> were 1'\11 up and taken down. and walls we~ moved. aIId projection booths were made OUI of confere""e rooms and offICeS and even closets . As Parkin.ons Law MaleS. "During a period of uciling discovery or prolfUS tIM:K is 110 lime 10 plan Ihe perftel head-

comment."
Unle" a lagman is thinking " funny" c'"Cry diy. lit mighl find it hard 10 think 01 an unusual gag .. heft 10: need. 0fIC. and we we~ <.\o:lcrmined alwa)'. to iCC tilt unu.ual in the world around us , All ~ man had to do was stumble over a chair. or knOCk something off I de.k, QI" juSl make I chan rcnwt. and inlllled;a~ly hc " 'ould be inundated w ilh gag dnlwings. buiklina !he s itllation 10 0liliandish prop:.nions. II looked li~e I w..\le of valuable time. but. actually ....c "" CI'I: all leamin~ our IUO!iI inlpoC1anl k".orul in S1aging ~nd communintion . If the gag was 100 obscure. if tho dra""ing WI> no4 funny. if It was not OOffiClhin; tllM could bc IIn<krslOOd ill)UlnlJy, 00 ooc laughed . This amtl!OC:menl actually ...as hcllcr t.-aining than de'dop' ing bu~iness in thc pirll''''S' where: il would be Wttb before: we "OIIld kOO'oOo' if lhe gil ... ;ao funny. or the righl thing. or whether it cvcn had been ulKko.tood , Gags we~ also ~ very good w~y 10 rdieve tensioal. Ward Kimball..ays. "It w ..~ this clme exacling wOO; ""C!.ad 10 do . . . Y"" had IU lei: il 0111, ro all ofa wdden )'OII'd ~op and lei ofT Me~m. Wc'd all ~it doon and dflw gap. ' The drlwinp bn:ame broaUrr and more prepotlerou~ by the day. yet there was always an element uf believability in them. beeau"," at tho: ~ore they "'-e", ba",d on rome quirk in _ parcicular fcllll\l"1

qu&r1crs.'"
When every incb of open space had been filled. neighboring buildings ...'ere: I"'"hased and cOIl\'ened8par1ment bouses, bungalows, offICes. any lIruelu", \hal w" near and could house anis.ts and slo.-ymen . In $fltakilll of hi~ own uperiencc in those "tan~ ac commodations. Mcl Sha~gid. "klhn Hcnch? OIl. yes. 1M: had !hekilChcn of my apanment. , .. I had Ihc bedroom and blIth." ThI: artisl' who were no! on lhe main 101 felt left OUI and isolaled. Allthei. hopes werc based on "stepping up" someday to lhe main building

M.Ug Franl Thoma. , Sooroton, ,ugg.,ted /hal ,un lamp' b, inJ/aIl~d ,0 ".imOiarl muid lQ(}k mor" h~alrl'}' _ Imm,diru".". /h~ lOB' bt,a. I'<"'ring in, Hn" Frank Thoma> , Mill K.~I, and Olli. Joh",,,,,, ar" dt:picud QS n~edlll~ far mort t/ron <J IOn,

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Whil, Vip Panch ",'as an ""ISlam a/limawr. hi, d"".-i"I_' ,iwK'ro Ih, "agillg and in,ight thm I.t" mad, himf.",OILS a, a commerdal ('ar/oonl,'I, ,1./>0"., "Th, Gog" mlehe. Ihe pre('iJ. a"itud.. II"d upr,,,io., of th' f"loo', lookill~ at a "'''' gog Btlow, Vip' , \'fr.iQtr o/Ol/i, }uhmta"" animalioll ""it, Whn! told h' hod 108ft an inbetwuner to mo, ... Ihe "'ork f",,,r , Vip mri;murro 1M on/l' typc of pa.",,,,lil." M fell he roIJc""lroJ. ufl. ",,;mlllOr< O/li~ John.",m a"d K"" O'Sri,"

personality . Thi. incisive uJ\dcrstanding of personality brought on elabora{e practical jokes as well. We had to have .orne idea of an intended victim '. reac1ion to Ihe gag, or it would be hard to see the possibililies in il. Thi, ,arne approach was used daily in wod,ingoot {hc gags and situation. for our cartoon charac{cB. If you had a Donald Duck .oort. immediately everyone knew what type of gags 10 use. what si{u.a{ions would be funny. It was easy til find business for Donald because we ali underslood his perwnality. l1>e bun of the studio's moSI elaborate practical jokc was an Englishman, Ted Thwaites, The men who wllrked with him had ~ized him up as being rather square and had planned {he .. busin.. .... in their little scenario ac.:ordingly. Floyd G<Jufredwn, {hen headof the comic strip department. relates !he story as follows: The whole thing happened in lhe comic strip <kpanrnent and lhe prin~ipal chara.:lers were Ted Thwaites and AI Taliaferro We all wuded in !he back room of the annu at Hyperion. Ted carried his lunch in a brown bag and e"ery day brvught in a

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small can of fruit cocktail and Ii<: loved it so much and Ii<: smacked his lips o"er il and he'd tell AI. "I juS! couldn't eat a lunch without this ," So this staned AI's brain 10 working and one day he brought in a can til<: same si/.e, a can of mixed vegetable . When Ted went out of til<: room he would always tell AI where he wa .. going, So lhe minute lie gOI out of sighl, AI would jump up and lake the label off, and put rubber cement OIl lhe thing and wail Iii il almost dries-and jusl swilch the labels from the mixed vegetable Can to tbe fruit cocktail. So Ted came back lhe first time and he opened Ihis thing and he aclually took a spoonful of the stuff before he noticed it wa, nO! his fruil cocktail, AI. of course, waS watching him. Ted 'IoppedIhen he took another spoonful of til<: stuff and be looked at it and II<: says, "I can 't believe thi s, ,. He was still very British and very gullible, He ""ys. "Something's wrong here," So II<: ,hows it 10 AI and Al purs at it and says, " What 's wmng? What is that- vegetables?'" Ted says, "Yeah! Look al the label-this is froil cocktail. " Al says, "Thafs strange," So between Ihe Iwo of them they de<;ided Ihal some way the labels had gouen mixed up al the canning factory, There wasn't anymore said ahoul il eXCept Ted went around and told everybody in the depanment, He couldn't gel over it. So AI let it go for three or four days and then he switched I.bcl~ again, and Ted said. "The only way I can explain this is that they must have mixed up a whole 101 shipmeni-jusl imagine! The.., thing.< arc on the shelves of markets aU over the counlry," Al did it just far enough apan to keep Ted intrigued. He'd have peas or carrots and even hominy one time--and Ted had !Ie"Cr seen oominy before, To put a linle variety in {he act, Al re"erred the procedure and put a vegelable label on the fruit cocktail can, '"That's crazy'" Ted says. "I know I hought fruit cocktail this morning-AI. lnok at {hi~," Al says, "What'. wrong with it'!'" Ted say., "Tha!"s mixed vegetables!" AI says, "That'. funny, You must have pkked

it lIP by mi$w.e. So. he open. the fnIit -':111,1 in it.

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FiolaIly ~ was Ted him..elf ...110 ~ioJ. Well J lftily!hint lhis is an i!em for Ihun KipJty"s Btli, ..., 1,0, N",. [ think I . hould .... rit" il in 10 him Ind tIl~bt 1"11 gel some money 001 of ;t ... So we aUagr.:ed und by Ihis time everybod)" knew about il. and he aclually wrole Riple y. Afler he had 'll'rimn 10 Ripky. knew we hod to 00 WI11C'lhing "pay dI~,.,hok Ihing off. We wonde..w fot I,",u or Gftt days ,,Ut ...~ could 00 . We ro&;u..w il ..."OUld tale richt days ~f~ hi: would expecl ~n an,""CT. Tk plan called for this las! can to "" lNIiled to TII ... llile$, witb appropriate King Futures J 1~""ls IIIIde up by the comic mi p men and was to conlain ,rather poIent mesuge from Mr. Riplc). But AI ~lln'e il alone . He had II> swilch one more <21 and Ted elme back 100 OOn .f\IJ AI had 10 ru.h

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WIn Ted came in and ate his lunc:h righl afler WI Md he pku4 up Ihis can and the J~""I s lipped ott IIoc o;an and he,e was Ihis ","t rubber C"mem. He iIOpPtd Ind looked al il for a minule. lhen II<: says in hi. 8rllbh ;,cecnl. You so and so~ . Sud<knly everything is eleu to me. J know what' , bc<:n goi ng
01 hHe !"

Will wu tttnly a",a~ of the cn:ali\~ procc5s and 'hOI criliciu lfl)'One for tu;ng time off to do gags. He anncd I(l bo: ,War( I...... "'.., ....en: sharpening our stiIk. Tht only Ihing he usc:d \0 say "'as. Why don\ ",.. FlI()<III: of thaI in lhe picture.? The plate ....,\ ( ,p;mding so faM it !oetmcd as if il WOllId bunl at the sea ms; il wa, teemin, wilh new pe.lpIt evcry",here. and lhe~ we"" ne .... ltfli.ls ~ominll it a/mo<I evny day . We "'..:re all sqlltt1.ed into lilde Md aaI1nics and so busy aOO excikd Ihat "'" (0lII0I . . kctp up ...'lh whlIt our friends "'.""" doing . W ~ always in 1 much of a hurry lu wanck, e 00 ..-...dIlle Sludio and ... y. Whal do you do?'" T~ n. _day . 0: ..1)" fini ~hed picture we had nc'ct lI<:;ltd 01 wouW be .oown for the ~Iaff-su~h as The Old Mii/. Where did it <Orne frum? Who had worked on it? AIo:Imrt. import~nt. how htui tht)' d01lt i, ? Ow r)'n puppW out ""!len "'e !iIIW .11 oj Th~ Old M'iI'u\l&:fliftCef\l innu\"3lions---things "'"<= h;,od IllM c'en

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dreamed of.nd did 1101 unden.tand . We did not know how any of III<: .ffect. were achieve.! or ",ho had done ",hal and how;1 was painted. Even lhe inked ,d.;rod back groonds 4id not look like anythlO&; ...., had ncr seen ""fun: . Unk""", n 10 us. Wait had hIred wkx upertS and "n&inane and had ben! expcriITWnting wilh "'",.. w~y. uf lightin~ and a multiplane ~an",r:a and all sort. of thin!:s. And when ...c talked wilh fellows like Clau~ Cool.l. who had been .... orkin!: on lhe pi.lure. .... e could tellthcy .... ere almost a~ surpri..ed and hew;l. dercd as we ""'re. uOh. I don't know . Well . il was juS! like :lily OI~r picture. W. tried to do .. hat_ needed; ..... had our problems and our MUle,; "'~ had our troubles .. Each new pktun: <onlained breathl3k ing improve. menl,; til<: effects wcn:: better. the aninlalion load !l"I(tt lif". and the ",1101 tudio h ad an upward nlUn",mum . It waS like beinH a player on a winning leam! Tow;, allthi. was pure magic. Our own efrons to Slage a bit of btlsincss or let a characler to ,,"roe 10 lif. in an intere.ing ",ay-whlle keepi"ll our fonta,,, up and

not getting bogged dow[}--at time, would get us so involved that we would lose sight of where the studio was headed . Everyone waS working hard but few complained. If there was not always exhilaration in the work from day to day. the enlploys would he filled with awe and overwhelmed with disbelief when a new picture wa.. projected for them. Where were we going? What was to happen with this cartoon medium? "There were not enough hours in a day for one person to keep up with all the n<:w ideas and inventions and I"ocedures, let alone deal with the imaginative concepts and ideas for future productions . But one man did' And he miraculously rode herd Over hundreds of enthusiastic employees. A. somwne said. "If Wah had done nothing else. he would be remembered for hringing together 1000 anists and storymen and controlling their work. No onc in history has ever done that." Mary Tebb. who staned with Wah as an inker in 1927, e'plained her feelings (his way: "That dedication wa.. the greatest Ihing in Ihe world---<>ur dedication to Walt and the prodOCI. our unquestioning auilude No one ever said to Walt .. Aw th"t', too much ..... ork. I don't want to dQ it." Oh no. you'd take it home and ,pend all night if you had to . Walt had something. that po ...... r, It was just his pers<>nality. hi s genius. I goc", . ""It wasn'llhat you IuId to do the,;e thing.>." Marc Davis said. "You ..."med to do them You were so proud . Every write-up the studio got. e>'erybody Went QUI and got it. Very few people have ever. as a group . uperiend that lype of e~citernent. What we were in

on. really. was the invcntion of animation . Animatlill had been done before. but slorie, were never toid.'"' Milt Schaffer ",membe... a meeting in Ben Sharpsteen's office of all the young ani't,. &n lold tilt. this was going to become a great artislie mcdi~m.llt1! they wCre all really going 10 work- that they had 00:( even begun!o learn animation yet. In the c{)U~ of~ talk he said. It will tic with yoo like it wa .. if! Michelangelo. When you gu)" arC ""',ut ,i'lyr,l't. you'lI be read~' to hang out your shingle," Milt " l' they Were all impressed. even when !old they were 00:(1 going to be any good until they were sixty -livc----<: ... that was encouraging! All of this deterrniaed the ~. ity of animation lhat ..... ould be dolle. It grew as 111111 fonn because evel)lune mred- and not j ust in tile";' malion depanmen! bU! througooU! the whole .<t..m. Out of this creative cauld",n ~ame the exciting dfi. covery of life in the drawing. mill ... ith it came .... way of looking at animation . Now the animator ''''kI, do more than entertain the audiencc witb [,mny little movement. in .yoc to ,ound; through thi , impoNll revelation he could make lhe audic',,-,e believe in iii characters. To bring a character to life. il is ncreso;ary 10 i..... each single utreme drawing of the fi~ure ..ith II attimde that reflects ..... ha! he is feeling or lbinking ~ trying to do, No scene is any better than!he suon 1<MII of all its drawing . Lift' mu", be in e"ery' d"wi",i TIlere should be no drawings that merel)' nlOvt _ I character from one spot to the next. [n other wools, the life and vitality comes not fmm movement or t""1 ing alooo----a.< il did in the early Mkkeys-but f~ that ability to make the single drawings ,,,,nc oli ... , The animat'" must incorporate into his wt>r\ so",e ~ the power and arhstry of men like Honore Oaumicr, As Daumicr himself ,aid. "[f my drawing doc, ~ convey anything tQ you. i! mU.<1 be Il.ad. and no caption can re!ncdy that, If the drawin)' i. g,,,,,l )"00 1IiI be able to undersland it. >~ There w~s hardly" ~ m",. mood. or human rela!ionship lha! D,umicr did , illustmtc . Animation was beginning to mcan ",mcthing dif ferent to each of u. and every""" was ,urprl""d aI tll i ~finiti()n 0"" employee found in the dkti,mary , "~1oiI people !hink!he word 'anima!iQn' n","ns he ,aid .. 'but it d"e~nt . 11 comes from '3"im11,'" 1Q

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'lift or lu live : Making il n1<)\'c is nm ~nima tiorl, m..1 juSt lhe mechanics of it. " , I. thr wi)' pictures there ""ele indeed glin'p~~ uf . . "lift:' but .i~ 00 animator reilly kne"'.. then . ..Utile NoJ do"", ;1 was im~,ible for it 10 be .uOntd a >t1ies of draw ings . In 19)4. Tit.. F"i~1 MUlOl', with iu pathos, turned tIM: comtr_ lhm any Oilier tarly film _ fmm Mock gags Ie'> ~I ():'l I'"""nality. ~nd it Wa, immedialely appM' nt!hat this <;Q.nmunic3ttd /)enef with tIM: audience . lMf. die ~~ ani_ion <In Fig~ro in Pitlorrltio, the ~, lnI.I the liule ugly duckling "..,0: all uelting 111!11~ in this ncwdevdOpmC nl Pcnp~ ~ponded 10 thHt dwactfTS through tlM:ir fcclings-w",ething ntcly Khieved in a eanoon before . ~ (OI\Cc [Il of instilling life in canoon figures ~ the rukof the animatOl' from a kind of c['('ator ,."'ISII back and ",'atched in a detached WI) a~ he ['lilt IlilHlIlrlK1ef thO)lJgh 3mu,ing anlies 10 someone who. __ found himself living ins Hk that linie person on bildnt.,ioi 00anI, Jf it was a tcrrirocd Pinocchin locked ilStromboli', <.ge or. ,hy Bambi at his r,~t mcctins Wh F,Ii"". 110<: anirnat(ll' had to live every minute of il it....,..1d not be in his dra"ings . _

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And.e ... W)'eth had compar~ble flings about a painting he was working on and c~pr..scd them beall' tifull)' in these ...ord~: .. Alld then fin;.lIy when you g<:t f.,. cOOIIgh along in a .hing. you feel as IlIoogb you'll: loving. there-IIOI ju.1 worting at I painting. but actll ~lIy ... orking in th~' v::ollC'y . ~'",,'Il: lhell:." This is pos.s,bly what savC'd the anirrnttcd c~rtoon!
of a sce"" bc.:~me diff"rent. II ..... as demaloded from tIM: .IIOf)' depanment. planning that ... <>old invoh'c showing a widC' rangC' of c~ions through the f,""lings of the dla",cleJ5 . S'Of)",.,n now had to think lip sil~iQns .hat wouk] drnw an ~udicncc into .he pictu. e. situa tions that r~qui['('d a"'ing that dC'riv<"<l humor from the charact~rs rather than ju,t gags . And if Ihere ""a~ a gag. il ,,"'ould now be a real pet><>nality that ",.. panic. ipa.;ng;n i. ""her than a ~Iock canoon charactn'. Truly 1M age of .he animalor arri v<"<l wilh ,t.< first crude e'ide......, of lifo' 'n lhe singl~ dno"'inll , The arrival of the latest test liInl " '1. ti1c high poont of tIM: day for animalorS. Son~ wag likened il tn I matemit)' hospital when the blobi". a..., brought 10 their mo!hcr~ . But thell: was Ml much discussion hefO['(' I seenoe ""a~ done ~nd such high intercM in " 'hat new

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experiments might be in each other'~ scenes. that we could hm!ly wait to see the film of what had been tried. llte hall' echoed wilh the danering of film in the Moviolas and, ,oon after. the sound of feet running lhrough the halls. "Hey. have you ""en Lundy '~ te'!" 1l'1I kill ya!" One day Boo Carlson was trying to COmplele a SCene Qfhis own while thi, aclivity waS going on outside hi, door. One I'QOnl in panicular down the hall had attracted quite a crowd. as lhe film was repeated over and over, A film could be run through lhe Moviola as many limes as yoo wished without stopping. because it was always faslened togelher in one conlinuoos loop. Often. if il was a IQng scene. SQme of lhe film woold drag QII lbe noor as il made ii' round trip thmugh Ihe machine. As Boo lislened he could hear the pa11em of hushed expeeuncy, the clal1er Qf Ihe film. the explQ,iQn Qf hilarity. the bun Qf VQices discussing. CQngratulating. suggesting- then the hush as the action came amund again . Finally Boo's curiQ,ity g<ll the beSI Qf him and he had IQ gQ down tQ the mom and see what was on lhe film . The room WaS packed and it waS hm! tQ crowd in where he coold gel a view of the MoviQla screen . JUSt as he g<ll a dear view hel ....een One fel low" ear ~ad an<llher', shin collar. the f,lm ripped, lltere was a groan of disappointment. and all eyes angrily followed tbe limp film down from the Movio la. acros, lhe floor. belween alilhe feel. and over to one big shoe Ihat had stepped squarely on lhe filmBoo' s! Wall liked IQ have people arouad him who CQuid make Ihings. build Ihings. Create with lools, If he had an idea for a be11er use of SOme space in the building. he wanled to be able 10 call a capable man immediately and JSk him. "Can't we do something here to move Ihis OUt and get a thing here? . . . " Or if he wanted the c",""ra 10 operale in a differenl way .. 'Can'l we PUt somelhing on here Ihal will make this thing go arouad Ihis way and ... ," His respeel for lhe men who had lhe"" skins was .hown by lhe facllhat while everyone else in the studio was On a firstname ba,is. the carpenter wbo waS relained full-time was always '"Mr. Rogers. ""The {)Illy Olher man to have Ihi s mark of respect was Mr . Keener. who was the paymaster. Tbe mher craftsman who could do a lillie of everything was Jim Verily, but he did nOl quile merit the

addition of 'Mr. In his name. Slili. he deserved 100 much respect 10 be called simply. "Jim."' so some-how a compromise was reached whereby hi, name was run logether like one word : "Jimvcrity," In Ihe lale Ihinie., speciali,ts in <>Iher field, were being added to Ihe 'Iaff. mechanics and engi",",,", whose salaries eoold not be assigned 10 any >peciflC job. Walt did nol know where he wa, going 10 use Ihese men---some expens from machine ,hop!; . 0111< .. graduates from Cahech-bul he knew he could IlOl pursue his dreams wilboul lMm . When he wundered. "Can'l we find a way 10. 7" hewantedamanal his elbow who could say. "Well, lei me wor!< Q[I it." Eventually Ihe ,tudio had eighteen highly ,killed engine<:rs. headed by Bill Garil y.~ designing. build ing. crealing. experimenting. extending Ihe capabili ties of the animated cmoon to reach"",w heights. ne ... achievements . Walt personally direcled lheir efforts and chose the areas for experimentation. but someone else had 10 find lhe category Qn the production cl\3lt where Iheir talents and salaries seemed to fit. In 1935. mosl of the country was still wallowing in lhe Depression. and few companies were hiring. so. j oo was a very precious thing, Where once Wall ~ w<:>Tried Ihal he was getting into lhe busincss too late. aclually it seemed Ihal lhe liming was perfecl for him, and he was able 10 pick and choose from 1M c reali"" talent of that period . BUI there were lensioQ' and anx ielies for II>o!;e seeking the jobs. since COmpetilion was very keen at>d only the mo,t outstanding were hired . All manner of hardships were endured to gel aad keep ajob ~ of lhe uncenainty of the times is reflected in lhe recollec tions of Betly Ann Guemher about lhe apprehension Ihat characlerized Il)'OOtS in the inking depanmem: '"Every Friday was Elimination Day . aad we all sllool:. in our bo<I1s. for fear we would be lei gQ, Everyone was so scared and w<:>Tried they could hardly relax enough 10 do lheir work . " Ann Lloyd added. "'1(". a wonder we learned 10 ink. we were SO nervous. and it really takes a loose arm and relaxation to get this technique, and we ,,"'ere I1Crv' ous wreds all the time. lltey needed lhe jobs desper. ately. but il was more lhan Ihat ; it waS the innocence of Ihal period. young people hoping lhey wQUld be good enough and that lhey would be liked.

On Friday" tlleir ranks werC thinned dawn, Th.re

wtrt many"''''' aoo hysteric!_ Butthme who survived

h.d real dedic,Uion and Ihe sen$e of accomplishment diat "wid ~'O w;lh w.:alhering , ueh an ordeal. The sgptrvi><>r> .Iil\ ruled them with a I1rm hand even after thoy "'ere taken Dll. being . Iem and demanding in thoircrilicilm .nd e,ening extreme p",,,urc on every<me 10 00 it fastcr and belief, "[ WIll: heR righl "Ill of high ,;chllol. ,. "y' Kalhe"*, Kerwin. "arn.l in til<"" <lay, you worked", clsc . NobOO), had cars il was really difficult ." Many (I[ t~ young people traveled a, much .,; Iwo hour., liII'h wa)' hy 00, ,,,,1 sl1"Colear 10 gel 10 work, and Ihey
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on Sn.)W Whil~. Katherine "'"' .,ked 10 wllrk all night lin <xca,;on" and

she "ill ,hr was plea>ed Ihal s<'rneon~ would ask her '"The pwple werc all so young and had SO mue'l! cncrIY. alld ",hal lhey could give, they gave it, " The girl.,
1Jx)' lowd

wtIt.1I )!Cr In learn and wcnt III night d""ses, lou to ~n t<) Ihe Il><:atcr when II><: picture, came OUI an<incitcdly pick out the scene, they had inked or pilnled_
"It "as ~I"'ays" lhrill when W~II came by." Ann Uo)'d ~y! _ "He didn't con", uften. but tic always

tinll'i""Il'td .1 f:hri'tma' wilh allthc,;c gifts, He fell the ~irl, h:lIi hr"n w"rbng "or)' hard w he bro-ught a ~ltm f()f eac'h of u~," And one Chri.\lmas wtlcn then: ~.~, '~l work he gave lh" girls a week's vacalion iIIsle..J of loying them off. "Walt wa, ,hy and uncom-

fonaN. arn"oo

~i'ls, "

Katherine adds affectionalcty.

"so the)' didn't ,<ee Ihat much of him, but ttlc)" loved him,.oo I-.. appr",'ialed how Ihey helped him .. With", much intensily in ~ir, and Wal l', managin~ ne'ythin~, and tho.: 'latI ",,iog th. thous,md m.,k, lhere "'<TC Ihe lIlcvimblc inequ ilie_ and ,omc dislnmtlcd cmpi<,y""" Mainly, 1,,"-, pruhlem Cam" from .. in<i;,Kiua!', feeling len out "r p",s.cd OVN . This pxI",:o". killd of bmc"",,, and a ,uilen allitu&', hut the rtally cxplmi\'c re~clions c~me onJ)" ~s the re,uil <ion looi"KI".I' , wnrk tJeing Cut oul of a pic'lure, Tho mol :lnimating i, vel)', very (liffi(uit: fiN. becoming romrnil1td to yO"' ""y "r doing Ihe S\; ene ; then. "nCe rommill,d. ,[wnbiniog all Itic elelf'lC01 , that give il life-lho <lra"clOg, ""ling. '!aging. timing-wh ile heing !i11: Ihat it oli .dd, ur 1<1 enICr\,,,nment rut ",",c"llC be,i"'.,oorsclf. Th,s may la};e days or e,-en weeks of

tm:

strenuO\!< cfl<>rt_ And when yOll finally have it on raper, you have sialed , jusl as dearly a.' if il were written. your mller Ie..ling, ahout how thi, thing <hould he done Then to have your own personal <tatcn!t.'!I1 e'hallcngcd "r ~ritkilcd or ~Ol f"-''''' ()\C riclore- r,,, ",hate\'~r reas,, ~i. a 'taggering as.",ult ,m the ego . At time, it WaS lerrihly hard to de~1 wilh Wal!" e~,"'!ing <!em.nds . and "ftcn a proud young arfiSi found

himsdf becomi", bel[i~nl o\"c. some faull found in his woot. 11 was not al ...-ays criticism either. 5OI1\Climes il was just the lac k of. compliment that hurt the most. n.e majority of us had become accUllomed to havinl our work criticized, but we had ""vcr been in, situation whell: we ~artd so much. Love and hate are closely allied. You hate only if you are dccplyinvolvcd in some thi ng. Valatile stOl)'man Bill Peel ooce became so angry ""n Wah's criticism !hal he !Mew ink ,II over his wall , flc, the Slory merlinl was over-and left;t lhell: in defiance. Walt prelended 001 to OOI ice for a lonl time: then. one day. when thinls were calm. he turned 10 8 ill and u.id. "Whallhe heWs all thal ~u fl'?"" and loki him 1 "clean up ,. his room . Wah underslood the 0 intensily o f comm;t,""nl lhal Sill and lhe Il:St of u~ had for the work. and he nc,'er wasted an opportunity to take advantage of this commitment. In an early SCrttninl of Snow Whirt someone had "'rinen 00 an unsilJlCd questionnaire the SW1ling IUClion, "Slic k to SI"-,tU," little knowi nl at lhe lime that he had touchet! Walt in a mosl sensilive spot. That ",mark wouLd lLaunl uS for the "",xl three decades. It indicaled to W,II Ihal lhe", was a rotten apple in lhe

botml. and sin no OI>C k"",w who il was he upon this incidenl as a pc~nt device 1 keep 0 the defensive . Through the years. lhe lerm .. Shorts" became synonymous wilh you well: tryinl lO ""I[ an idea thaI did I[ ""er in a mIinl. wddcnly there wouLd be " Ah iraaa!" and Wah's finler " 'QUid come out toward you: in a triumphant voice he "YQII muSI be the IUY who JIIid 'Stick 1 0 And for thai day you ..tr" the IUY. and everyone would keep look'ng at yOli and wondering . The til possible. SonIC of lhe men insisled they real culpril w.s and thoughtlhal Wah knew , I if he dod. he was \00 smart 10 k:t on. and he relented in his Inlinu;nl search. Walt fe lt Ihat every idea had been thought of. PI and even evcry ~ory-lhe key was how,.. lhe material 1 upress your o ...n worit . So he 0 never con<;emed about .... here: an idea ea_ f........ day he slopped, young artist in the hall and nlented him on his drawings of Pil1OC<:hio~o When tb: animator slancd 10 say th~1 he was just IryinllO 0 like the ()(OO fellows did. Wall interrupted 1 say.

.;""1

"1

ro",,;.\

,,', JM' damn

iI."
Walt

...heTl: you gel il . JUSI keep doing

mate best use of ...'hal talenu hi. ~ had. <>tr.oiously. not e""f)'QIIC caml . As Mill Schaffn A)'S. "Then: ...en: all varieties. some -.: worldly wise than OIlIers. some cynical. some .... ~"'(1$. " The practical-minded adopted tile view tbat it "'as just I job. Walt was conlinually searching Ie. rrftnli~.$10 ,elthis group moTl: involved. 10 gel 11K lllUimum effon from everyone . He hOld used the boMIIl)'UCm of balancing salary against fOOlagto OUI1*1$ early lIS 1933. and . in spile o f Tl:pt:ated failllres. 10 belie,~ thaI it held the .,'s"'-er. Blltllle ~ had III ;nIle",nt ...." akness: the largest "''''ards _ 10 the swiflest ratller than to tile beSI. C.nain . . tOOk w:ry pragmalic view of Ihis opportuni ty .t spenl mosl of tlleir time looking for shoncuts. ofI!II ,i"in, thei, kuer-paid assistants much of tile
10

tntd

"oonI,,,.aed

wen 10 do.
idl the burden of responsibility for qulity to 11K COIIIcitlllious animators who fell lhat tile picru", ca. fll$l. They rould 001 stand by and ....atch inferior qtIIIity nul. ;1If'OIIds: so they look time from IlIei,
CIII1I ..'('Irk to do whatever was necessary throughout
~

the pklure to plItch up. Il:plIir. or Te-JIIimale work that lacked tile illusion of life . In the long run. this ruined their _ 'n Ippcannce on the " limo: chans . and with i, a chall(" for any .iuble bonus . The bonUll s)'SIcm did 001 produce betlCT pictuTl:s---OI" e""n load ones. nw n:gulations do. Efficiency is beller built through dedication ratlle, Ihan speed for ilS own :;.ale. Surprisingly onen. confusion armc from not knowing ...hat was Upccled of you . It wa~ even hard to find out ""hom 10 u k. and Ihis caused u~ru.inty and crealed uneasiness aboul one' s posilion . Thcn: ""en: simply too many people alier a while 10 notify about """,,1hing. An~ j,c,ty over Ihis lack of rommunication scnt many people scrambling around looking forWll)'S to prott themse lvcs--to.hoTl: up thlli, jobs. To do thi s. some began fonning walls of people around them . scc'~larie$ and assistants 0' wlul1eve, . l1Icse "EmpiTl: Builders." as Parkinson might have called !bern. "wanled!() mull iply subordinates. not rivals ."" HOYoever. if anyone started taking himsel f too seriously. he was ccnain to become I w,el IOOIItT or I.t.r. One new employtt in man.gc~nt was quilC officious and lried 10 rcorgani2e lhe workings of me studio overnight wilh a flood of memos and orders. aU

intillWing thatlhey were Walt '~ wishes . He " 'as vcry bu~y and very 'luffy a nd ~ry gullible. One day as ' tOl")'men Ted &~ and Webb Smith g<J( in t~ eleva tor lhey we", joined by lhis buslling young ncculive. Cl$Ually a convcf$ltion .~lartcd as Ted asked, "Hey, Webb, bttn meaning.o ask you-did Wah send you YOUI e levator pa5 ~?" Webb, kind of mumbling. "My elevator pass- Iets.w.c .. . " feeling alOunrl in his pockets. "]l"s he", somewhere . ,. Tl><ir companion wU drinking it all in . llley could sec: he had .alten tho: bail already. Webb COO!inued as ho: gut off tho: e levalot" , "Yeith. il came yesterday; maybe the day before." The indignant executive m~de a beeline for Wah' s :;e(I\.'1M)', " ~ 's my elevator pas..1 How come you didn 't send me one ?" What could \1>< 1'eCretlry $;Iy? She did not know whal he was lalking about. And neither diu Walt' We gradually developed so many separate units of diror;l(n and layou. pc""",nel on the fealUres and shon.. JIfUIlrams and trans ilion sequences and spttial cffts seqUCntts lhal lhere wlt.> a conSlanl traffIC jam on lhe rt'Ctm!ing slage. in inkers. in came ra. and even in inbetwcoening . Some way had.O he found I<) sehedule and ~impl i fy SO that tho: bc>.t usc could be made of all the facilities. 11 wu in thi. almosphere. wilh so many people around. th~l the Unit Manager was born. lbese men started nch day wilh a meeting in whiek they pw,ented the work schedule of !hei. individual uniu and !be pro;cc,ied nee<Is in.1I ",Iated depan~ts . n.en a lillie chart was made up sa ying that Wilfred J:>ekwn '. unit cou ld record from 10:00 to 11 :00 Tues day , have two extra Layout men for fi ve days on WC(!nesday, and gel .op priority in camer.l for two wu starting a week from Friday . Jack King'. unit would ron! from 11 :00 10 2:00. giY up hi s two e 11)'001 men on Wwnesday , wait .o shout his tests for tWO wcoeks--and so it went, until each depanmcni was a'O\Intro for. As work loads ~ifted, Of SC<l""nce

fai ltd to gel apptoV".oI. o r Walt cha nlled his mind. e,e,}thinll WU adj usted in the morning m"eting. Supposedly, each unit manager W<1S ",spon~iblc 10 hi$ unit dirc.: tor, who to ld him each dd)' 0,1("11." ",.r..c he needed and " 'hen he had to have il . But often tho unit" S rqMe,;entali"e " ..... ld return to hi~ home ba!.t 10 report that they could not h~\"e any of t~ things th. director wanted . After hearins his job rctkfil1l.'<I by lilt irdie direclor. lho: unil n",nascr w"uld lhen <"Un" 00... the i tairs 10 "ent his pent up flinp o n propIc ..... could not fiSht back. The normal procetlUfC would bo: to come o",",r to lhe an ist'. lIc:,k, W;tIM t ~ cllr(1)' ... gm: ting. cllo:.:k the numt>cr of the drawing I)n his board and malch i. I<) tho: nposulll slM.-el ,,i.h an in,inllllinl mumble: Itmm_mm. " 'f'", st ill on this p:ut. di! Didn' l get ,,"tT onto \),., ,;erond page li~ c w~ lhought. did we? C~n we count on Ihi s scenc by 4 :00 I)'dod thh afternoon'l We're up nc~t in In k ~nd Pai1l1, yo. know. " All in all. tl>< unit manaj:crs slowed lho: wor\<oo..... yet on papcr lhey I""kcd like the perfect ~Iuti"" 10 oor ,'hautk cnn;s-pu'J'O!".'" It ""as inlc"" ing to diJ. cO\'er lhat when the .tudio cut oor pl!"TsnnlloCl in t..(and thi. typo: 1)( job was II<) longer ~ ..... ry). ",., ..iI turned out as much work . Another Parkinst'" law 0JIt firm, thi, point: The fact is Ihal the numl""r of offl<iats and . he '1Ut/mif)' of the work ..... noI relaled 10 cd! other at all . All throu llh the thin in and fortin. Wah wa, boins' ing in one group of effl<icncy c~pI!"rtS aller another ill an .uempl to find '''~ way 10 ron the studio moll efflCicnlly . He knew t ~.c was a better way than tbt CUrren! one, but he ne~r seemed 10 ~ali1e that hi! own flow of ide ... foredolJl1Icol ueh pl an 10 failun: before it had hegun. An organi1.a tion~1 plan presupposes that all emplO)'ttS will st~y in .heir o .... n >pOlS doing j o.q what they :are SII~d to do in li1r ..... y 1hIt has been ... Ited for them to do it Thi~ "'as uttn11

Mrri~

10 WIII 'S IJIIlnl'ICh II, an).h,ng ~nd c~pn:ially

io_~

""r'i'ti of his mcn . ' !ikon! ,hem 1 00 0

IIIiop w .....,dy ne .. day afl.:r day. Wall 1It\'f!' ~ tickling Ihc Mi ff arou' 'heir dfxirlcy and hel .. much "" ork ,hey wc.e !Urnin, 001, Mill KaIIloclll !he s'<JrY abou' Wah brinGing a group ohi$ilon into his room and sayil\~ .. , All ri~h._,oow '.., why i. I.kt' so long .. ro. erd rA'~ phen\1fnenal gmwlh ..r ~nimati"n can lit IiIU<j W III< ron"""l auempl 10 eSI~hlish I.ald rI QrIk. r, .. ,..., ",,11.111" 'ion of lhe piCIU<C5. Th is

"l!""
the

abk---i:ven lhough we W<",~ all Y~ry diffo:n:nt. Fur .he ;tnimalon; " '00 "''tre nlOtlt t'>HICC",ed wilh drawing u, lC.-t",i'!.... or visual dfts. ,h".....t..d OUt "''til (nougb .ince they had linle inlnn! ,n story Of clulrncter delineation. figuring IIw Wall the job 0( :spnt one c1.e . 8m r", many o( us. 'hi~ 'lopped the (Url"", ~ve loprncnl or char-4Cler animation . With Ihi~ pieceltlCal c~tin8. lhere ",'as no way '0 .u"ni" a cha,octe, '" e,'~n IU kouw {he preeitot' way he should 1"'"0'111. We " 'oooetcd hov.' Walt would interpre' our toC<:1Ie, II",, ""IUk! ..... Stt it? Would he go for lho: p;t,hoo <II " 'hy the !il:cnc

1raacJn ..... ~ f'C'P1e~in!! chain of co'mnand for

- . -...ih
~ 10
Sltprrv~.

W~I' a1

,he '''P. Thou,h his idea. " 'ere

-r down to us lhfOl'gh lho: Pfodu" I;"" lhe SUI-.:rvising Director. and f,nally .he Sequeno:c f)irI<)r. the}' never Quile did. and il was impg!sibk for ~ny of u, Iu knnw whal W.I, rcall}' h"" iI ~ ""~I\ool. >rtin~ .00 hearing h" .dc ~~ f,n;lh~oo, " I dido', ..... 111 Walt "',jng an ),hin!: abou. th~ re,{ of
- . "kmo>;c he

,he hU1l1OI" he/('! BUI there "'as no w~y '" find ""I ewn w"" in ,he Pk1u/( , 'I'hol SfIIld ide~ lhat w~s ,uppbed '0 . implify prucedu"" an<l n1:lkc i' ~35 ie, (']I' ""I'h I"'r....,,' 10 do his "",n ,job wilh a minimum

din.:elor .. a:< delivcr lho: itloca o( In" sct!IC l011le animator and Ihat Walt w~> '\I hc ,hieklcd frMt .,ll'-"Iihlc oIi 'lr"~Iiu",. When ~ GllCs,inn.d a p,ece of busi,,,,,. in {he 1IIQUI'tX't'. lilt d,!'1Or laid il .... a. the .... ay 1M." hod Uodtd ~ to him . and ...~ "'e", nu' '\UPf'O$~d 10 ....orry ... ~ , TM,' h ie .. """. i, all ..-orkw. and Ihis h (ho: ~"y" .. ~m,'d 11 . To Ihis day. Yo'/! ,..,11 are nm Su,e no~' _.n ..,c know is that ",,/! "''tre no! ~mon~ WtI, l""alin~ U' in this "'anOCr w~ , a ".,Wl"" dc"im.., m<)I.t "r.1I h<.",~u", v~t)' few l"'''rk "ould inler prtI Wall for anyone else So .he hando .. ," WctC ,:arri.'<! OK! on l inoJ ...... "-'!",bly Ii....: bas;.: "M anima'Of ~ poet up thT 0' ('lOll scene, thai .. ..,'" ",;001\'. IIdthen ........, the ""'.<1 man mn oul of "'Ofk 1M: " 'ould pirt lip tile nt.'1 ,11m: 'TIC$. W( ....'C3nl<' in1crch:tn!!"-

"* job rA {IK-

lite """'." In\'e 1I:uod. ,hen l'rod"", ion Supe",i",... w,"" , . , "cry valuable in the ilk. ~ .. It ..... tho: lhinking of ,he 'ime ' hal lhe ~

'0

of distra.:tion had <kvd"l"'d into" ",sllkliYe ",paralion of ,he 1,1cnlS. We were fasl ""'ing lhe: .Iimulatioo lhal hJd come f"nn the team effon , In W/lUbi. ot her pha~ of tho: business cominuN '0 flourish and Srow in impurtan.:~ . 'The ~"'pIoaM' was Ill".' On t .... ne'" ~k:nlCnL': dfn:ts. ,,"-"JIJ, ...... "'. ",,')'. !<lyle; and. e"en ,hnu~h Walt lkmanUed as much frum lIis .ni""'l''''''. ~llil1l;1[i.m was 1M) longer "",.idtTtd I lruntic r, As Hill 'J'ytla ., aid. we c(lUld make a com

",onpl:>ee

s"e'\~ inreresting: we h~d I'fi'~cd wc were

prufc..i"nals .

Few "'ere .",arc or the polenli., f, .. beller (Illf!" ,ainme"I Ih~1 ...'a. bei,,!! klsl {If {ho: "'~y in ",'hich Ihc>e dn:isiollJ ""rre endm!! ~ ~/(ss "f lho lit 01 :an;om-' ion . Ken 1\.1~'11<tm! ' ",ho did Set lhe \bnger ..;d. " llIe tr~~y was tn..t anim~ti"n .....IS 1\01 really fero!:nized fl)l' wh;tC i! wa,;.--!he h~"rt I)f lhe busines.,." 'The .hif, h:\d wm( jU~I a, we "'ere t>cginning I" realize
how mu,:h <'uuld be dooc with Ihi, ""'~," nf c~prc< sion. thi . ~ fnon Iha{ w~s so fulfilling aoo rewarding.

done and """'" di ...."'cnn wcre still beill!! made. hilI lho:y ~ndcd 10 be in ,he area~ of n:finemem MI'he.- , nan in hold """ of

E~cell(n' animalion .... a' 'Iill bein~

~~ ,~
" ~

\\

~
"

:r.~

,,,\ "

'

"

lJ

~d

'\

;~ ," , l\J
';~ .

/l

"'

fj

, ,

tLi
~
~

~
,

.--, -'

rbe nledium . lltcn:: waS link: inclination 10 c.perinlen! . We thought of safe W~)'. 10 do the scenc~ ralher than
exci ting ones .

Th b had
effon
10

no!

come

~boUI

through any consdous

OJ

do"'ngrade the ani mator

~lCn;on.

10 lim;, his influ-

ence. T"

rhe uplaO:Olion "'<IS simple: "T...v

f""lors !eroded 10 bring about the: isolation o f the animalOr . One was the cQlnplcxiry of rhe animation pro_

d"",;on which led to business of speciali.' ls lin e",aling new visual images on the .<creen j. ~nd the <>1M' was that the studio was upanding .0 bse. "
By 19)9 this upans iQn had forced !oOfl1e unilS 10 ",ut miles in buildings thai could be ltaw:d in Hollywood. The ,",'hole fiu",bi unit "~'as in 3 complex 1rn.1 un: had hou>C<:l 31101111:. canoon studio: ~ group worked in office space above the Ontra Cafeteria near Iloll ywood and Vi ne . AI a lime when we nccdtd the stimulation o f our friends. " 'C '""e", fan ller apoln .

''''.Y

l1Ie mo,.ing o(lhe.., unilS to Ulhrr quane .. did noIhing to rd ieve tile congestion in the main buildin~ wllert all of us were squashed togcth<!r wor", than ever . Arw.I ha"ing so many separ.te units wor~ing so far -pan s trctch<!d tho: production pnxedures La tho: Sn.:l~ point . The pnrocipk of "'Iua.h and Sln:1eh II'I;aI I'IId built tho: Studio " 'u beginning to 113,'c a !lewmc:aninl. aut ,;oon woold leave tile jumble of bu ildings"" Hyperion A venue. so full of memories. SUI.'l:CSSCS. (ail ure . di.\cuverie_,_ We were se ntimenlally att~lled 10 those MNCtures that contained SO much magic . 1!It roomS thaI had secn 50 nuny ilk", Iknlop. tile build inp where so many o f u. 10010: our first eager ~ep.. Still. we " e.e anxious to be rid of tile annoyaoc and e xcited about all being t>;.ck Ingelller 3gl1in Undc:1 one roof, In 19J9 the move began 1 the glorious new 0 sludio 0 011 in Bu.ban\; . There. Ille explosion that I'IId begun on lIypt'OOn would be conlairoe<'

"'e

Al -"IIIfIIIIx, .( r".,</"' .... ' '''''M. ..d. W"'llwol k .. , Iiat '" oW ,.,..",.,,1 n.""~ "h,,, h,,,1 M II! IN J~;,Lm('r (lnil .\Iim"I",,,,,, "I Jot" ,'r"",, I"W/IIIrl /iiI /lnw ...,,~ (',,,,,-.,,,,,,~, ..t '''' 'WI\' ;oIeo,l.

""r" ," "",,,.,..

}101JTS ,,{ ",,,.~,,ij)a,,' l",iMi,,~ /" .,.,....... ,!h.1t/ ( lit;' U,' 'h~ St"'1l ''I'l'0l>.1,,,, 1""11' ,,,-oblml$.

IN"''' pi<'"T~. "" ("lr,1 ill""',,';.m. ,,,,,I,,/,,,,,,jllx.I;" "

IN [oIwt . 1'1>,. ,m '/"'. """ /""II~"'n ,.,"',.-."'./ /IJ <I m

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TI,,'" I' U ~ """ "hy. btl! ''' .... n. ). ,\1><"'1 the J>i~!Ur~' Ihal !hcy ,tt.:h, I'll ~V~ up''''' what', JI,'i,,~ "" .
,\tI<I j;'.' il '!r:t.l)!hl I"",, Wa h

roul",,,

.. /todI "'...,.' f'1',,J,...,,f>tU . 1000000'f""""J: 1m- _"",,1,11;"( .~iii<,., . M II '/11, " ,,h . . . . /1<"1 ..... ,,1(1.:_ .K _.- .II"''' .... , " r """""/<"'$ <tm _ ' ,.-"i"1/ n 'rn-lltilllt s,.."",II"",.t. if ,,/ .. /I . F."", 1'1."",,,, "",I .\I, /1 K ttl!! 'I ""',1 /II i'"I""'" ,,' " iIuorlfl ..." h I,,!(,m, " ()/o. MrI,i'- 'l'i~, ., Illw 1i'i,'".!I, ' hr-' i>c, /ow,',1 "H ,1111/ 1',(If,I ,",Iirl' l)o" "" .,~ 'if hi, t1fl..'rn r f'<"~"''''''\'I, . 'If I ,iH:N,loI rlir , "I~i' ,r ., . S NIIo" ,I. MII"",S;' I" It! 0/,'141. I' I/I'm' ..luI/'. ... 1M. ~-.c /Itt,,. """,",'Ih ,;'r j/ut .... .. 'I'n.'if'" ,,,,,,,,,'Q,..'/'I ......W "" 'OIl ,or"". MriJ .'/11 , ..., .... ",,,I ,,,,I,~/\. ,,'WI vlh' m",''''/ I,) ,1" _ """", i~ H",,,,.,,j_ 11<",,,. ,hr "1",, II""',;ng' IW'I' ... /ril,~ ,iIt' i"""'b." ,'.. /m' III ,,"~ 'f ,"'" irl",", ....1 ' ".;n,it .. ".,,'" ,,,1/,,,/ .Ie/I ",III .It"., J." ,,,,1, ,1" ..-...J bd~~ ,/i,o m"rr' i"'I~"'''''' ',....~I"'" 1/ " .", ri~lil ""'.' Wall"1ft,.,. XIhI' ''''.1'1' ,,"s "''''r r/~", (I dtwtI tit ""I""',"i,,~ ,IK .,,,i,,,,,,,,,,, frQm ,I". 1",,,...1. t4< of d." 11'.. /, "-,,, .._,pn li" ~ "" 1' 1\,,,

,,,,,I

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"'h.,., "lami", ",,' .

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s,~

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y .... ~ ...... "lor... 1.., r ..,t..........

I J on ' l " ...,," 1... " ...11 .,. lI 's .ItI! li..- ""' .

y ..... I h ~r I''''r~'' 1.:I"'n. 1-00" "Ik'"

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n,,....

,,,'I

w,,~ '''''';''.~ I~Ilml",i,.... 0,,,. ,'1l"'/'< ''''/'''''{'''' .,/o,~>J.: hi, /""", "",! ", M,..I" ~,,, ....III" ..,. hl. "1(1 " tJ{ tJ/tIJ ,/"" , ."" ,'"n', .\111 ' , ~.I <Jf II", ~IIII"" " "

"./,,:"'

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8. Burbank

and The Nine Old Men

Walt [)isney

Thr

isol~ioo

of tile .nimal'" did nO! end wilh the

10 Burbank. b"l it wa' Ihe luming point. Except SIt"'l'in~ iJem"", where color SIyIisl Ey>'ind Earle had" 1.,1 magnificenl ning. (here

_'~

fu: one: final picture,

wm no .pt.i"1 "~W breaklhroughs by any of the SIIflIIOI1in~ fundiOll. . The wJr and economic factors ' hadf",ctd" rutboc k. and the day of th~ ,,,,,"ialis l was (f<tf, Wilh a ,mailer ,lafr. {earn effon was ' t",<sed {o o e\'tll grealer dc~rcc .ml W.II ocgan to rely more IIId IIlOI'I: ()II animation [" carr.,. th~ fohn., Th~ first el'ide~ of (lie animal"'" breaking "ut nf lhe;' ,,,,la_ tion fI',", (he "",alion of the Animal;()n B()ard. which hadbttnc$labli,hed~, early a, 1940 to help with tile
be~

manaftn1enl of the animmion depar1menl. lis memo iid"i ..d on hiring. firing. ""ignrnem5, moves.

proIIIOIions. and Iraining: bul. bit h)' hil. they were what an ~nimator should be and how be shoIlld be " ... d most effectively. The perwnnel of !his board chan~cd ac(ording to the rrohlcm, being <IlII<idortd, bllt by 1950 the board had settled down to
al$o~rrnining

I pm11ancnt SHl"P of oine '''pen'i,iog animato" , ~se key eTC"lo"" h~d an ;mponance beyond their duties on th. hoard and inn"cnced the way pictures tk\'cloped mltlle type of entenaioment that was done, Although toc ,ujX:rvi,ing animal",.,. were ,(il l in their tlIinies. Walt joked about their rc,ponsihitilies and

,',. I t_'

",

.,,"-, , .
"",

'" ~ " ..... \< .......... , ....

., .....,.

......

their wisdom and affectionatd)' r.:krr~d w them iI> .. Nine Old f> kn ... after the nifll.> justices of !he Su Coun, The board ~()nsisted of Les Oar k. Woof Reitnerman , Eric Lan;on. Ward Kimball. Mill l\aU John Loun,OcI)'. Marc Da";s.l and. the author, of . book. Frank Thomas and OUie John.l lon , We nn . tho"ght of oo[Sel"e. as >ome elite group. and tilt lime it even nosscd oor minds waS when Walt mae.: kidding remark about hi~ N in~ Old ~1en I>cing over hill. or gening too <kcrt:pil I.:> work. or losing all old z ip. In later }'ears. after Walt died, the press pick(~ thi, group's colorf,,1 tille and us.:d il as a ~1~nJOr way of lin king Ihe.>e anim:llors " , hi m. The \t publi""s kepi it aliw as s)'mbolk of tilt old gu Ihal had surviwd from Ihe eJrI ,' days of animat but the;r on!)" re<jues" of'" were to po"", fMpietU ' and that happetl<-.j ottly twi~~ in IW"m)' ye:m; .' Under Ihis le:oc.Iership. a new am! wI)' ,ignif" method of casting the animators ,"olved: an anima was to anil1lal~ alilhe ch"ra,tcrs in his ,,'elK', In first featurcs. a different animalor had handle..:!. characler. Umkr thaI ,)" t~tn. ~wn with ~vt'rY""" eraling , the poss ibilities of gelling '":l~ in ""11 ent, ' "'tnt 0111 of a :;Ccfll.> wc r,' ,,'mole at ","SI. Til<' fi"t, 10 animat~ On Ihe scene usually had t~e lea,! ~hat:l(tcr and (he '~ond animator oflCn had 10 animale 10 thing II<' could not f~d or qu ite umlema",l. Of sil)' . tne director was Ihe arbitrator . bUI cenain of deci, ions and compromi se, w~", SU'" to make u.. ' mo re difflcu ll for at least on~ of Ihe anima1ors, The t1<':W casling overrame many problems:md, imponant. produ<','d a major advancement in ~ e ntertain",e nt: lhe dWr(UUf fflulioli shiJ' . Wilh man now animaling ,'wry dlaraCler in hi, """"' . could (,..,1 alJ the ,'itlrati,ms and , ,,bile nua",~s !xl" hi s ,haraclers , No ]O"ilcr "',Ir;eled by whal .0' cis<: did . he w:iS free to try oUl hi. own ;,lea, of hi. chardCl~fS fell aOOuI ca,'h OIrn.'r . Animators 00:' ,,'ore oo",rvant of human hchavi<!l" and built on It !iollships Ihey saw around tll<'m every day . 1lIC Supervi,;ng Animator was given!hc nexibil' . of making changes and impro\'cmcm, afln the , " a5 on Ilis board . Challg~~ tllat co",e after Ihe an; tor has had a chance to li"e w;lh his S<"<,'"" are often ones Ihal ",a~ c chara,tcrs really Come to hfe. W'

IC """".,J "" ,.,.. 1

1oMfST.

Ward Kimball.

Wa,d Kimball s,l,u,m I" hi. prncil "Sf: irnfJgi1Wti,'~ doodl .. don~ during "If Animation BQa,d muting . cit.,:o /957.

,moto of tn~ Njn~ Old M rlf, Front row, Woo/j~ . Ward K jmball. and Joh" Lo~ nJl>rry. Rra'. Milt , . Fr"nk Thoma . E,ir La"on. and Olli, JohnslOn .

K"h1. Marc OOl'i . Fmnlc Tn"",,, . Walt. "lid Wiljrrd JlKbooo Joh,,>to"'s drawi"g durinll tn. ma~ing of" TV .Iw", Beauty.

K,,. Pf'so"",' OO$io""II,. hod to ~ art"" in Sf""",'

,,".'101....,

. . =!~t < ::

iO
)

-I

"~'''An

R1JI\bi

.. ' " 1" ""'as"'nt "

TM. , .'"."" ""drn 'his ' ''''''' mirh' .wlll",," i>ce/! ,

di.-!,I~,II""~un
"It

,,,,im,,,,,,," Un,l", 'hm ,.Id r""<rj,rg '"'""" ~l" il h

H,"" dIJJ~r"

ii' ~I/

d""b'J~1 I/I ill.'p' of "," ,i,,,, r ,,"1,1 "',,"' hHrr Ivaor/(/11 <JjJ"

""",h oClhe ~nct unok. hi s rontrol. the Supe ..... ising Animalor can plan a Il"IOn: effecl ive " 'ay of using lhe animation to put 0"" the Story points. by elu.nging rOOlagc~. >Ilifling scenes. calling for long sho!~. dose ups. expre~sions. aClion s- anyth ing thaI makes a .tmngcr Statement aoo richer c ha.octerization . One of lhe fin;.( example~ of Ihis was the !>Cqucncc oC Ba,nbi and Thumper o n i. TIle conceJll o f an a.1imMOf takin~ an idea like this and de"doping it into a ~uencc ",ally s Jlfllng from the " milking" o f a situation in the earlier , hons to get evcrythinll OOt of it . Nom! Ferguson'. Pluto and tht flypaper aoo Pluto ()II icc were IWO of the Clrlie~t and most outstanding pit:s of entc,uinmcnl built by an anim~ tor . Fr"W Spcnr "'as s~ssful with this t)p" of improvisation 00 00N1d in 1010";"1 f)(ry . But lhe Bambi and Thumper ~uen had something that the Pluto and Donald Stttions did nol have. Th at wa.~ a charactt r rdation_ ship with Strong beginnings in the "tory dcpar1mem. whe", it wu workffi out by a man who had feeling for animalloo . With this U I springboard. the anima tor cont inuocd drveloping this rdationship ..... h k h only could have bttn done by one p"rsotl Iu.OOling both charxtc:n and eompletd y controlling every s inglt bit ofocti()ll. limin~. and cutting . JuSI how much we "'e", reall y aware of the value of this type of casting then is hard 10 ny . ~,"er-al )"Carli later . for " 'hattver ",asons. the mold was fur1he. broken on the thrtt Uncle Remus seclions 0( Solo, of 1M SOI'lh. " 'he,,, all the supe ..... i.i nll animaun handled footage in large blocks. Bill Pect' s s",al Mory ",or\; seemed to lend itsel f to Ihis type of casting. He had de.'elope.:! ente r1aining situation'! wilh

suong character dclineal.ion. :and the dcsign of the dw acters inspired the animators to I!:et J very Ioo6c: .... dling in their ,,'Oft. But Il"IOn: inlponam. aill" s busintM called (or much personal contact bc:t"'"CCn the bo... tbr fox . and the rahbit . Also. his ",Iationships<km:tndnl split_SC<:ond reactions between characters thaI woold have bttn impossible to handle in co-animation . Thi. new ,,-ay of wOOinll with character relot_ ships e~ the ,,'hok nongc of relations bc!II_ t,,"<> or ~ characters-from the broadest to the_ drlicate . It involved ex~sion scene. Ihat often rep. te",d the mos t Sttr<:t thoullht., nnd innel enlOlions 01 the char-deters. " 'hieh as lhey became more subtle 11m also more ",,"ealing_ With moncy in hone. 5Upply. ""C CUt OOt the frill s and put OOr energies to wort ill new direction . doing the most with what ""C had . g. ing up for WMt had bttn l05t in one area by corocGtrating on outstanding characters in entenaining situtions . It W3$ a new dimension in animation and lilt key breakthrough in ",aching lhe audience. Just. as the >nceJll of l ife in. si ngle dr-awing" ' UI 00( bttn recognized as a dominant factor in anillWXll that ~~ to li,"C. cha.-acte. relationship II~ IllI understood as a major contribulion for many ~ars. Th~ G",ssh"l'I~r lind Ih~ A n/S had brief mo""'nt~ 01 exciting ",Iationships. and thi s could e xplain why iI was so successful. Tlte seven dwarfs had slrool ftb. tiom.hips. but thrso: existed Il"IOn: because 0( . tory ~ animalion. "The animators:u that point coold not hart developed this by themselVCl; . Tlte Nine Old Men eventually we", able to do.

because lhey inrorpordted all of thei r "w""~',:~::,~:, (along with what they had learned from tl tors) ;nlO this new way 0( ,,'Ort.ing- nol animatioo . not jU51. good dnw ings that ~,..~.

~ ju.1 <1"".'in~s Ihat weI\' funn)-. btll mm'tJ lhe aud~lII;c . As animalion hls.......... C~I~nc: said. ~I o\ing drn .... inl'. bo...:ame _1J""iII~ ,Jr;r,o. inll' ," ~ fob ... ,,)",1"'-" Nine 01<1 M.n <'olll;nu<'<l " , au~ck .. problo"" ~nd ITlC'CI I)l( moonlinf! challcnllC< in ..... __ I~I leha!>"d . ....-ilh fcar on hi_' fa.c~ , 1<>01< the 1Il1 .ltr ur." lhal "L()Um""I)"~ wol f in Thf S"wd ;. IN SWlI('. with ils bn",<1. ""!Ilk. bul lerrihly rea l ff"lSlr.Uioo. ~nO.J \ ' ill', Shere Kh an. a dC\" ''-'Ial;n~ cari . Cllillt ,II" Ill<" 1.le G,.. ".~~ S~"'k,.,. ~ , ~ ,upcr ,tulf~d. iU! Ii;". "'m: n.mpics of aclin!! 0;- c artoon animal, in die 6O's 1M ~re consi<krably ad"anad from I"" WIo.Xln .,im.al. in anim.uioo, 50-called Golden AJ!C in die JO's ~",I -II)" , .

_.,.lb
~

... ~.

" ilh Ih" atitnI:( ho.1k, Ib;.n II hild hcfu.-c . ~I'KC Ihan "'-Img. IIUR 1IIo.>n ""'~. tl)()fC Ihan ",,"'M IC' hy il..: lf. <omc:-1MI~ bl ~notd Ih~1 wa, all"win~ I"" animalo,... m nprts, 11>..",,,,1,,,,, nM~ r"II ),. fI<llho.: ' ic"e .... ""t i<.:o.1 Ai W;d(', inl~n;'1 (u[(",d to 011"" thing,. Ihe ere"l; \ "

ObI....."}, ~nlfllal io.~1 ".,.,

", ~n",un io...al j,,!!

",

, ,,~,,,

.. f,."" /I"",,,,,

1.1, , 'Un,'" .' 1 1 .11." ",1a<>J

\11

1". 1

;:: ;;;;; - " d , ..,,P _d_ ~' ~

". ~

-'"0"

cn,dI rIf 1M pOclUfC" ""ifled in 11I.\'or nf III(> 3nima(hey could do ";Ih m31~ri:l1 he . . . . . haooe o~a}ed in carher y"~'-Iht:)' mitdc it !IIIC(IJiJlinf juS! Il'IlOIIgh lheir . kiTlful handlin.~ BemloC' (I( thfJt ~ki!!., I"'mmalil)" animati on bcj;an 10 dvrnin ... I"" 110<)' mOleri,1 H(}IWH' . "... ~Iill n~.<.I~d WOIIJ (.IO{ics. and t~S<I' c""ld !Kll han ""en <"Tcalc-J wllloJ"j. .... n "11th a_ K ~n ."ooerwn. Rill Peel. " .. In.... " ~ >lid I)on l)a(ir.KIi "-110 gan" ~uch " blIlancc or '*- ntlllflUl of idcilS ....illt lheir dlff~r~nl PC,""p<-'Cti>l1.I'ictur~ _we pl ~nonl .... ,rot "" i(h p",..,I~ en(cr uilllltnll'(llC'n(r_'-"rit~ in 1""'''n"li r~' .nd charnt ltr -and IIK' .... in (um. oclped the ~nilllltnr c"ntinu"lI) I(l d,.'\'cklp :l("tin~ ~ kill, In hi gl~, "'I'e l" l<litn Culh~n" r-;aiJ tit", cIta,aclc' 'clal,,'n.<hil" !oJ<.! IOIfI;n IX'l1c' OCllc, . . 'I n R{"';~ If<!<.Hi. Ihc rc "'ere 10 ~- vibfali"n' p.l"in~ t>.M,; k ~nd (,mh ....I".o n I'tirIt< MIn. the ,.. in and mangy lI.m nd his taP-."CId ~ .);op/wII. Si, I l i~ . Ihal il a",ounled I" -..!1OIl Sm.QIOUnd. " . And CulhalK" arkIN lit" in a ~I k!1<'f 1 II>< anima lor of Ihe~ .......'ne~: 0
lin. lit

had ~n

"'h~(

Nrrm Wurd Ki""-'ll.

W ....d 1<11." ..

'" Ir;~ ",'f1,t '~II_' ""_""-'. f -" ",I, ,,"" Olli<:.

',i.-li. j ib.

h',

.,1Ii

I " .11)' d~1 ted h)"f>n<>lilcd in my Iheatre >C ~I . In fx( 1fdt lho: "'ay Ihaltllal lon~ a~o r.d ,u produ.:~r ... ,1 !\:r,c fclt ,,1>0 ~udilil'ncd i:.dlar a<::'gen :ond

OwIio:

~t.,:(""hy. and ,,-a~ di~gu>1ed "'n~ Ik'):~n kw IlIlInl'lIngovn h i~ toMS unnl McCmhy ~napped: 'Hm, let me 1Ia\"~ a 1 00).: at tha( ... an.J lhe pm-do, .twusr II\(: <'crill' jmo t~ d""" ny ', inanimale

M<J!'11>c (I,' illl' (lid ~1"n "ilh.. had le~ll\cJ Ibm arl ditr<ll) from lhe 1nr ~nima")f, of n", I~ir'lies or bern 1IT!li'IYl' mlil).'l1I."(\j ~y lheir "<>' k. lA, n ",L hlId S'ar1c-d

-.

"i\h U~ lwerk. ha.-k in 1'l17. and he i tudicd conli,)"011,1)' fro,,, lhen "''- En.." [.arson. W ~fd Kimball , and Milt Kahl had all Ic""",d uoo.:r Ham L.u, k<-: F nl n'l.Ima~ ;",,1 Ollie Johnslon had b.. 'n \Iitb Fn,d M,~...,. ... I>u, !he)' \I'ere .. rungly in flucoc.'d by Ibm omd DiU T)lla. l"hM~' Luunsl:oef}' tr.u".,.J undtf Norm~ . ~1 a/c Va,i. undn Grim N3I,,-k k , 001 bulh "r ""'IIl ~Iud.ed ,I\( ....lrl; of all of the lop ",en , woo! .. Reitherman WIlS 1"'>b.1bl}' inn".'K"n1 ""IR' 1:1)' r-ergy 111M 1111)one ci s.:, White 00 (,,'(} of us were: ~Iike. wc ~(ill had many ""iI' in ~<.>mmOI1, Forcmo:;l """""B 1i1c",' lOb (he""";l"< 10 INI the fi~SI pt>S-<ibl~ ~nte""in"""nl 00 the OCTttn. 1l!<.~ ,,-ere tTWI)' argUrt>l.'"IIl> ""'" d~""",,", """"'& all of II! VII '''TfY co"""inbir is.~ ... . Still. 110 ....1C:r how e~ a~pc'al~d we were OI' ilh it en(crc:d 00. lIlillds 10 question hi~ m"li,'~~_ W~ k""'" Ihal he wanled t~ piclure 10 he juS! 3< 11000 a. .. cdid _ fur "va Iwcnt~'-fi\'C yc.rs Ihi~ remarbbk learn """,l~<.Iloll~l~r . <k.Jicated to Wal! and lito: 'llC'tliulO and its (on,Canl imp"'~"mrnl. T I><n Msrc D~vi~ Wb nlo.)",~<.1 I" Wl'J) . our , iSIC' vrpni zalion. kl put h'5 ~1"'<'i~J :rbilil ""'lo woo-k on lhe ndc~ and ~fOl Disneyland. Wooli., Rcilhennan htg3n diT<"'<'I i"" m ." 1% I Elk La,..,n ."..,/lluall y loot o~CT the ali-imP"'"' (a/ll traming program ((0 in.un: Ihat ocw latcM wookJ reu h ils ror~nti"1 quick!y) _ and in the mid,.o;cvenli<:. both Wan! Kinlball and le i elm. ",(irc:d , (n I Y7S. aU lh". John CIIIk.'r'Il:Ikcr p:lid IribulC 10 !he ~ m.ining fOOl" ;winw.,.,; " r the nnginlill nint . " Thr>Inaf, KIlhl . 'ohl\JtOfl and Loonsbery;lll" tiny bul daz:zling re~' ,'n"'p;!Ily uf 'acton "'il~ a pen<:il!,9 With cadi new film. lhey clwlgc roles. but >Iill ",uin tl>cir

"""k."""'. ""ve,

.,,c'

individual spttialta. their star qu.alita. if you will . " Johnny Lou.nsbery died suddenly in 1916: Milt retired in 1911: and. in January o f 1918, we. Frank and Oll~, len the . nxliu to write this book . A new en. WI.

~ginning jU$! as the one thaI had ~ned nUlly fony-five yean of animation tame 10 an end . Hclt iI I closeT 100/1: " these men in the order of their arri\'lll althe Disney Studios .

Les Clark
When Wa.Lt hired Les Clark in 1921. he said, "Well, )IOU know thi. is only. temponry jOO, Le . I OOn' t kno ........ hats goi ng to happen ." But as Le. said, "So it IlISted fony-eight years!" Les just kept going---.J.nd kept up! As Walt asked for the b,me,. dnwmg and ~atef refinemems lhai left 50 many othen ~hind. Le. wo able 10 -"'pt and continue: in the front ranks of lhe animatOf'S. year .fter ye .... His <inwing. had appeal. were alway, gentle and wann and likeable. and hi. liming was always .sensitive. He quietl y went a/lcad perfecting what he did bcsI. CQIISWIIly aI art class working han110 impl'O\'e ancIlO learn. 'There was moch "millltion for this quiet .
thoughtful nun. who came in with no an backgl'OUlll! yet through lihttr detennination and desiTl: not 0IIIy kept up but helped advance lhe an with his ",fint menu of many fundamentals. Walt was pleased .... ith Les's Mickey in FWll/lSio'l .. Sorttm'l Al'P""ntice" and especially liked his ddicale handlin, of the Sugar Plum Fairies in the " N... crachr SuiIC." Ho.....,vc:r . the laller were not ~ alitie. but more like birds. lei said he had thought d hummingbirds. and this gave them a chann in timilll as ....dl as movement. Les was a Sequence Direclor on Slap'''' BtInItJ. From there Wa.L1 moved him into direction on TV specials and educational films. )l,Ilt as he did in bos animation. 'Le. never settled for anything that WI$II't top quality-his work always had lhal fine fini~h . "" One of his pictures. Tht RtstltSI Sro. was a winnerd many awards . He continued directing I,Ip I,Intil bis retirement in 1976. He died on September II .

1m

u~ Clar~ had a rpffial luli~g lar lll~ I'mi~i ~,

'1"'111"

I~

Miltlti,

M""".

Woolie Reithennan
W!dit

_III( IOOSI physil:i1 of IhI;: group-"'ilh a cuon-

,u1siool1O my young and 10 squeeze in e~erylhi ng loefOft iI is 100 i3te . Ken I't~rwn. who "'..., Woolic's ~s.blanl on the dinD",u'l in f "aMmj(l . ~ay '. "You i:n[)w how Woolic is . .. , lie ', ~onna lick Ihi s if il' ~ the l a~l thing he ~~er iIot~ . The WI)' W,>OIi~ i~. he'U liglll for (n lC1tain -

.....- 1I'''' dIlI ...;n, pnlble" " ~ Md on his Sl uff---OOI lie fi",Ny ~ iI. Sumo: of those p;lIICN. ~..x.o know. 'O'btooy(lU'd f'l In dean them up. \)u,n: wa. pr....1ically noIri", Itf. of \110:," . They were all crumpled like o ld <kill. bilt,........,,;nkk<l and brown "jlh different colom! pencil" :;u!l1in~ "'., ever finishc.J: a. )(}"g a. he couW flip il. Il\t:rc we re going' t<l hc , hang~ s made_" Wool~ " My work II..! vitality ~ 11d .n "I don'l

Ji... ,j;um-Iry
~ (ioo(y

"'y-;.

il !" qu alit}',""

IhIIt Wwlie an;m:>led coonmun",ued wilh Ik 1Udit~ in a "~'ay llIal o nly W.....l..., could have <hit ~-Ihis ..... . new type of ao;o OllI;OO. Hi. timiIa. w,iIIg. lellun:. pacing. ~s,rc 10' d.. <Otl"lh ;n~ diff..... , . .,n,! ~ag ~n~, knowled~c of whcthe r it "'al(nI(minin~ (and tho abi lity to think of "'Ill~ ,hing tilt if ~ was 11(ll), . 11 nmed over inlo hi. di rcoinl\. Emy >101)' p"inl. every scene, 'cry line or dia qwload .... he Ihn..,hed over h~nd~d rime. in lhe Itllth f(lf lhe e<~ncc o f rhe marerial . W""lic 'omuld SlIIhbIImIy . guc hi~ poinl ; then. oft~n rt) enrou",,~ a D/tII' "y ollootin~ al son"" hing '" .., [110l:Il: ,kern. !.. wwld .wileh ru a new position hoping 10 bri ng our tome frnh argum.nt~, Alway, .he search "'ll, f,,, e m.rWnmtnl l n,J .~dic~ commun ieal;!)n , I.il:e Wall . IH: never seemed to run out or energy

atld would s till be going s(rotlll at five o'clock while the n:.t of Us , at in exhausted :od",i..~ti"" . lie was the ooly dit'e('1".. eyer 10 holndk a /Calli"' .1,,,,,, Md perhap. ,,'as lhe only one willi lht: ...~njl.h atld .tImi... l<I kr tnlt.. l of ~lI lhc people ~nd wh;tl tho;y ""'''' ~ and he ab .... to pull all the piCl.'<:s tdJ<'1her in the lise hcetM; mlJnlh~ . Iii., energy w~. l!oundlcs~. A.' 'III<: ~nim;otor 'aid. "He d".... ' n t ~v"n gel jet I~t: ...

Eric Larson
one of lhe fjnc~l uampln of p'''. ~ime t...,r dune the .'IOOio. The xting. lulure in limIng . anct inner feel ing for lh e charal:tcr were ltlI'Iarbble Ihin~" to ""hiew wit~l b.! ncfi r of dia. ' Hi, nyin~ horse. in FmllUliu w'ere gracdul in 1tO\n1t1'll lind coovincing in aclilJfl , He "'fXr.i..:d (he .....ioa ()II lhe "cry difficult " 3g in /1"mbi atld ani&;,:'1 F't pn>
i~

"'''teU trollSt ,,r tho: lik;oblc old 0"'1. 1\..'. 311,.... "r hi' abilitl t" h~ndk "wry ' YI'" of Ihint tllat ~outd t1 y. En.: bcc~I1'" know'n as a bi rd""," He did cY<:rything from ~ jT"'Crc hint' wll<' hclrnJ Cindorella make lIer beu to the 'T~liest of 111<'", ~ II. the Ar:ocuan bini. In the A.nl"u~n . Erk dbpJ~}...'d ~ rcmm.bk f""l ing f,,, an Intagin.1ti,,, C.......c1cr In hasnJ ,WI ;on lIIIIM>-

His quiet. matUft joogmcnl was ~ even when he Will young . Whenever I special committee will being scl~~, it waS always Eric and romcbody dsc . And when. scrious conflicl or disagrcc:menl arose in any large rnccling. il was Eric who scemed 10 be able 10 IOOthe everyone wilh his pow-oil.<),Hroublcd. Wiler 5pCCdI," as Ward Kimb.all c.lke! il . lt was _imes difflCull 10 lift how Eric evt:r got any wOft. done, He: had lhe IIl"gC$I c~w. of any ohhe lOp nw:n, and ~~ wu alw.)'$ someone in his room with. problem. often nothing 10 do wilh produclion . Eric was al ways p,alic:ntly listening . occuion.olly coun scling. but somehow, in spi te of .11 this. he was one: of the besl footage men in the Siudio . When and how he did it no one ever figured out. And 10 lop it all. he w ill able 10 gel rootage (lUI of _ o f his c~w . At this

.-.

pomorphkconcept . And one might add th.t t~ wu in Eric', ~ dignifll outward behav. ior 10 indicue IlIat this 5-I .....'e inooncruity could take
ne~ anythin,

writing , Eric is Rill in clwJe of lhe lraining prog.am f the new talenl coming into animation . Ace has noll dimini$hed his cmp.tthy with you", proplc .

Ward Kimball
Not III niDI: of the $Upetvising .... imatOIS 'Ovt:Te illlCr_ C$kd in personalily animation and c~ ~lltion ships. To Ward Kimball fell the mantle 0( true ic0noclast of the group, He had tried and done successful per$(lnaJity animal ion 011 Jiminy Cricket. but soon found this style too limiting for his JIlInicular talents . He felt the proper use of animation for him lay funller away from livt: lCI1on . His conception and execution of the long song 5CqUI\'no;e in T~ Three C.II~rOI is I classic in the ulllUtnclod use 0( the medium . The was four minutes loog wilh lillie no business, and. after lislenin,1O it for a week , Ward says. " 1 decidW tobe optic.lly literal . What you hear is what you lift . When they !-IY lhey havt: serapes-the SCrllpes appear. And when ~ chll"loClen Went out 011 the righl-they'd rome in 011 the lell : ~y'd , 0 OUI 011 the lefl , and they' d c:omc in from the lOp. II wu opcically 1bMrlCI.

$011,

WOld KimbGlI

";W'Killy unioj... "'as . "PP'u;och 10 mi, _

~. ,

""'''' 1)'1'" (Of enlenain'

1 I'lL'" <>n (0

II< _b . . e).ccllenl drafts"",n ... ilh lhe """ Wil ily iii d t fU<l~y ..sr..... in)!.., C<ju~lIy u " 'el l .....,iou. OIH. lie: l\;Id a bone, de'ign M' n,.., Ihan <110,1 and
I~Shl oflm.~in"livc ways uf duin~ Il1 i"~i, Il~ n~ve, did ~'h~1 "'., ~.",,"Icd. and 10 the conslemali(\n of al .. I ~ un. d,m;IOl' never did II><: "-,,i~ nn"' nl Ihc way i1 .... IIandtd 001. Hi. stag ing VIi:.os I~, h b limin~ 1IIiqur ...J he c"uld , h" ... " 'hal wa~ funny 3h<ml a ...... lit h:od II knack for pick,n, QUI tl!.: ~PCC'"1.

Iinlc: ...... 'cN Ir.i" in ~Imusl c>""l)'<lnc aroIIOO him . and 1'011' I,,", on thai pcnun wwkl ha .'~ _ 1'"""1 .., hlln He " 'as an (~,:dlcnl mim< :.nd ,"OU ld " ilher ..,1 ou l lhe"" !rail. o. in<:O<pOrllle Il!.:m Inl" one of hi. " harp ~aric'lUre S, Typicat of Ward. he was at"" "..,ali ve in hi. apfl<\IOCh \() l(aching life drawing. He u ...'<.llhc ;n",,>"alive ide. "r lhe "model in ""'''en",n!" to n,:U:.c h" dar.o nlOlC aw,"", u f the pri nciple. of animal ion. whil.-b eJW.:uu, al,:..., lhe )"OUnl,: sruocnlS 10 lhin~ in Icnns of rI'll,,", and a.:lIon ,n Il!.:i. dr::lwing .

Milt Kahl
~hh.,...w \lfcnglh lay in h" d,~"" in, ~bilil)' ~nd his COIOiclion llul ~nill13lion dr::l"'ings we.., ....,al ly I"... --..w a .... ,.... JlJld ""Ofk In 111:11 pia.......... ckiM, . . . . . (10 )' ~J ....,ad and unlienland A. "n~ til' four IlIiMlIICf'i \oj ..illl on the ch:u:octcl vi I" II( ..-.:h;... he w.. ~,..." ,be l"i~lIrncnlllf an imaling P",,,,",chiQ ~s a rt:ollxl)' t.,'I:"U'" or hi, carefu l dr'''''ing, Mill '> conlr,,1 .n.bIM him In do Ih~ m",1 sublle rDO\.... lUlling III repealed Call'"1: u" human c har~c Im. lhs 51! I:C and Kay in Th~ Sh.ml,~ /he St"",, IOI' -m Iht hHl ""man fi,u ..... e"cr done MI lhe ~Illdio, allho::) " '(f( oJone ,",''1Il001 bell<'fil u f Ii,'" ,""lion or

lhe ,uf'PlI'I "I' ..,k",""c malerial. TlIoujth Mill ;o:,;l~ all y pfde-m:J broad char",,'cn;. he ,","I pride '"

\Ql'"

(Jmng ;usignmenu. thaI "'ere l"Ugh '" draw. lIis un""", ..,n~ tlf dlaracler de gn oo.nill:ued lhe feallln:. ror uvef Ih in), yean. bul 11 "'as SO Pf'1l""",1 Itw il was "flen d,m,,,11 (.,.. o.lien; 10 fntlnw . lie woold dc:ny Ihi 'lay "'!!. ... Anyone who can draw . Can f"I1" .... it" Wh", he reatly meant wa . . .. Any",", who ''''' dr~w Ii~c me can du thi ~. .. He hall fCllt.aO;al>k powe!'> 10 ,i~II.. lile . ~nd I f ~ .. id . "On..~ ho: (;C'!' <kiil' in hi$ nllnd ,,'hal he' s goIng 10 00, ii', .lIS ,00II : 00

lhe paper."

He '''is hono:.u In the poinl of blunlno;:~, . Unl i~e -,. irascible tcmpcnlllC'lIU ...110 ha'.., fi lled lhe halls d~ . Mik ha<J a ""/)' SWUI hdpM sid~ . ....hell he chest. lie I ,ve uII$limina ly of his lim~ ~nd lal ent . 1 II WU IQ help lhe pictun: and almosl as o rten 10 ldp . ltllow .niSI " '00 had a problem . HOVIcve . he
comin, for help to have worked hard lflii rifd ~hing-(o have done his bc:~t bcfe OOIIIi"$.
~ l/I)'lI'II:

Mih ', flftwell animalkm was his brillian tly done ~ in TM R~MW~'I. Thi, lime Mill h.lId. c har",,_ . . . 10 ~l\\SII:tf. aRi hi ~ n:wards ,,'en: ,.eat. IS slicN.n bJ 1M lribute: " The )'(lIInKer gencralion Mudi.", the
ICtIIC in "'hkh M me . M edun lakes off her makeup

wbilt plQIIlng child abu.>e. The way thaI Mil! Kahl _ (lfraldinc Pa~e's fTUilY. cruel voice by nulI _ itc kr I. , ( lIl1I hard at he. false eyrltih unlil he. f)'dioIlNpIC bKk [ike a IlIbbc. band is like ~ dnwin, m., DlumlCr"s 'S ketcllC:! of E~~ ssion' series. bul iJ1 mov<:mem!" jJ

Frank Thomas
Wriit.j: i. Millimtltr miI~I"!ine. John C.ncmake. !"lid 1M triboMe \0 Frank: " He ~ been ";nccrcly' affec Iitc __ 1Im for fony years: he has made them IlIUgh ftl l'I)", hate and fe~ . u~ing basicall y a pencil he hu dlIIJrd W intelligence ~nd humanity, tun s of parer, ilh IItd tht 'pmi"~nce of vision' . .. l )

...,

1'10 job \,..~ 100 p;oit1>lakin,. no rcsur<;h 1 lime_ 1)0 ~ t(I boy lhe &JOOndwod for a Thomas >c. ~. Each p:>ssibility had to be nplorcd endle"ly 10 fmll t''l)' Inl oooce .or enlena;nmcnl , H i~ polller. of gt,ltO'liion and hi~ acutt memo')' for thing.o; he had _WId ~udied ""cr IhI: )t;m. gavc him a "a~t TC>CI .... uI nptrien as he ~~ his s.cenes for anima

...

H lINoIysis wenl paSI Ham I.II~k~ '~ rules . Through is 1beIC powtrs be was abk to portray WmpliC31ed a, tiou. llIitudtl . "ld ICI;ng , Hi s great feel fOf chanoc

tr. K1 .... 111<1 enlertainment c~n be seen in the many . . . 1Ibk sequenceshe ha.cu:d in . ~ mo5t famous lIII1lO1 oco;nurily the: mo:st diffiwlt Kene. the d warf. CQinl arouoo Snow Whit e', hier. is said 10 nave

extended \he emolional range of our cartoons. To bave worked under Fran k was to have been subjected to the most rigorous training imaginable. As One young animator said, "II is impossible 10 plea~ that guy. He's never satisfied."' The solution was nOt to try 10 master Frank's extremely complex acting patterns. but to study bis approacb to entertainment and bis usc of the fundamentals of animation. Frank's staging and his USC of squash and stretch and the strong changes. in body shape that gave so much life 10 his work were tangible things that have helped many young animators. Walt cast him with Milt Kahl repeatedly because of

Frank's knowledge of what the character should do and Milts ability 10 draw it . Like the reSI oflhe fellows. Frank gave time!O help others. His advice waS sought on music. layOtlt, Ick. ground, and SIOry as well as the animal ion . On the lIS! few features. Frank would spend anywhere from Iii. months to a year h.elping develop the story StT1lC~ and situations, sharpening up and defining the dtmoters and tru,ir dialogue-and then h.e would animate oJI those same sequences with a fresh eye . Frank is a modest man. '"frank'" in his bone:sty, penetrating in his criticism , bUI always tempering it with humor.

Ollie Johnston
Like most of the group, O llie was at bis hest when leading off on a character, par1icularly if the story and the characters were at a stage where they were still f1e~ible. He was often the first 10 perceive that achar acter or a Story point was n01 developing the right way

and would work lireleSllly to correct i1. He had a vi.iQR of what it ought to be and was dedicated to seeing II come OUt that way. Through early experimental "; mation. he was able 10 show the potential for t!Ker. tainmen! in the characters that would then be developed in future story s ituations. In doing this type of devd opment he combined the appeal he had learned fKIII Fred Moore with the ~nsitivity he had for tm, emotions of how the characters felt Colleagues agrud that Ollie carried acting and the feeling of the characters to the highest point. He hod. sensitivity for good picture, imaginative layout ..... hit th.e character should be doing. and how 10 arrange the scenes for the beSt effect. His knowledge of wbat MI needed in a voice made him valuable in dealing wid! difficult decisions of wheth.er the vocal talent was ~i ing lru, animator the performance he must h.ve to make the character think and act . In an interview Ollie said, "1 talk a 101 about any scene I'm gonna animate and get the best ideas I cal; and .... hen I'm convinced I have lhe besl ",a)' , thenl ' put everything I have into e~ecuting il. But just bec:t1M I have a good plan doesn't make it easy . Animation is inherently open to mistake s, and I could know exactly what I want to do and still have trouble . And I" d say 10 myself. 'Whatever made me think Ihis scene .... ould be e asyT or. '1 thought I promi>-ed myse lf last we<:k 1"4 never make that same damn mi stake again ." "

In .pite of the u,ual problem,. his footage output wasal"'a)'s the hi ghest on the picture. and the fact that he ne,er IoJkcd upon animation a~ being casy helped him Klemph3thize with the young animators and assi, lUtts working with him . He knew that their problem, rtqUii"td gUldarx:c and patiencc. and this he willingly provided.

Hi , drawing' of Me. Smee from P~t~r Pall mrned <lUt to be a near self portrait . Of course. 1hi~ is oot uncummon when 1he animator is really feelinJ1. the expre" ion, . A young an sm<iem vi,iting during the production of The R .. ,.,:u~r., glanced at thc cat on Olli. , board- then al Ollie- and s.aid. " Y,m look just like Kufus. Why you eve n wear glas",s jus1 like he doe,!"

Tho Jun ~1o: Boo);

Johnny Lounsbery
As is of~en the; case. the; pupil surpauoed the ma5W . Norm ~r,u_ had inslnlClcd well but Johnny had gone beyond ""hat the Jf:gendafy master hid bttn ab'" to do . His better drawing and bigger conccpl. not limited by old vaudeville acts. brought the bold. crude approach 10 new heights, using more refinement. more dramatic angles, more interest. and .11 without losing the main ide., His simple staging. appealing ctwa.:ter$, lasle. wong squash and 51",:11, and con rroIled anticipations .nd follow throu&ll made a big bold SUllelllC'nt. but they IE\a los! believlibilily. Hardly subUc. his characlC:rs ~ always fun to watch. He was good I' wooing with the young animaton and did pose drawings that were an inspiring springbolIrd to gel anyone started . As a draftsman he was ideal for animalion . Hi s drawings were simple and loose and full of energy. Tbey had volume and thaI elusi~ quality of life. He had _ of Ham's ability alway' to find the way 10 go funller in strengthening

,oad

his poRS .

Johnny's favorite of the c haracters he animated was Ben Al i . the alligator in " Dance of the Hours " from FtJ"tasia. whert\ he caplured a cocky. spirited walk and allituoJe....-QlII'! that was particularly unusual since it III had to fit the tempo and lhe .ecents o f the Jn5COl'ed tr.ck . This work was I Ilrt\al innuence on the OIher animalOn doing this ~tion. many of them anilNlting for the f\JSItime. He had an especially good way o f woning 10 live lIottion. bo:ing able 10 adopt

JoM lAoi1lSMty

somc of its subllcties withoot losing the 'tr'"i~ ' bro.ad cartoon action. Johnny ~nded to be an introvel1. bm asscned h'" ~If on key decisions. He had his own special way 01 lookin! It things. and no mailer how bad they alwlYs had some funny obscrv.tion 10 lighten the" ation . At the lime o f his death. Johnny was d~ 5Cquenccs on Th~ Rucwers.

WCK.

Marc Davis
M= Davis is an example of I talent bo:ing shifted 10 .... hert\ il is most needed. This h<tpp::ned to many of the men since no one had been Inincd for the jobs tlw were being devdoped at Disneys . Seven.] men actuI lly created their jobs by doing something panicularly well-and Ihat is how we got tile great rt\sults. From careful cleanup on the delicate drawings of Snow Whil~. Marc moved \0 Slory sketch and charnc~r design on 80mbi ~au~ of hi s ability 10 drn .... animals . Af\cr doing outstanding work in lhe~ areas
Xtef$

he was given his fIrSt chance at animalion on the cJ.. of FIoWCT and his girl friend . After Btmtbi . ., ~ry ~lUt ile Man: returned to lhe: Slot")' dcpartnd. where he designed lhe: Eagle and O:topu5 $CCtD 01 ViclQl)' Through Air P_~r for Bill Tylla to aniR* Due to some carden oversight. he III'!ver rcceiYld Slory credit on either Bambi or Vic/Qry Through A; Power. In an interview. Marc upres~d this p/lil!>:lClpbr. "To be an animator. you have to haY<' a ~nse of.

dmnllic. I feelin1 for ""ling; you h~~e 1<1 boe a ~10<)1... " II his own ""Ofk Mar.: ,I$<) added IIt(SC ~ _lOIl!""lin, 3uim,;Ie" btlln dl'll,,-ing, ~nd UIII\olJM:illJ rTIO\I\'llll'nl thai Came: ",ilh Ihis dl'll ...-ing .aiIy. ~ 101"', unified rc:iationship of all pan, of a cUt1ntr lIIOJ on lhe fI"",ooyant Cruclla \lcVil made IIiC of rvt')1hing from her bony elbo",. 10 her posluring Ihrou,h her malic mC\emems.

OIl Marc',

"bkfi~nl,

he

~ho",ed ~

flai r for Ire

-.

00 p""'erful sh~pes in his de,ign .. 1In'III, 1\Oe of color than 011 broad aclioo . lie had a r.-, ((0' ihIlmpu:r<.;mce of a ,000 layoul and "",~ OI'tIbJUd the "a!ue of props such as the 11I'~n and I!lc i!4f w madc ,un: they wen: pari of the overall lllawlic NSI M Ii . vCI")" gentle per",". hoi wilh sirong COnare vietions Iho he nold, 10 lenaci,-""Iy !' He has a special ll Itol< <>f h~mor Ih~1 ~suall)' has Mln>C unc~pecled Iwist .... He n I ,-et). >UCCeS.'ifullc""hcr. specializi"8 in ~ .., rot 1""... IIon _ I/i, main courses ",en: giyen io Ii;' sdiooIll Chouinard'~, and many of hi. Mu*-s IaItt f<llio'A-N him 10 Dis""y .

'

Refining Techniques
Und~r

1M Irodt:rsltip

of 1M Ni.... Old !ofr" ,

Ih,

_ ....TOII

F'aM:~

origt""l a"imil/to.. p, tN('tpl,..,,, r'finn), p" ,

flrd. aNi ,~"'ndrd. By 1960. 1M oc,iOllS had ~ S saphiJIKa"d il " 'as 01. o rrwsl impoJJibir 1 isola" Ihr rlrmrltls Ift(Jki"g 0 .Itt", " 'OO'k. SqutJJh /I1Id 'Irr",h. !oIlow Ih'OIigh, 1tr<Ht</ary aC/fOllS. all " 'rrr So suhllr and ;"",, rrlmld l/oal <Jnly Ilrt ~n(rrtainmrn( in Ilrr SUn,
W(i.J

r/ta,,,,,,,,,'

Bambi.
Ot.Yrl<>ppi"6..rn....~ IN)rr IIta" flu. " " "<IJ' 10

d...nd

,dM", Bambi " Bi, d!"

n"""""Iliff arti"" "'M" trini 10 I~ 1M

10

~"Y

oo~io

..s.

AN'.... TOII, Mill Kahl_ Pino hio.

Pi""""Mo is 11M' /HJ"/( as M /HorillS 10 /ur" i,./o

"",N
willi

tIorrkry . A. Irur, ""imo,or

","w.....or 1M ' ........ Iiofu .I<) 0'i0kItI oM "';w

IhoI,1tr J"""" ""M .aM "",-uy _IJ Jrt,w 1>.0 10./. Do lIOII confllSe kliorl
lOCI;",.

,.

"

"

"'''''TOIl, Er ic u."o,,_
Bambi.

/" ,M. qui" .aM, 1M old 0 .../ ad"tUS SOIfI' ~ou"l /;i,tIs visili,.. 1M ....... baby drrr il is 'i..... /() 10.

TM si,,,,,,ion rrqll irrd .. rr."aflWd IN)W, bo., _ wi,1t rlMl" JiIi"i"""" Do I'0OI confuse ",btlety wilh
"'~.

.IIa,

n.

_WAn;ar, Ollit JoNul_

Adven!"",' of Mr. TOld.

Somt dft''''dlor~ ha.t claimed. Ead drawing .,,,., in/porlanl. i f, 'he mowmtlll" H~r./ar dhlr -g .., mod clarirya{ <K"fiaot. drawi.., in I~ seeM ",,,,, ~ ,lie al/irride dM ,lie """"g. TIW RYM IIMgood ,utMr<" /n ,Iw rUtiiq. "",,"asling ,he _~,ed. prNUt <I~ dlille <larr wi,h ,Itt " " ...._ ptc,ed whi,1 dM ace",ing p<>'1Il allhe eM .

not"

.'

",'INA'o. Fro~ * Th""",s-

S word in lhe Slone,

TA~ "",d Mud~,. Mi,. "'.. " '""""aJl of M'ild DNitHI, "nd '''lrallt' , M ~~ ..... 'ilA J)fl'li /""b."", a~lilq

c>

pI_ /tN ..""Un, .... ,i.ily.

",It~.. 'M'~ if "" Ttf>JOII ," "", IAi. ,,"16 I.~

Mr ".w"/ilimi.. ,, 11',,1, IuzJ N>~'iottl'li Iti, a~i .... _ '0", "D -, I>r b'04d _

,.,'fN'

M"NA "'" _ Mill Ka.IrI-Robi n

I, loW Import"n, ,'''" ,A, t> ""dime. U~ Ih, Sh"iff cf NOI';n, loti,. p~' ,hi. rojn in
hi. f"ITU

"-

M <hliwml" liN cf di4 . Flippin, ,M roUo I.. 1M "i, "flTlNu 1M 'Y" It, 'M at:liM "ltd ,,.,,tin, 1M

a' 'M WIW

Ii""

w,,,, _

JnUH " 'i,h 'M rojn IIUik ~ttrkM' 'M SMrijf. p" _ _ l(1). A JiM biI cf ""'i .., ""d """'PI, cf I.:upin, ,., 1N1i0l0 drtJ, .

"It

AN'NATOII, Franlt. TIwmD._

The Llu&hing O'II< bo. Thi. 1i,,1,

tm.,1t lloal ,Ioall,rl'li ,Iau IUIliI hU wHet Man,td. H i.

d~

,a",""

had "

<h,p"""

Iti, /<mitt,

""""1" I"

"""It tk_

pt<>_

INJIIJtd r'1H"ud c....",

In"lIw,~,

i.. Iti,~

~-.

=~

-.-

.~-

MTig Gltn

Krone.

FarlY )'t~rs later ,Itt Winejpl~J

of e"mmuni,U/;ng
dra~ 'in8' j,

lhrough

car

n..

,itd on by ....... animalo,s_ Tbtu .lOry JU(,ltts f'"

Fa' and 'he lIaund

Iti;ny ."~ng'lt and dramal ie

impact in IIt~ dtsign, Pia,

in, ,I' lHat ltiXIt "n 1M

serun maUl him look bi, and p"_rful.

"'''''011 GI~n K~an~ The 1'0, and Ihc: 11""00.

;I~n cd"i~d 'ltis
}vir inro

Julin,

'~lainin8 ",hil~ adding 1M ~ujU""'nl

hi. ani_'ion, 1M grrol JCal~

,liar

"" ,t."from ~_nl,

'"

...,," ~II/I K"M

W, loud I>n~ 'a~llll Ill""". II} loot '01 '~'~l' /, ..."""OM P'op/' ...;S~ lA~ ...,../d do, "'" too ~,,,,, IffQU""/ dt_..J,d cau/"I .11 iJlfJ sOl/>tI.. ,d (I(,i<1I! TM~ uDrfo

o{r,. ,. . .

11,,,..,
II

_~

1111/ PH'

f''''''''' W
~rfr

.."mIN/' s J.. ,/ I. SW<J<d In

of g~,,,,,,,,,,,,, "",m,,,,";.&,

.he St ......

.....

,"""""lui,. ,hrou,I'A a . .. 'pr;so~t {""'mI' iw forms m,,/ ncili~1 """011.

9.

Our Procedures
of >Jon

'nr lIIfoI
. . . JiJlI

.f"""

.. flltlll 1I'''''rl'

'WIU/J "" Ihl' ~t''0'''''III. Ih,' ,bTU!"'. <Iud 1/... /<1\"<1111 """'. <I.' ......11 <I.' ,1,(, "" ... id"". ''f'<'mtll1$ ,mil. TIrt-) <III ,- ""IJ "" Ii,...,,/.. "'IU"~lrd h lh~ I',.-r,m' . No 0fI<' PUMPl shuulJ <I"",i"",(' ItJ I..- 'H,.. /tl trrp ,1... mhers 1m", rltlrm'j( ;/f'0 Ih.. """llKli,,,, (11,,1 j"ru/, 1'.'1"("";")( ''''m",I,'t's.'" Wah Oislloly

,It

lupiltnf C OII>liInl efru." and PCflll~lcn1 d~;n~. Wah ...... dot! budd an org3n17.l1110n on the ~lricleSl ." ,n,. of "word. WI\;oI he huih W3' ~ l"o~l)' umfied ~f<)lIP of IIIrnIOO I"C"'f'lk "';lh part icular all, I,,;e, ..... ho ~(lllid work IIJStthtr in ~Ont i n" al l y ch " n~ ;"~ !"Ilt ern ,_ They did

1M."" I minimum of command and a mllX mlu,n of obIiaIiool. \\'hat Wall " 'limed " ..~ I,,", great"" =al;\"<:
tII'on-lIOIlhc 10051 dficienr ~r.:Iljon . Thoere "ere IiItI and d.put .... nls and job ciaM ,ficallOlls .. irhQul mt. bulll1e)' had more to do ",il h rnpon~ib;I;ly Ihan
mhonl)' .

It 0/1\ the I'nwn Wi lh the bene. idea who wa, on "'P. ItGardim of his job . Slill. Ihis ,eco~nilion alkn
IW\nN 00')' a 013),. 3~ ~me ... her l.ka "3' ~mhr:tC'('d iI. 1""" 01 coole" gn'" Ih The .lang of the da)

h;od <-h~r:lCtcrllcd the" id.:~1 ho::ro " ' l1h gl/"'-,ng. loe'" as " " 'he F~,r. llaircd Suy:' ~nd ~I Ot~ncy'S I~ role W3< aflilo ho:: .., t. ~n,icnl Ih~1 1M " fa" lI:Ii, ' " . ~ ~"umc,j to ~ an ca,ill t," n,fclTC<.i ,,-,~ , -n.. .mp!oy~c wanting an up,I:lIC o n "" velop",c nt s in hi, " -oold a~k . a~ he arriwd for " 'ork In the mumin~. "Who's gOi I,", today"" This me1hod ,,-oo-1;e<.I bttauM' Wall ,,-as 1M boM-noI jU~1 becauSt it was his siudio or 1n.1 '"' h"" the author, ity 10 ~tt " 'hat h~ wanlffi. but bocau"", hi. Kleu were the be , t. Mati ) times we (<luld "'-'I umJc"I:md whal il was tie wan lcd. hut ne,'e. did ,,'c lose confidellU in him or his abilily. We could qunlion his judgl11l'nl. or hi' .mphasl~, (I, the ".~y he went ah""1 ",:h",,',n1: " "",uh. hul 11 ..... ~ "'l1h th~ bu""lnl~. that Walt', "':Iy

nu....

proj.,,,.

"'s

roc"" 'Iii'

n.: IICSCIII

"cry ,OOIJ w~y, li~uall)' c~dl of liS fde. " Why dldn ' t [ Ihink oflh~IT ' bul ncr)" so ofltn ""e oe<:mly "'llUld feel. " M y " 'ay tS bencr~" ~OOJ ,~a siQnl,IIY;1 wou ld s.utIoknl)' o;m so 10 W.II. too . He ",]jed 1Io;;."il)' on hi, sl~rr to feed ;n neatlY' idea, . [n umkrsl.nding Wa lt' ~ methods. il i. imporlant to ",~lil.e Ihal he ..... as no! in 1110;; . nimat;on bu,;ncs, to ....ke lTlllI'Iey. As be ....id . . .M ~y-", ralllel the Ia('k of it to) <:any oul my Kkas- may worry me. hUI II doc.s not c Adtc llIe. ldeu c,dtc me : ' lie ..... a~ tllOIl' [;kc a man ..... ,th a hobby Ihan nne " 'ilh a <'(lmmc",i . 1 en lcr pri~, li e was doing ..... hal 110;; ..... 8nt.d to do .nd hoped Ih~1 OIber~ .....ould shan: hi s 'Ulio< ;l), anJ eXdl~lll<:nt aboollhe pokntial in what lbey ""en: doing, Hc pllt all tho: _ y gained b.:ick inlO the nexl pielur. bcc3~ thilt ..... as ""hen: the flln "'as. aooJ he cerlainl)' ne\'c' reached. pnim ...'bere he did nor kIlO ..... " 'Mi lO I'y
~l"'~) ~ " ." ~
~xl.

souls " bamc: "aluahle conlribulOI'l' 1O"" anb OW pruoJuo;tion pro"".... AooJ ~ OIhe" .....""Id finJ a niche thai ~~lisrlCd tit.: . tU<Jio a n.J IhenL tile mosl elusi"" part "f Ih is caSling. and lhe p.ort Ihal Da "e con'iders 10 he "filM: "Ulm,,!! im[lOlt~nce." " 'liS the building uf lho: "",Ierial froM lhe first da)'$ in story to",.rd 11M: mo:n ,",110 "'ere ..... to Mndle ii, ".. story ere .......'11> !'elected for tho: i ..... ""t they m'l:hl in II type of story ~iluation . . vel)' "",n . fter..... ard . as lhe en lCrla,nnlCnl val ues '"'m emerging. lilC direclo.. ",,,,,Id hc sd~'Ct~'tl . The "t~'nl(" kne ..... Ihis <.iifi,elur, lalent' 1I00J au tomatically 'lalWd "tI;,ping their bu~inc\.S a lung hi, li,~ , At the l;Omt ti""" Ihe nltn ""00 e,'enl ually ...ould animale thi. fila "'"rc: cho.ocn. ~nd e,,,,.yonc """l'kC'd 1<1 p""'iUc the I)'pt "f nlalerilllIM:y did beM . "E~ell in tbe "'01'}' dc~e"", IllCnl f!"riu,J. the bu,i""" hcin~ ",,",idered tf'l.m.p. urn:on sd<)u. ly) is thoughl of rc: lal iy" to a (crtain .rr;. 1lI.a\<)f hci1\~ ahle 10 handle ii," I),,,",, ,aid. " 1 h"'itvt il ,<> ~ a n w~ importanl part nf ha ~in~ lhe ricturt n>lOC '111\ ..... ;Ih qual il)' al 11M: .Kh<:r end .- Thi. ;~ oh\'ioosl)' lit.: "PJlosite " I' approv'n~ a . .:npl. preparinjl. the 1oC(""', and IIM:n callin~ in any . \'ailllhir animators to (Oml'lele lit.: W()fl;, It als" pinl'"inblilc su blle ..... orkin~ rdation,hi[lS lhat mooe an es\;,bh""-d organ;~;lC i<ln iml""'"bIe. Any attempr al <I<. ,.;bin, hoooo .... lhe piclllfo!> .... ~re made h;o., tu be dorIC in lerm. of tile nltn ..'ho made \hem and ho ..... Ihc)' fell aboul IhriI ass;gnnlCnt~. There "''CI'I: constanl e~rerimcnt~ in i..... ,'ali,c pru,:e</urcs lso mc sue(c~,ful. ''''"'' '1uidly ,lis.:.,dedl . hUI through ;! "II lher<: wa< a perpetual shi !'li"~ of job r.:"I'<,"sihililies and <11ltlor'luni l;es. ~hl., lng ~ fil m h..:o; arne a seq""",,e of as.",ial i<,",. "'~h tile ",hole process k<"PI utren.:ly Ik~ible until a p;IOII prud""l xlually had been 3"'>\11\.'<1. or all til<: Illtlhods lried ...... e li ~t bere ,110;; rt1<lM .<UCct,,!'ul. and. in mo,t ca"",_ the nn..:' that prtxluccd .... ~re"te'l film~ . N() 1 0 pi<1Urc~ were dnne e1;O::II )' ~lil;( ..... ,iM'e Walt ~I .." y, ",~rehc:d !'or .'l ill hcUer ,,"~y . " !he proccdure~ pre""nl~'<I h"I1: . how lhe ..... ~y the bnI work "'.'" done ... t;oeh sta~ . l'elba .... il ..."" an unlJlU wa)' 10 m~ke films_ but il br.... llhl in'piration ;n ,. conceplion. coo tml in the t'fIJ!.lueli"n. and UCl:C'~~ Ihc h<IX I'm,e , It look ),ea", I" folkl Ih""" concepti . and I;: ..... "f lhem are quite " 'hal anynllC ",',1111,1 t ip!.
P()~sibl)'

ha,'"

He ,lid 1\01 dream" hig , ow rall dream: he m"dc il up os be wenl along , E;H.:h Ihing II<: did sugllc>led SOIIIelhing cl",. somC:lhing new . somet hin~ Ihat hlld nevel bcc:n Iried . something an aud;.""" mighl wam I" ..,.,. IIc rc:ali,...'tl lha, he: cuuld 001 c~rlore thc.... arc:a. ..... 'Ih<1II1 IxClcr laknt alou n.J him. so II<: waS al .... ay. lidding to tile ,Iarr. "Nevel l11in<l Ihe dassifo':~lin". jUji get Ihat guy in here ." Tolenl. "hilily. IlCW ideas ..... cre the im[lOltant matters . ll i. ~1Il~/.ing faculty for C~Sl in~ his men on aign. ' nc OlS lhal ""(ltdd bring <lU ' UII<,.pet;t~'<I lalent' CAlenokd de""'n 10 lhe IClist elllplo)'~e . When Da"c lIall..J ",'a, p" ..hMt..m super";,, .. he ,aw Ihi, h:'Pfl(n O\'e r "nJ "wr: I think W ~II h;od an uucllnny ...'ay of lindi,,~ ju, 1 the riplt pl""e for II .. ..".. SOIlI. " Admil1C'dl y. "''('IUS(: n!OllCY had no relationship to his findin~ Iht right job for lhe rig ht man . he .....ou ld dire'l lhe <I10\\: 01(nl of the creative lalent . . . from nne place to an'MIler, In my position. I waS ready 10 I:h'e up On s.on~ little guy and .... ould 'iQ expres. my""l f 10 Walt . ~lan~' limes he would say to mc:. "No. 0.."(. Ie, ', nK>,"C him over 10 thi~ SpJl in Ihi) depanment . Maybe he' ll ",'Uri: out there ." And e''<'" at timc if Ihe "I""t "'1111" didn't ma\;.c;1 in thai department. Walt .... 'lIIld"! ~ive up on him; ,",'e would h~,. In I')' ye! allOlher spol . To my amll7.emcnl. IoOInc of Itlcse . ' \OM

The Team
The basis of (he Disney method of makin, I'ilm alway. has ~n ICam effon. where mnstMl di$Cus

responsi bility since

,,~woRe<!

so democratically.

snorted. " lkmocrncyl Ttu,'s nO'

I .

sion and daily argumcn15 replace rigid procedures. Wall realiled thaI each person connected "" ith the film had 10 fec:llllal whal he did was the element th.at made iI.1l

wort. This meant keeping everyone involV! in thc lCan:hinl and the trying and the cvaliwing thaI went on through the whole production. Wah summed it up
vcry simply. "Everyone has to ronlnbu le.
~I~rs.'

Of

lhey

frank Lloy(! Wright once was trying 1(1 pinpoint the blamr for something he did IIOC Car!' for in one of O\lf rdm$. Whl:n ""C uplaiMd IhaI "'t all Wred in lhe

MOB-ocncy!" [\ is true thaI their lalenls 10 the group efforl. Highly ideas aR nearly always bealen 1 the ground, " . 0 preference given 10 ~ $OIid cnlCftainment. Ioiaet the baK mUSI be as broad as our audience. PnKIIIII prdcren<:cl succumb 10 the:: majority rule. or the dilt(lor. or the producer. bUI in the uthangc of idus Ibm is a stimulation thaI rIO individual cou ld generate ill himstlf. Our proced\U'CS trkd 10 nW:e ~ beSlIl$e of this collaboration by add.", COIIS\2IIt opponullitiH rtf it 10 flouriUl.

..."" Kay N;~lu~ "N;~It' "" BalJ

M""",,,i~." fanlb ....

...WiT Mil,., I "Jqlmm, Itpp Melody T ...",

"'.

.'.I""
1(,

SJ.,j, Q..J K,,/ "". duUHI djK"II..s J,Q"'j",.

,My "",,... *- II. MM. vi lA, /it", .

,It,

,_It'"

lilt , , "

K~" A..J~".",-

Stylist
M!.IOX)' smc:d to call for >onJething new in the .~ of ~)k iUId do:!;ign 10 m;Uch the mood of the m:lle l1li;10. befono any KlUal SlOfY work '.'a~ begun. Walt _lei IoQI: fOf an ~nist of unique ability 10 make some di70iltp or painl,ngs tlw "'OlIld e~cile e~cybody . From Wl$ido the studio I1c brought in lOp illusmlton III thiktftQ' s books. such Kay Nid",n and Gu~taf T~. 10 uplOl'e the visual possibilities of, suI). p:t W itt"n our o .... n staff wen: highly talented stylisls Iott Akn lIurI. Mary Blair. Don O:oGnwli. and (eo AIIIkrsoo ..... ho knew the produclion problems -' roulel r.uggest specific I~yoots or character s ketches a<odl-lo help ",tthe,r ideas into the wooing de_ of !he pic1u~, But more often. thcse "ylisl> om not r.upposed to concern tl1cmse"'cs ,,-jth the ~ of malin, the pICture . ll1ey we", tcying to m "'I)'ofvisualil.ing the whole concc~ >0 that il ..tdbr IIItratti~e ,nd fresh and wablish an imegnt)' til ~ fl)f both Characters and 10coles. ~ "inspirational ske "hes" Sianed the whole IIIIft"""" AJ one animator saKi. "There ,s some""'(mung about animating on a seq uence that has .~I\'C locaJe-.--a milke-believe plact: IILaI would _'millIS 10 be In , Like the Snow Wbite IiClling- a r.c.ful workt , lloc senings in Pilloccioio--Geppetto's '"" full of all tllosoe dolls-the inside of the "hale. or

1"" Rescu ....

.vUjT

Va ...... G..r n -

l 'lM: S,,'ord in tbe Stont.

,~~rgl

:am. pk'Urt

...

dif.

.,~

""

Bambi. riN ID alp' "",/wdur uI./w PIH''Y

~'. booI;.

For

.,,1, 1 "

,<I Jittd IIw

~"""'" ~ rrudiriIM ro

Pkastln: Island-the locales i,"pin: ide"" for [ayuUlS and exciling ~""" thaI you can' , feci in the unlinary siluations. h timulaleS your imagirul1ion SO Ihat )'QIJ Ihink of mon: unusual ideas . "1 No One ha<.l a charn:e 10 get bore<.l or talc IX feel he was juSt doing lhe SlIme thing uver and over. Evcryul1C got a lift from ha"ing frnh .... Ienl .;u.uinuaJly SlIggest new concelMs . "Then: " 'cn: times when the dramalk QI' e huming styles suggested could I'lOl be maintained in .he aClUal animal ion-to everyone's disappoinlmenl. l'ossibly ""e "'"ere juSt not guod enough to ron"ert the slrong designs 10 our Iy~ of animation. bIIt we fel. that as long as ""e ""ere achieVing our audience idcnlir.calioo .hl"{)llgh sin_ cell'. believ~b1e characlcrs in real ..,,,ings (no mailer how fanciful). we had 10 keep certain fundamenlals of animalion . We u~rimented ""ilh OIher Iy~s of movement .hal might fil lhe sug~stions of lhe Slyl iS!, but they al"" a)'S seemed 10 lack life. No maner ""hat we tried. "" e well' ,"",ver able 10 adapt our Icchniques 10 lhe n:slriCiions of an incompalible design . w e all loved the c risp . fll'sh drawinp o f Mary !:Jlair; and. since she al"'ays wOlked in flat rotors wilh inlcr_ ~Iing sh.apes. " seemed Ihal her "..ork rould be animated wilh wonc1erful rtsults. AI'hough wc kept the colors. Ihe Il'lalive shapes, and Ihe proportions, once Mary' s drawings beg.an 10 mo\"e by the principles of

animation thaI W ah had decreed they often ~ ~ spirit o f her design . h " 'as 00 problem 10 mo~ die drawings art iSTically. keeping nKlly her suggesll\lIIIi - and some very imereSling innQvat ions came from lhose efforts-bul as won;c; il w~s Messary 10 Idla $lory with warmth and pers(lfla[ily il all broke <\I;N. We had pro\"ed in Fonuuio Ih.al any ~ could II"OO\'r in almusl any manner to malch lhe "erve and CIC"", Mlcnl of a s.rong "'u~icallrack-as in the stirring dancn in .. Nutcracker Suilc" or the ab>lracl !lcsigns of Toc cala and FugUl:" - bul this nlO,'cmenl could Qflly illlllIralC a Siory roocept; it could not sU$lain iI , "Thtrt a po!Oibly a way to do both. We JUSI ... ver round 11 Ken Anderson fclt the problem wenl deeper. " Mary', style. . <lorsn'l adapllhJI ..... cll. .. . When you made any adjustmc:nl al all , lhey ",'Cll' not Mary !:l IllI'S BUI if you had mo,'cmem and color aga"'~l lhat bad ground. iI's a guod que.cion as 10 whether l1 ....wId ha,'c been as wonderful a Ihing 10 Loo~ al. II m~y ~ thaI ccrta;n dcsign simply s hould be left in thf.:ir SUI>; form. suggesting their O"'n dYlWnncs thl"{)llgh tbtl Il'lalionships . Anlmalion has ,,~ Own languai"'. and is pn:ferable 10 dc'"C1op own c1cnlCnlS raloo ..... try 10 force il lO duplicate or augl1lCm another an form Afler alL aninlation is as much a scpara'e ",cilium iI ecramics. carvings, lapeslric~, fll'l'Cocs. or pl"inls.

,ts

,!I"",;u ""o>/Iit-- Sambi

How The Storyman Works

~

I~ l10e foa ...J !he Ho.mcI. ,,.,. flu ..... ".is~J OIl 1Mf_ "", _hils hIo ,~,..u loou ill dot 'WfHNh. Sui",,, ~i/wl ';UII . '" ,",,.,,.,., ,~I.....,..,... , ",,,IIl. poi"" lot is ""'" likr" In""," ...,.. "'ttJl/<u . Tlot oiu" is fi. A;"1"1 " JI,M>tI. iUIJ M ",JIltS "'~, 10 "'/P . ..,;,/0001, . t -"illg

.. fWt

"",.,IIi", ..

:;vry upI<N'S lire pOJlibi/irjtl af 1M Si'IUl'iOll, 'ry;", """'Y

""yJ '"""8i"l pO.slbl, "",iottSI, aNI ,,1I,rMu H , _II" 10 " ir! attra(:li~ and Ih, h,.., lik,,,bl., with bolA '-''1 i,,',T'If,d ill ,ach

.i,,,,.

.r'~pl.

/1>/' bmlr d,,,,..,,,,,,, H, kttps hi, drow;n,. simp/., looIcln, i'" Ix> and .....y. 10 ,,,,",nc. Ih, clu"''' 0/ ,h, si,"o,ion ""d tlr, dlll'o",

Va"", "i,s /1> find" NNllillUiry "'itA",,, dill/o,,,,

'M' il ,,,,ula;n;.

It.......,. rlI<u do _ fl, dot 1IOryINUI' , c~".,,' """ SVtOd """,.., coJld IN . ',<HHIy bo<Jrd. TM, willllitN</DUIMtu ..... '"'""'" DNI """ "" IIUd '" pill "I' OIl ol" rt.tJu nHIIi""ity. Imk ",..IN:I, v........ d,D.... ",11I1w i .. lire fi-t fil". . boo, Au "",Iy

.,..ilt

COlI';""'" ......

_. '~II W<>DIje Rej.~.--. /.4", Cle"'-'U. tMId. j~tr-.,

II ......
Jq,.'''. ~ - . a (H"j",jJl .
....111

V""", ",'HI'ulW b<Hvd,o '''' I'rodw'i(Hr U1ll,. 8,JoinJ v........ if

.n.:.u MIl "".., I""w~hl "~rJ(HN' ..-.\c> ..h "" ,,.,. '",,",,".

a~s di/fi<:MII /0 pili tIv IUldn "p i" d Jlnlil'" Ii. up ... lilt e'ld. il ...... ",id I~ '''''JWWM ...... "" ""m..hl

./oa.

Storyman
I'lritlli pf pm,.." ,~ilJ hiKI be~ll brought into the ~tu diG. oollho)' ~'tf\: 'eldnm J;inn a charn:e to "'Iile, A 5I:ript could be u....-J in Ill<: bo:ginning 10 sh<l"" ,ugge, MIls pf "h.1 mighl be done wilh Ihe maleriaL hul """" c{ltn tl>< idea, we'~ talk~d (I\"e,. lo>s~d ~mund, be.llten to dc.lh . ..lIang.,.,] , di5carded , rc\'umrcd. built upon. iIIKI "mitkeJ" \\ i!ll()Ut >ingl~ \\wd hein~ put tIown on I"'f"'r. Si~ animOl ion i; a vi,ua] medium, it ~ imjX'nanl th.1 the ~tM;- idca$. the ,'harac'l"fS. lh~ biJsinel<, 11>< e<>n1inuil)", and 1hc relation,hip, k pre se!tl~d in I"ilual [","111 rath"r tha" in wonk So th~ 1WI}''''''rd ""' innnted_ 1M fIN , kctcllo;, to be pinn~d up ""'ere not the romi""il -' "r prof'< ,,,,dad iII n !:>ut gone", I iII u, t ration, 1Ifthc ide.: ~ro"pinp of c'ha,"~le". _il"atio",. 10,:", , lion,. th< fiN attempt, 1<' \ isu"li'~ thi, ,tor)" Ur~d 1IIl1)'. il,; ,"'>io;~, wcre made. mmc of a ,'Otllinllity was leen.lnd. CI'"ntltally. ,ket"he~ emerged that defined k'l~l so;c"'" Ihol mi~hl be on the >ereen, Thro ugh illl t/Ies( ,h.n~>(" a, io.lcas g.rc ..... into >ome lhing bcll~r or lIiN to hold up, ~r ..... ere found to be 100 elusive to clp!Ure in <Iill dra ..... ings. <kctch"s ..... ere pinned up amj taktndowlI , da~-I{le, day . h is a very nUible way to
and a stof)' sketch m.n who ,'parked each other. eitoor through slimulation (>r 'heer irrilation, When anyone \\'as tl1'in~ h' pro'-e Ihat hi$ idea waS the very beSt I"'''ihlc. he would \I'()rk harder to m.~e it ," interesi' ing snd definite und clear", he could. n,., smryman did the talking in the mecting>. which !!""c him a d~f,nite Jd'-anla~~ in prescntin~ hi> ,,\I'n idea,: but Ihe shtch m;1n could conlrollhe appearance or the board, hy <'Iagin~ nql su~ge'tic.'n~ less <b~llingl}' than hi, own, Usually agn-.:nl<:n1 c'ould he reached ~fore Wall came III lee tn., I:>oards. bUI often a ~erlai!l t~ill<"" could I-.: di'Ccrncd as the storyman ~1ancd his prcocn tation "'ith th~ offhand ""mar~. "The -,ketches ore,,'t vel')' g(>oJ , but_ When the men in the story unit !CIt Ih"t thc~' h;od ~otnethin~ to ,ho", . the )' ",~,Id <,;ol! f"r a mct1 ing M"r~ olicn. Wall would barg~ in ulla nllO\l'l\....,d to >cc ho" thin~ , we", ~"ing , Sirn:c h~ h~d a hahit of I'",wl 3t night 10 S<:c wh~1 i<.k~' wcre ing through th~ bdng gen~r3ted. this type of \'isit u,,"uall}' meant thai he had sun the 5tol')'hoards and wanted ~omethin~ diffcr~nt_thOtlllh this wa, ""Hr nlellliQIlCd . He woold feign innocence wi1h. "Whateha got here. guys7" iU1d the "'guys" would be caught so unprepared that they could respond " 'ith neither a hard sell nor an alibi. So they listened. and learned . As Dick Huetner ~id, " Walt was his own beSt stol1man." Jf Wal t fclt that some solid idns II're beginning 1<> sh"" up, "r that lome fn:~h ideas wen: nded. he would ~"II ;n "tocr M..... ymen to gel rca,'tions. F,,, quit~ a ["'riod h~ had what he called his "shaping crew." "ho 1"II"wed him r"'111 1001111<, n""n ~i"ing thelf thou~hls and sugge'ti"n~. One di~~rut\t lcd ~I<,,,y. man "ho preferred 1<> wor~ ",''''pletel)' .Iune co", pl~in,'{) al",ut thi, "~onventi"n " method of huildin~" S1<11')'. and wp S1<)I')'m~n Ted Sean, ,um",,~1 up the 'imation I",,,t "ilh this pungent remark. "Ttw,,, lII~h in~ w""c than '",neone "ho ,0n",'S in with a ffl"oh coc'" But OUI of this sy'tem C3!OC w"",krfut "lOric<, filled with r;"h jili,a' that g;l,"C tn., animal<.>n the ~redtC't kip in the IIorld One of thenl conmlent!'d in Im"r year; "hen he viewed ~n old film. " y"" ~ct the f,..,). in~ (hal C>'~r)' la,t frame of that thing ha~ httn worLcd ovcr un!il it's perf"t!"

"'''Ie

"",m.

The misnmem !;(Iundl deceptively $ impl~ . Find the emmainmenl value, in 1he MOl')' ,iluati<ln~. then prewm!hem \;lu311)' through Ihe feelings of Ihe person lIilies ia\'ol,ed. t:ntil tm, specialor can S\:e an im:idenl through" ,""rader', ey"'. thcre is nn life and I'e r)
link .-amnh, So lhe di,cu"ions ..... cre n('l ," much
lbout "Wh,! hapl"'''' ",,1','" a, al"Jut "h:ita<.,tcr rda ti'lI",hi!" and 1he tunny Ihing, that peopl,' do A 11\11)' ,ntcrt,,;,,;n~ ide," ,ioc' nol c'ome o",il). and hwoor h:i<lln "" c"n>ider~J a vC'Y ,erioo, hu,in~, ,\ PI: ~'" n,,,,,, "",ei>led ju<t Ixc'~u<e il ..... ~s t'u""y: ;! had to "'mk )U>l rigln f"r that '1'<)1 in the ,to",' und for Jh>1 panic"i." char""t"- On" new "'a" wa, 'lilt1n,d at as r t ,~~~ nl<ttlllg, "Ewryone W3, >0 grim, " he ... uid. "So "'" \I", laughing_ I 1hooght. '\'u ncn,l direc to:n ha\'e ,,"Ire fu n Ih"n thi, I' .. : \\",11 !<ktnm had ~ ,ingle \1ol')' man \\'()fking alone, becauso ho.' kll t1J,tlwo or three men \\,,,,~ing togt lher _oold !c",,",c m(lfc idea, a"d ::i'c gre"ter >C('!'" to !lie;' subj<t'I , Oft~n it \\'~S " combination <lr a siorymnn

...

W"II "YJIt,rd 1M ..+wIr l/aff

10 ptJrtidpalr

Ihr buildilt, of nAOlr ('kl"". "l1li M

'It

,,,bmi, gtlll {)#11M ~wrrml Slory. HIN' ..'. ,,-,-c{'M "",pili"", ,,,,11M ;It for
In. dwarf. ilt Soow While .

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Story Sketch
"A """y , uK"h j. 001 r'''Il,aphy- it ;, nUl mminul1} -aI ~;, not. di~v~m . Nor ~s it merdy iII... stl~tC lilt 1Ii:I~'1"" rOf die: >a/llCnc.:. Thm.: a,e aU the cum _..n.u... ort"" bc,;nnin ~ story ,k~l<:h man. TM l11li) Ikttth ~1Iou1d .hQ .... dllrk'" , . alti, u,k. feelinl!~.
tJl\f:!U!lI!Itnt e~pn:~Sl()n t)I'" of ""IOn. ~'well .. wllm~ I~ .101)' of ,,-haf , happ.:ning . Wnell )"0'" look
.~n""fI , lit LIIC'" 1\ .... ould be al"""" ""I'".. iblt ;md vy $OOfI h" MlMkms ~al;~<1 Ih,s . ' 00, .
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" ~Inry ~kC!ch "Ian at 1M ,;10010 ..... IbUaIly ~" "'" .. ho It.1d ~ ~ ....dal i"le~st in iIIU,lr:olinn . <k.~n . a ptl<"uan.:c. and char",,cr . Hi. M~~In~ mllu(",td lhe la> 'OUIS !h31 1r>I Lo",td . hi. approach ~".,"Ii,"'>d a '1)'lt h" lhe piclure . ~'kl hi, ~rt:lJlgtn",n, ..1 the -ctnc. aod Ihdt slnfytc ll ing value ""~"I11~ a gunk ,,, the: c Ulli n~ an,! 1'r.:,emaliQn "r Ihe i<kas in Ih~if r'n~r fQrm , W"ueas the " ,),I;sl had b<cn a, ...t I" I11~Lc be.uti lui dr:''''"8 ' ;n full " ..lor ..ilh n" rc,u k l,,,n< Qlh(r Ih an Ihe creali"" (If an ~~"il;n~ illu'If~".m. lhe: "Of)' ., ~tlch mi n ,",'3S b...~J " 'ilh Ilk- 1"'oI>"'n, .If n,aLinE c" C I)'t"ing " ',Ilk pod fil t"~e.hl:1 ~ ... I n"",'h ."'" s"",, Ii"" 'Ill his I k tried ,.. he n,,~ ibk and k""" an ,' .... n min.!. "'... ause II< L"",,- ,"'" In ,hi: " Of}' " ..:c, h" idea~ " -nuld he 'lilly 'I'rin~huarJ, ~l "" .. and j1;1~3Icl 'nne";'..... h ..., difficuh 1<11 Ih. > 10.), ""-"I,' h IIIall ,,, mainlall' a f,,"' in~ of dcl;l<;hn",nl al Ih,,,,., "".Sklll silK'<' lit

., board, it :;/10\11<.1 "' 11""1 the feeling of til<: "'que""" I(l ~ .i<:~'cr ,tan. ,,, pkk up S'''llc c,dl~nl enl and $li1tlU1.1;"" ... , The >I<lf}' Iktl. h ;, Wille" hal ~uml'ar~hk to th~ ,~..... r",I;t, c.nwn d'3"' on~. of the thon;" " "hen ItaroW Roo. pe,,,,,,ally ,evlewed all the dra\,-,ng . $IIlInoir.nI. lit " -a, ( .lIIeal of 11M: , taging. the: ,hMac. 1m. lilt "",* oJe . in r..., . w:cry li nk ,,( the original .m. ..", p..;rd hom . and h.: "'-~ c~l"'clany u~ if , lie _14 MI fi~ule ,,,,I "h<'" h. a. , It( ",t....., ... " ~ III bt .. h,l~ ~f\ 'n, Ihis '!luau.... ,' Mar.' ~,.... >11<> ~". 1'0,_ .n d~,..,. the ~,,'!!nn..,nl nf , w>Wc to improw 'Ill Ire .Ia gin~ of ~ No.., rorker

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jor CQstumes by Tom Ortb. for Slttping Beauty .

I, Captoi~ H""l lit" ropl",~d Tink~r B~II and is 1,)'in8 '0 make her d;I'U/II' 'ht P~d Sff'" hiding plact, Pre,ending friendship, he plays"" ht. jt~IOI<j)' of ~fino.lly wi", " " ""tr. She marl::; 1M Ipo1 on 'he map i ratii up/Off<! "nglt . slaging. of/ing. cha,act.. , d"'t/opmem. ill riuY early d~t(heJ ,

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the firs! One to put up a drawing willt his bean ill it The ani.ls who followed would be: juSt as vu1 ........ ble. but he was lite lead_off man . Even though 1!Im were altempts 10 soften the blows ("we're no! criti cizing you, it' sjusillte idea we don', like!" ), tbc: fll:l remained Iltallhe sketch man had believed in rhe draw. ing when he made it. Because their comribution lo!he whole picture was so grcal, only anist, who dre"' ...'~ a special appeal or a sensitive slyle were put in . lOr)' skelch, and lhe very sensitivilY thai made them VaR. able was whal made lhem so depressed when the .tory, board was changed. And il was always changW. ThlI is the point of a storyboard. Occasionall y a SIOry sketch man would become too personally involved in his work and lei hi s ego bliDII him 10 lhe needs of the over3 11 story _There was ati~ when one such harned aniSI could nol staDd the !Tell. men! his lovely dr3wings werc receiving , As a paniolJar favorile was being tenlatively fol<led over, he critd ou!, " Wall, you can'l do that! Not thaI oner!"' WJIt did not respond directly but carefully' Ii

wa~

pvIkd!h;lt s;:ct,h and the next th= dear off the board, tearing tile comers where the pIIshpins had held them <lfIlive; then he ", leased the tattered paper to let it fluttI,r bclpk"ly to the n"or. He ~emcd to he en go~d in the pi~ture itself 300 totally unaware of II"lIat he w~ doing to these 'ma<terpieces. but the menage k> the ,ketch m~n waS unmistakable. :-;0 dia~oe i$ needed if pantomime Can lell it all. WC"bt> Smith wa, a great stor)man wOO drew ;n the old cartoon ,tyle and became not only one of 'he beSI ,",m." bill ()Ile of the most innovativc prankstcrs. Om:c. he h<ld been ridi~ukd hy ()ther st()rymeo fm a jW1;'alar drawinG "f a chiCken on Me of his storyboards. and he felt that !'Orne form of retaliat;on was in ookr. J.... minutes btfore his Co workers were to have lit important me"';ng w;,h Wal'. Wellh 'lipped iow die mom .nd pinncd ,he thicken sketch right in the m;ddl< 01 ~ MmyWaN. llIe ,wryman usually tried to workupa fiTIC pitch of enthusiasm as he told his swry. hilling. the boar<l, with a pointer. talking fa't. and !o:!ling ...' <pontane()\l<)y as he c()\Ild ;n hope' of

selling Wah the ideas being presented . TOIaily unprepared for a Chicken in the middle of his .\to<y. he Wa!; deep into the action as he approachc<l the interloper: .. Donald Conl~S maring ar<.>und the ~vrrn:r. ,;c;o. an..! he .tips o!llhis crJzy old rug here. ~nd then he crushe, into this lamp, and hes getting m~dder. and then this chicken comes and he - uh - he goes an - he cOmeS - he comes in here an _ well. anyway, Donald c"()me, along here "'Jmewh<:re ...... The mood had ~n broken. Afterward the devastated storyman vowed revenge. but Webb had a wal of protlll:ting his u wn boards from intruder,. >0 the sketch ended up on 'I<)fflC toolly innocent man .. board just hcfore hi~ tie,\! meeting. From then on. year after year. the great apprehen,ion of e ,ery storyman was that the famed ,hkkcn .,kcl<:h would appear on hi s tloard in the final tense m;nUle> before Walt came for a big meeting. llIe ,.;ketch. bc<:ame more crumpled and torn <1.'; it W;!S gr~bIx,,1 viol~ntly time after time and thmwn clear out (Of 1he mont. but somehow it .<urvived for years .

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" 'as a g~3te. v","..,t)" in " Mllsic R."",," pnxfdll'c than in an)' othc:r area. with W.Il. Ica<knlllp ~ing tl\( only ronstan, f""h)( . Wah ...Ofh-.J ""., .. hot hc: " 'as undune.ed ...uh .ktail. and able Ie, hi! imagina.ion ron free .... rho: di.<"Clor . job I>.:~Jn ~;m the fJfOC'.''' of picking up .Ik- pi.:ces and .rying to mal. thc:m all fillogelho: . Man)" diffcrt:nt men .... cre ,Oj .. ,his posirion. some cumin!: from .1\( r~"k> of rlIt 51"')'''''''' " '00 h.ad a ~'i31 ,ocnse of rh" ,,IM ... pot. ru,c. :rnd tllhc:rs from rM ~"un~''''''' " '00 Il:od ~ tucl of ....orking " 'i,h )"oun,,-.:. al1is,". Loyou. n..,n "/"If tried. a"i an. dir~c",.,.,. and c,'en people " 'hn ~ ,0 nuat !>cl .... een dcp;lt'mcnl., wilhout ;'ny real t~
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Many of l he~ cooic~s survived

for only OIl( pieture .

Wah .....cr wanted to be told llIat he could not do 1GB"tIu",. ~pn""iaJly if 1M reason "'"lIS. tecltn icality or mcrictlon of production . Still. he " 'as realistic tfIOlI&h to know Ihc~ anno)"ance~ had to bc consid_ Md. IiO Ilt pul key men in the unen"iable flO"ition of 1u.'ln, 1 w.y, No. when the i<k~s " 'ere becoming 0} lOOimpraclkal. He could not toicrale a ~e. m.n" al lAy ~me. bul he brislled " 'hen he received any negatr.t rnpomo-it brought his cre~li\"c dri,c 10 an irnme .... hall. tilt directors fclt like little 0",", than c~rb. 11)"" 10 put Walt ', i!leu On the sc=n. ,,lti~ al other limes they ....("K eXpn""ted to o13kc ~wpiog decisions tIu.I aff1ed lilt ...oole studio. It depended upon where

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Wal t's ;ntCresl !ay. If something excited him. Ilt would be deeply involved. lelling everyone .... hallO do: ...hile if he Were mon: inlell:sted in some other area. he left .urpnsingly big decisions to his direclln. often by <kraul!. TM mOSI successful arrangement was the Production Unil . ...here responsibility " 'as s!wed. TM di..,.,tor mllde lhe decision, bul .... ~~ aided by his layoul man. 3 couple of supervi~ing animalors. and possibly a s tory sketc h man on loan to draw up lhe ne .... changes. Just bccau.5<: the storyboard. had Ilftn moved down to the Music Room did not mean Ihat they h.:I bn approved enlirely . Hopefully. the .toryman SliU could be persuaded 10 joinlhis crew in the process of rdininl and devcloping wilhool fling Ihal ali hi. cardul work ,,a. being thrown OUL

::::~:~'~hethe precise voice that wantedhim type of character we in made

always a very demanding process. For

to "find" his characters before going other Story sequences or even the experiso the production unit began search~I as one of its first assignments. By this

GeppetlO we had wanted a gruff, crotchety old man, who had a heart of gold but was accustomed to having hi s own way sine<: hc-lived alone with only his pets and his dreams. On the storyboards this had ~med ideal. llIere was warmth revealed in his inner fox>lings and humor in his put-on crankiness. llIe perfect voice belonged to the character actor Spencer Charters . and

TEMPOl(Al(Y MODEL

SHEE'1 OF GEPPETTO

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our flBl model drawinp ..~re inOucnced by lIisappearano;e. B",I fler nearly 100 feci of nperimental animalion 11I0Il bttn done. i. ~me .pp"rent tl",. lhe hidden nuances tllal sllould have &i~n the wamllh "'tCre not as evident here as lhey miglll have been in li~ ac1ion. The character seemed abrasi~ and 100 51l'0III in his manner. Wc had ~. KrlwS miSl2kc . With JUSt o ne sequence in work and only lhe nperiment.1 animation inyolved. it was still possible 10 back up .nd SIan o-;c,r . The KaKh now Wili fOf melJo..wr .... n. more gullible. and with an oldworld chann. TIlesc qualities were found in ChriSlian Rub . The characlcr Wili redesigned. the dialogue changed to fll this new , u itudc. the Kqucnce rebuih around. diffcrcnt per$OllalilY: e~n(ually lhere e merged .Iovable old woodcarver ,,110 was both me"-,,ble and belieyable. For a long lime Wall considered reoonIing!he voke$ iii pan of the Wlfyman's responsibilities. since he had bttn deeply invol.-ed in ,.riting!he dialogue and knew so welt what the: lines ,.c", supposed 10 do fOf lhe sequence . In the fifties. Ihis idea was gnuJually aban doned iii II10K value WIS found in "-ying the dirtttOl" and the ani .... tors on the rOniin, stage. II is Ycry importlnllhat the animators be able 10 "scc" lhe alli. tudes and npression s whcn lhey close Iheir eyes and liSlen 10 the: voice . Too oflcn grell voices Of ,,,,al actors prove disappointing in this "'gard: il is not maLlCr of talcnt or upt"ricnce . The quality of the voio

itself ei.her bring, piclurcs to lhe animator's m;;"~ does not . TIle anim.tors were liso found 10 be alcn 10 lhe linle sou nds. the g!\lnts. the yO<,:11 mannerisms tha. gave .he specific nttdcd to make .he (11100II dra"'inp li,e. is ",waled IlOl so much i and ""'"' enleru.ining characters are lillie _nds ralher Ihan lhe actual dialog...,. h was abo disro~red lhal nuony times lhe who had broug.hl lhe sequence up to Ihis now drained of ideas: a fresh lalcnl Ulking ~ working wilh lhe a!;IQI$ eould :>dju'l more rudily lhe problems of lhe ~dinll . If (he voice liked ",neeted J slili'lly 0l'Il: plJllned. I~re hJd to be a in our was Importln. thillhis rlCw i for whal i. offered . 1ne", ofl~n would ~ enten.inment patenl;al in a y~ or chal I pt"rtOII wilh J pm:oncep!ion mig.hl miS$. PcIer !:khn teSled for the bunny 111.:11 was ."' ""_ Thumper. the ",action of the ca~. ing direc:IOI" "(io:. IhJI kid 0111 of there-~ can't act!" Th;, ;" . . danger o f one man lIying to do it all himself. It i 10 bccornc so (klcrmined 10 gel ,.'lI.:It you Ihin); w~ntlhat you sighl "~, x,",,10,~, offered. The difflcul.y of making .his kind of j'~'_"1 compounded by lhe " cin cu" lhat everyone getS 11111 liSlCns 10 lines being said oyer and o~r. Soon IhI

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aclimu. offeeling. Othe. actors became O>l'lSlimu latro and neglected subllelies of the character liley were Irying 10 portray. Usually nothing wu lost in h .ving K lOrS record their lines sepanuely , because I Jood (l)l("h could bring out refinements in I perfOf1Tll/lCC poaibly missed in a group recordin,. Anot"', advan tage to separale recordings surflCl " 'lIen ei!her tile I/limaIor or the di=tor later decided to alter tile amount of time belween two lines-perhap$ to change . dw K le.', fK ial expression. If both voices had been reoookd on one track. wilh natural ovcrl l ppln" it would have been imp<:>Ssible to open up the sou nd track. We always tried 10 I"(cord only a portion of our dialocue in the first SC$sion. On t... shorts il did no! matter too ~atly. si nce thel"( was never much dil. Ioaue in them anyway . Howe~r, on I'" fUtUl"(s. OUr conlracts usually cilled for five sessions over I period of It least tWO years. and occuionilly we had pr0blems in rind inllhe acl()r1 ..... n needed 19ain. (~ calls 1 Ellrope. Japan. and New York "'"Ue ~iml 0 all sound Ilike and no one eln jud(C' if Illy f t _-tw is Willlted . Once again. tile team effort fl_", !he I"(spons ibilities offel"(d Ihc be51 wlu1iIII. So !he director of tile sequence was askcd to _ the ~ing session. with most of his unil -.cIhim makiRj suggcslions, lislcning. discussing. ~. The recordin, Ihal was approved o n Ihal .,. woukI be around 10 lutunt tllem all for years 1 0 ___ ..., importanl thaI il be lhe besl everyone Vr:ry 5t1doln did Ihe K I()r1 record all lhe lintS wilh!hey look I page or '''-0 of lhe $C11p1lt I p>l' them I ch.ance to listen 10 ...~ they
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l~~d':;:.=;,:.~e~hance make 5o&lu, of we I"( ;:~:~!hey weI"( numberedthe10$.lime lines 10 as and Ind I"(femd
One " or "Take Two " (or occasionally
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Ii . ssistlnt director: " T1Iere ' sa take in Take 3. so take Take 2 and CUI off the . .. " . .ok< ."1 third take and take it clear 10 the SeD ICIOfS _med ",clllocether. giving I natural , Ind building t'" whole pie.:e 1 0

~~~~~;:,:This seleclions weI"( to rallier con.~"'n wmeli mes led made later of ~

_~"'. . quality

Sdndy DU~~dn .....U ' " Vult in TIlt Fox and the HOIInd. ,,'i.n dITU'OFl AFt Su ..n. f/fft) d~d T~d

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one oily 10 locate Peter USlioov. who was working only' hal f_mile away a!!be NBC Sludios in Burbank.) We needed lime 10 develop our characlers and build SIns through thdr penonaJities. Jim Jordan. ooce famed as Fibber McGee. was hired 10 do the voice of our . llHolrou in TM RUCWfS . He ~ame alarmed when we oullined our e~tended limetable and snorted. " Huh! You beller get nl<! all at once! I 'm 5e""nty_si~, y'lmow." Yean laler he was Slill =ording voices for 111 on Other piclIlRS. We learned 10 be very careful about choosing the voice of a fine performer if it did no. sound entin:ly natural and casual. An outslanding Stage voice, or even I straight voice , &ave the animalor very lillie viMlal help . Similarly. the phony voi<;e or fabricated voice of lhe imitator proved 10 be I problem ~IUK il never had sincerily. In a parody or a $Ilin: the "puton" voice works well, but il fails to convil)C<: an al>dience whe", bel ievability is required . The straight voice will keep !he clunocter dull . and lbe phony voice willlO$C the audic:nce . A difflCull II"IOITIC'nt rornes when I lop wem ~Ii rIQt give a perfOlTnaJlCC wilh either life or entenainmen! in the first Kssion. Is this an off day? Is Ihe material at fault? Should we look fOf someone elK? We asked the very talented Sandy Ouncan 10 do the: voice for our lady fox in TM Fox dnd the Howrd because m her fresh. disanning manner and her abilily

10 give any line In unexpected charm . BUI thoop lief

performance was exceptional. lhe "'ading was di"l'" pointing. lacking the crispnen and definition we had anlicipated . ~periencc IQId us lhe trouble had 10 be;' our script. and ~ wOft would be needed 10 pt Miss Dunean I clear Cha"'ler and a strongtr sitatlion . We n:alized that we n:ally did I\()( know OIIr link fQX as well as we thoughl we did. Back al our desks. we looked (or business lhat pt change. of altilude. SQmelhinlllo bring OUI n:1l COl> cern, a ~ilualiQn lhat WQlIId $how Sandy-. CUte. u., side. and make usc: of the wonderful warmlh ~he 00IIId give \Q almost any material. We wrote and talked a!Id ",wrote. and when she time in agai n the Kriplgl>t her the CIJIPIIf1unilies she: nm:Ied. Her perfOl'lTllllCt wrpasscd QUr original hopes, giving the inttgrity, (\or surprises. the te~turcs, the appeal that we needed. This kind of building and adapting naturally made utensive changes in the sioryboards, and the s~ Willi e ither enthusiastic about the great new po$$ibililies that were IIOw opening up , or he Willi slightly jIdnI aboul all his careful work being aboned. Since l!o! new suggestions had rome under lhe di=tor"J CODItol. it was only natUrallhat he keep the boards lid ine~ the new ideas . Ilowe""r , the changts ..... IlOl al ..... ys wccessful Of easily made. IeldillJ _ Sloryman 10 pin a large silln over his doot Ihll IUI!, " II was funny when il len here!"

Assistant Director
This indi\"i~ual is neither an assi~t:"n nor a director . Ik i! l uoobleshooter and ~cord~eeper who has th.: jOOof.w.ing order out of the ,weeping ~ritidsms and mali .. e th<l\I~ht, of the direc1<>r and the productio" unit. H. "'orks in area\ where Ihing., wnstantly c,on go WIIIn,. Fr."".." can b.!com. )o"t morc easil)" than c~t lie on the r.nFe. and. ~' '''ith the ~ tral' dogie, a nliss in5 frame mu,-/ be found_which i, incomprchcn:>iblc 10 li"NICli\ln edilon-. wh" me",ur~ Iheir film in arm lettgth" Every I.st frame of " canonn must Ix: c"n !rolled if Itlcrc i. 10 b.! any' :'IIIC with th~ ""ice'. the musio;,th. '''''00 dfe,,". or e"cn t" match one track 10 1IIOlher. After a !"\!f<xding sessi"n. lilt' ""i'lam director takes !he .elected lines and, with the cunN . .'pliccs them t<JCthe, "n they \\'ill play like;< r.dio scri pt . EVery'IOc listens. erili<ilin~ the assistant for not leaving cn"ugh Ii.., in SOIII< place>, puning in t"" much in others, andocc;uiorolly for having cut in the wrong --take" It)mewbere el~. When the tra<;k i~ approved. it is written up on ~y sheets of paper marked with m~!I)' 1iDeJ, each one indicat ing a s ingle fra me of film on Ihe trICk. The Itan and ~nd of each take is OOtw as ""ell as \h:\otaJio!I of the words within the take. Any ch~nge io1bc tratb from then on will be made on the~ !trey s/Ietls, .,,,,sing "ut >-Ome frame l ine~< patching in "th. en, In tbis way. these "'S~Y~" hccome the li"in~ rami of the piClUte. re.:ording each shift. each chang~ , (lit, RplaCt'mt:nt. s wilch. addition--evcry whim of the diIector and animator, kfort lronl(. thc<e grey~ will be <0 patched and tanered that thc)' arc alm,,-,t unintcll igible, but TC-.;",d, of atIOIher type ~ept .t the same time will take over. Calkd"tw- shcc1.<; they continue to be .. the bihle" of the Music ~oom right On m the end of the project. Thil method of r~cord-keepillg for every piece "f fitm, whether ,ound or (lietore. w3, <k"e[oped in the forst days of working "'ith music and is mo"" fully uplaincxl in the chapter On -- The Dis ney Sounds;' oot il must be mentioned here in relmion to the responsibilities of the assistant director, Thc !tar ,heets are a chart <In pa(ICr of e'-crything on the rcel~ and On the grey., In a s imple namp!e, 3 take has !xcn ",I""ted of Grumpy saying, .. I lion't know. hUI I'm ~gin 'em." It runs 3 fcct, b frame:;, IUIII the v"ice.1 of the other dwarfs hllVe !xcn cut into the Iccl in relation to that foo,~ge, Now, the animator fon,h that tlte line lacks Ihe emphasis he fccls for that spot and (lrcfer~ an a!l~rnme take, which had more vitality. The di!"<X tor agree6. so thc line i, rf:(llaccd . !lut the new line i. ,h,)[[cr, running only 2 feet. 14 frame,. Eight frame" mu,t COllie 0111 "t" JII track, for them to work with Ihis tIC'" replacemcnt. but;t all can Ix done on the !'Iar , heets first. As one well -trained as~istant expJairnxl. "You do the CUlling on paper. in df!, and if your bar sheet.l are accura~ . the assistant director doesn't have ~, ,'pend lime in the CUlling Room . The culler jllst does what' , on lite bar sl!tS!'" That is c.:nainl)' the ideal S;IIta (ion, bUI in actual uperieru:e i( is seldom that easy. What work~ o n pap"T may not sound right 10 the ~.u. and after trying a lillie ~hangc here .0<1 shifting one lrack to a neW location and moving the music up earlier_ omehow nothing OIJy Seem 10 fit to!1ethcr anymore . ' I1lere is no more desolate fcdinj!. ~han being cOO(led up in the ~utling room late at nij!.ht with the folm all Over the floo... with nothing in sync anymore, 00 app"'_ ent way to ):et back i1l10 syl1l:, ~nd tlte "~rey.," not reflting whal is on the tracks . Somdltlw thi$ u,u:tJly OCCurs when the"" i. a crud~1 meeting schcdule<l for first Ihing in the morning to look at the r(els.

Cutter
The cartoon ,uller has none of the latitude of his Ii"e ' .wn cOIlntcrp;lr! to deternl;ne lengths of seenn or ~which ,b<~s shall be used, Hi, job is C<lnccmed, first , "'ith keeping. marking. and storing all "f the
film. aO<1, ~,ond, wilh keeping lhe allimportant sync. In order to have everythinj!. a" flexible as possible while the animmion is !>ringing out new ide;lS, tlte !.Ound should he kept ,m sel".rnt~ tracks. Even tltc

Mmplc~1 film ""I II h..~ four !".eb : IWo of d'alo~"". """ uf sound dY~h. ~ """ of onu,...,. 11Ic culte. n'U~1 10.1 ~nd ,;".., ~''''ry lake lhal has betn m~d.o: of (;,ell 'ute.., lalent: 1M sclen~<.Ila~C$ Ihal Wtre I"ed Ihe rceb. Ihe replaccnM:nlS and altcrnal~' Ihal ....,'" con~lderW, and. linall y, all llle Ihou,and" of I'ny scraps Ihal Were com. """,nds some an,malO' hkW bul could 001 find any plac( 10 u"'"' AI thor t nd of Iht pkl"",. lle w,lI be ",,~rchinl: desperalely for many of Ihe'o . The ,""e,m mUft I, ~e thai of a I,brari an Ih an I film ed'm. e'l'eci~ll)' if lhe .""I~m di.eclor h~. dooc hi; job "'ell. bUI. atlually. trn:rc ;~ moch crc:a 1" IIY and dear Ih,nbn!; demanded of lhoe cutler .

,n

The whole un;1 m.) be u,~r to l"le" tn a ... ~I) .ecorded lract. hul lho;- l;u:onlC cUller "'ake' (>'tT)'_ ,,'~ it unl,t ho;- has scrobed hb lakn ~nd put n~rlll"nt in tmkr , In :oddit;on, h~ """C , u." ,. hi. ",",I~' trJet f<Y an)'lhing, Ik worb cnli .eI)' wilh p""I ' so Ihal lhe dir~ctOf nn Iry any id<:~, he wanl, " ';Ihool jeopardlz ing the ori~ ,"al. Clln~rs u,u:llI)" ",c", unc""l""fal"-' since lho;-r :Irc reluctant 10 t3~e ~ dun J~ 10 hca' how an ,dta ,,ill .. >lind A baldul C)... ~rc.". the nu beranl animalor who d~i"". we Cal\ 1(11 in ~ minui( if it" " ~olng 10 wor t and lhen " e ,"n put il t'~hl back the " 'Il" ,1 ".,,!'. Somcllll", n ",,'e. '1u'l<' ~o." n,. back. and hoot., arc 1of"'n1lrpng 10 find OUt "h~ .

J""

Charactcr Model Departmcnt

In the midlh'rlM:'. ron modd ,hoxl o r the ChafXlei'S was official "nul" bon: the S<!'I. ' OK. J ,G .. Joe G.a nl , "nisI. wrile" dc~ it:nc . onll. alone I'me. Pr<) ducer. was Ihe 'lull,,, aulhl>fil), "n Ihe design and "flpearance of ""ulr ewr)'thin, llul "",,W un lhe scra:n. and hiS la>lt and jud~nl(nt "'ere larlel) re pon.ihle for the plcas'n~ \Irk that identif,.,d lhe 1)i"lC), product ,juring Ihal period He wlle,led under h" ,,ing. in Iht CharctCtcr MndclDepartmcnt. a 'trnng j/lOUp of ,"cry taknled ~rI;>b .. ho m;uJc ;nspif1"~ ~nd
$UGG[Sltll MOIlEL."I

stimulJlln!; S~ctclll.'5 of all t.... """ ch~r...,t ...... bo,,'I: eo""dercd . Joo:., .In- wings were o.i<mc predominanll y in "","1 ~I lei,. hul hi, c.~w ,", .. ,1.1 handle ewry dramatic and fla~h)" nlwium klll ... n 10 ~rt'~I.'. This " a, al ..a)"s I SOUrtt of anoo)";Intt. ~nd or""r. 10 .he ~n"n3I""". " we'" '~StrKIe<J I" 10"" (Iraw;n~~ and nal ,,,lor Joe ..:enlCd 10 ha'''' an end I,,> supp!)' "r lo"ely sketch<.;. hi . podet. , >u~~c"in~" nkcr effect . a ~flc' look. I mo.e inler-.,ti n~ .ha~, and W.h a, ked r-.peale<.\l)".

PEGASUS

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The Characler Model Department eventu, panded to include three SCUlplOrs who lransl' drawings into beautiful, liule day figures of eao; acter , 1bese ,'..ere cast, and a limited number 01 models, painted in the colors suggested by the Model girls," were dimibuted 10 the animators were no elusive smudges here but hard realit y i, and shapes magnificently do"", and lhey were aid to the whole animation department . Unfom lhey were so good that Wah started giving $OIT to VIP's as souvenirs, while others became per decorations in the offices of tOP personnel. 1 had a way of disappearing, especiall y as we 00: end of a picture.

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"WIIat ya gO! lhere, Joe?" Joe would caslla!1y revuJ his lillie masterpiece, causing Walt 10 exclaim. "Yeah .. yeah! Look 3tthis. guys. isn'lthat beuer" Why don't we draw it like that?" However. there was no wayan animator could duplicate in line what had been captured with a sl ighl snludge Qf chalk. Although stimulaled by an improved appearance for the charac ter. we were completely frustraled by lhe lechnique.

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1M d;!c.cl'" .... >11 ~"" hi. ,,1I"'e !oC<ju(nc~ (In fil m on ",nnin~ f{Ol nl Th" is ,he SlOT)' I/.re l, II i< ~ .t't lll ....... .

"'~"\.If~' mu.t oow l.'IC ~I", ... 10 m~t.h C ,J hnt , rurfl>l ""'I'l<l u:...-ls. so a "',,'r<l,n,!' i~ m.:l<l. thai I~.~~J "b,k' 11k: ,' IT" "~ll:he< the ~lN~" ""n rIO II.., famiio., ~k~ld"", . It is (l1lC thing 1<1 ",..11" . \~I. nw.in~ l/w pW1. spiril~J '" p.!acdul by I~ ~);h ~f Ih.. ""i~~ ~omh; .....>J "i,h dll' 1<'miX' 01 Ih~ ~\i'IIlJ1~"' . hu, II is quile ,,"()1her H> .crtal,' "II) ,.f ~n. "h.I,' " ) In!,' In ~up "I' " ';lh a iOU 'lli ,e.."r,j '!!' WI ,~, Ih'''''~h ,he I"" Is "nJ J,-ap ~ >l"ould I,, Clcit;ng . Ol"'iousl~. SllIII",hinf ~ be ""'"'I""d on hoIh .. "" Ill ""'. ph...IUfe _n,.' i. II.... ~ii., .... d'e 4'''',inu,n,; "1\;!,,fC' on ,.... :;"'~s. :...oJ ,-... .._,I. r~I.:h.d. ~",t "" "",,1 3. th. ,rarh"1\" I<> ",,,, , h Iho: OC"" d.~" '":;$ Ihat " ill c"".k'n.~

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10 ch"n)!c K s~ewh and ,<,hoot il I t. differenl fool~~c ~. tIl ~ " "nl!~ II on \h~ Mnr"h"ard, f<!visi"' I> C"" he ",uickl)" m..1t "oJ [~"td Are'" p<:ninent ~C)"nd dfc,'h art :\d,k~! I" fl' c a litlle lC.q. alld ~me riC('<'~ "f old II>U",' ""~11I t,.,. play\XI alooF._ide to su~c" I nll)(ol. 11 i~ CI\!o)' h ' " ~I"-'fln",nt "'"h Ihc ,Ii ~I Ihi~ , IaJ,"'. ,1\IIk. '

~ ...."'gh ~1'1"l'~im~ .... Y lhe sc'lucn.;c cw,llu3(()' ajl "1'1"'''' s.,"'ICday III; ~ iiI", i< sai n!', to t,.,.1''''jc'''cd 'j'l \mCn at 90 feel. minule. aoolhe soonu We Sllln wilIt it.lt th~t <pced tI,e bene' (Iff "'e arc . We .an t IIrc indi,idll.l! dlawin.l .'n lhe ~t("ryOOard. let 00,'

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111m Willr (h~ ~rl"}> <m ~"","m . ,ea"d plar~1 ,'" Ihe OIh~r. ~",J 11,,: . ;~h"'I. 10,' ""C~IIr' .... it li tire rcf"''''''CIII'. II". lr.rra In"'~\'td and (he l'f'X"i~ staging ~wi l td . 'j _''UnI ~Mr~ an: ...."Cdc" ill II\" ,Jr~"'in ... ' . an.! flit ."",. ,...."'<',, .na~ I~k .. 'c\'.'fa' J3y J:out II i. <,e~ n1l"me of I"," suu~glc _ J:.:::~hc" ~,~~mf i. tI'fI ... ~h . lhe ~.)I')' ~kc"h~< al\'

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inj: 111<'11'
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Layout
The layout man has the Il'SpODsibility for the appear_ ance ofthc pkture, ~ne by scene, and.s ltota l film . If" special style has be<:n set for tM production. h.. adapIs this work 10 the breIdand-buuer ne.eds of the SttIlCS. He worb with the: direclOr on the: suging and dramatization. building on !he ideas of llle story sketch man. He designs the ~kgrounds. suggesto the; p<lt . tern of action for the .nimalor. ;nd~.tes camera posi lions for the most .,free.ive shoI and the cuui"g thai will tell the Story in the most elllenaining way. In li ~ action films. this important t uning. or wi ling. as they ~fcr 10 <.:all it , is done after the film has bttn sboI. 'The arrangemenl of the pieces can give the pictun: special meaning, e>;cilemcnl , .",spense. purpose. or j ust as easily make it a dull conglomeration of tedi0ll5, endlen scenes. 1),., sarrN: potential uius in the animated film. but _ must operate in ~versc ! We have 10 make our de<.:iS1ons when the film exists only in our d~ams. II i~ far easier when the~ a~ tangible strips o f film thaI can be spliced t"lelher and ce>led and j udged . In theory. the layout man plarrs his seque~ e_ fully in rough s ketches. working back and forth to find the bes l way to IiO lve aU of the problems inhc~OI ill any film . Surpri singly. one of hi s biggest lM:adaches iI in keeping the di~tions clear and C(IfIsilent lIS dw: characters move "<'ross 11M: ~n:cn or uthangt: Ioob during dialogue. As long as tIM: ~er.es were prcsenttd as Ken by an audience watching. mge performanct. the~ had been linle problem. 8uI once: !hi: camen moved among the acun and throogh the sets. ~ bcame more difficult 10 keep 11M: audience oriented. Since (b, ~enes we~ planned 10 stage the bus iness ralher clariry the precise location o f 11M: c haracters.

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Imaginative Staging Helps the Sequence

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of o;omNln. apparent ly lookin g he >p<lke tn ~ companio" who Was nOI 'lIowi~ in ttl. scene, Argumenls raged and diagrams "'erC ~ to I"v,-. thai a ,onccpt WJ, correct_ "The camt .. i, he"" ~1ic~ey i~ here, And Donald is Ihcre~ He h;lS 10 IcXl~ 10 hi. kfl 10 Htlk 111 ~lide)'~" BUI ItS",lI." of "".I"si" il ne"cr loo~~d corre,t to tt><:
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.;ewer; unles> a Ck;if directivn fmm one OIOC nf the I(lt(n 1o Ihe "ther had been e,labli,hed, The", ;, mo."" fun in drawing up Ihe b,~ pi,'tur;al Itt'"" thal_<h"" the wholc ,et,up and e""bl,,h h<lth !he _xl atld the d<;lails "I' Ibe lox.le Ofl~n Ihe pi.:lIlrn on Ihe scr(cn wiliidl as much about h"w ,orne one f..,l, as lhe acting: il i, a combin. ti vn "f tbe mood ;md the rdation'hip of Ihe chamelcr to h" ~ur fIlIIIl<Iinf' , Wilh the ex,'epli!>n of IhC fir-t four or fj," fcui<lre,. _t of H,i, r"",edur~ 1m, relllained nnly theory for !he11)"llIt m.n . The "nim~lor~ need work h..:fore IllCTe bas been time It' pi". an" Ihing. III\: I:>a.;kgwund paint~r ~ ~"il,"g 10 "'p,,,inl\:nt W;lh I((hnique ' Md colors, lhtdire.:tor "ant, him to ",ake 'orne ,kel"""" to repair !be 110<)' ltolS. and, svmehow, the part he ha~ been dtinl:U\i aboul has !>fen revised before he even bad 3 ~~ to p~1 any thoughts down on pa!'C'r, Some men CIil adapl quickly 10 ~uch chang~., aying one ide1 Ifteuoother on the !po1, bUI mosl need lime 10 ~dju,!. As one Itm.lrked, "! can~ do ske~,hes on my lap lik~

Ken AnderS011 . I have 10 tv back 10 my de,k and Ihink ab.,Ul il 3 litHe .. Here is a 11<1 of .ome ()f tbe Ihi11~' Ihe layoul spe" duli,j> think "oout. l"k~n fr<.>rn Ihe .",rap~ of !"Iper pinned to ~hei, <Ie>ks. They cOme primarily from Ken O"C,mn()r an<J D<ln Griffith. wilh a few from Ken AnJers"n. hUI much of lbe wi .. I"", ~OC's hack 1<> their leacher<, I, One qui<:k l""k i. "II Ihe 3I1di"""c gels- keep il ~'mpl~. di ..,t, li l e a p"'ter; i1 must sell ;111 idea: 2_ btt9 rendering al u ]at" ,laiC cannot sa,'e 3 p"ur original c<lf><'Cpiioll_ ,~ Alway' keep '~"-'en dir~liOl\' rI.."y. Thi< will he your bi~gesl head""he--don1 ",-..I'M>t. il _ <I K~ep illf"r11lcd on: art in hi~l(lrY-"fchilc"'lUre. C,,-,Imne., land~ape._ ~ Kcep illformcd "n: ,1}'I,'s, nl\:diums, textures, ~urfa<:c" """'P'"ilion. ,Irawin)!. h , Keep ;nfonnc,l <1,,: le.llnic,,1 inf(lfmation--t"ffeCI> ~,,'cn by differenl lenses. gm"nd gl"ss. f'ltcr~, ~ek What Ihe "1>1kall'rinlcr ,,"n d" f"r you, 7 :>'1000 can h<: e~tahlished b)' Illning and "IOVC
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Four Ways to Plan and Make the Layouts

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I. The Thoughtful Thumbn ail

Devdoped by Ken Anderson and Wi lfred Jac:kson for Tile Seng of the Soulh . W ilh their knowledge of ~!a, ing. layout . and visual communK:3!ion. !hey worked from the s toryboards in s mallihumbnai l sketches . trying one way aflc r 3001hcr. When a conlinuity fin~lIy was found. [he animators were Cllkd in 1 cnlk il.e 0 and StoWS! slill more iokas. Wilh Ken's IllW'ing abil ity. !iketches were made as fa~1 IS the men Ike(! . ~ became lhe basis for the final layouls. cunin,. and SllIin,. and showed "'" :mirrullor where lIis KCM fil inlo the fult continuity.

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More: though! is pU! inm visuali1.inlllhe aclual layout 110 III C~ryOM will know ulclly wlu.l is being planned and can judge if il will wOO; properly. ClaMP still (:an be made . bul !hey genenlly are confined 10 small !hines. such as extending the drawin, !IO I slil,hl 1"'" move un be u~. or moving a piett 0( fumiture 10 make Il1(lft room for the chafxlcr in the KCIIC . ",~ method works best if the t.)'OIII1tWl has had cnougll lime ~o plan ~he ~~~ging for the whole se:q~ncc .

3. The Multiple Choice

Also contributed by Ke n Anderson , the idea here is to stimul ate everyo ne to the poss ibilities in a situation and a locale, g iving the director , layout man, and animators a cha nce to choose the staging and layout each liked best. Ke n ins pired us with the possibilities in the visual presentatio n, going far beyond business and staging.

4. Long Shot or Establishing Shot

For The Fox and the Hound, Don Griffith establ ished with this mas ter shot the houses o f the hunte r a nd the widow , the dista nce be twee n them , a nd the detail s in the terrain . For the w ho le pic ture, this layo ut the n became the guide fo r all business in thi s area . A scene of a closer shot along the fe nce is planned, keeping all the spatial re latio nshi ps established in the long shot. No matte r what came ra ang le is chosen , e ve ryone in the unit knows what shou ld be shown in such a shot.

~, Experimental Animation
personality traits apparent In what they 'do to show who they are and how they acL Some animators' prefer to start with the acting , revealing the personality of the new character through what he does and leaving the refinement of his appearance until they know him better, Others feel just as strongly that the appearance is primarily a drawing problem that must be conquered before any acting or movement is attempted, Animators, like artists and actors everywhere, are all different, and they each have to find their own approach to their work, Much of the strength of the studio actually has come from just these differences in the individual animators, which

",1".

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"t With the voices recorded and the lead story sequence " approved in the story reel, it becomes time to start the ' ,Jx(Jerimental animation, The term is misleading in some " ways, It means that' a supervising animator will now , take these ingredients along with the suggestions for the appearance of the main characters and, putting it all together, see if he can come up with a personality " that comes to life on the screen and is interesting enough i to hold the picture together, lfhe sequence that is chosen for the first story work :it involves the main characters coming together in an " interesting situation, For instance, the first sequence ~:' ~f Pinocchio was the one in which all the characters ;" are introduced in Geppetto' shouse, The action here is subdued enough so that everyone can observe the " appearance of these new figures, and there are enough
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we slopped animating until a new design could be fOl/1Id, marching a !lew story concept of the character. Fred Moore 's drawings at upper right suggested more innocence and the proportions of a boy rallier than a puppet.
Milt Kahl's drawings of the chubby, naive

little boy in the Tyro/ean hat became the filial model when we resumed animating six mOlllhs later.

account for the variety of feelings and characters they can portray on the screen . The general appearance of the character can be almost any design that fits the story and the overall style of its presentation, but the specifics of how he is drawn depend entirely on what business he has to do , what attitudes he must show, and what expressions he will have . The voice will suggest many facets of his personality , but the needs of the story and his place in it are the major considerations. Once you know what you want him to do , you will know how to construct him so that he can do those things best. His job as an animated character is to communicate story ideas in the most entertaining way, and just being alive is not enough. We must study the design carefully, questioning the shape of his whole figure, his costume , his head , cheeks, mouth , eyes, hands, legs, arms-even the setting he is in and how he relates to it. Is the scale correct? Is it drawn to give the best advantage to the character? Does it support and fortify hi s personality so that he feels dominating or timid or clumsy or defiant, or whatever he is supposed to be? This is as much a part of the problem as the type of movements he has, the timing of them, and the acting in both body attitudes and facial expressions. However it is done , eventuall y there will be about 75 feet of film animated and projected fo r all to see and criticize. It is interesting that the react ion always follows the same pattern . If the characterization is weak for any reason , the drawing is criticized. If the business is weak, the characterization is criticized . For some reason, the original business , also being tested at this point, is assumed to be infallible, and only the new figure's appearance is tom apart . One young animator was quite shaken by the criticism of hi s scenes. "The best drawing in the world wouldn ' t have helped because it would still be empty; it was because of the emptiness in the business that they criticized the scenes." He went on to explain , " I can' t make a drawing until I know what I'm trying to
draw. ,, 7

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If the business is right and the animator made the right choices on hi s drawing and acting, everyone is elated . There may be tiny suggestions about details, appearance , or ways of doing something , or. more

likely , a way to build to an even more entertainingl action, but the main reaction is one of enjoyment and excitement. ~ Walt seldom complimented anyone, letting us fee~ that sheer perfection was the standard he expected of everybody. Nevertheless , we will always remember his reactions to o ur experimental animation of BambI: and Thumper. He had been concerned over our ability, to make four-legged characters have enough personal, ity to sustai n a whole feature, but when he saw OUI first efforts he turned to us with tears in his eyes! " Thanks, fellows ," he said , "That stuff is pure gold!'~ It was one of the few times we can remember hif. coming right out with a sincere compliment. Les Clarki one of the earliest animators at the studio, remembered its happening twice in 39 years , when Walt said JM:1 particularly liked the Mickeys Les drew; usually his appro val was indirect or buried in some other thought: He did not like to expose his feelings , and it was ', ~ impossible to thank him for anything. He would cough 'f and scowl and mutter, " Yeah, uh- well , say , we've,. got to get going on this thing, y'know ; it' s gonna get way out of hand if we don ' t pay attention here .... " "' if With the experimental animation approved, everY~ body could go back to work with a new idea of what this story is going to be and how it is going to be told, Once the characters have been seen as living and a,t~' ing and showing very definite, specific , and , especial .

Iy, entertaining personalities, everyone knows how to handle them . The storyman can now start on the next sequences with more confidence; the layout man can work with more precision ; and , also, very important , !he " inspirational sketch" man can start exploring new

situations that will give these characters their best chance for great performances. The rest of the animators are brought on as suitable work is found for them, although it may be six months before everybody can be working full time on the work each does best.

The Handout
The animator gets more than just a scene and a pat on the back when he picks up his work from the director. There is a tape or record of the sound track, along with an exposure sheet, which is not only an exact copy of the scene as it appears on the greys, but it also contains suggestions for accents to be caught or certain staging to be maintained . The animator will get a copy of the final storyboards so that he can see how hi s scene fits into the whole sequence , and he will have the layout showing the size of the characters. their suggested positions. the extent of their movements , and the area in which they are working. In addition , there is a full scene description which reminds him of why the scene is in the picture, what it is supposed to .actiieve, and what has been considered entertaining '3b'out it. When we were younger, the director and the anima.t~r acted out everything for each other, down to how 'Bluto would eat out of his dish . The handout of only a few scenes could take the whole day because the idea 'W'as to pack as much entertainment as possible into that continuity , and we knew it could be still better. no matter how good our last version sounded. Elsa Lanchester said of the business she had worked out for one of her scenes , "There's always a better way, you know . No matter how good it is, the re's always a better way , and you ha ve to keep trying, don ' t you?" Back in the thirties, we talked of how Chaplin would do the scene, or perhaps Buster Keaton, or one of the fellow s in the studio whom we both knew , and we climbed on the table and over the chairs and all over the room chasing imaginary cats or villains or whatever. One day Wil fred Jackson was di sturbed by violent sounds coming from Bert Gillett 's room directly above him . "I heard this terrific music going on with thumping and bumping- I tho ught they were moving furni ture or something ." Gi llett was the other director , and Jackson was used to the sounds of a musician working o ut a pattern as Bert jumped from his table to the floor repeatedly, trying to capture the timing of fleas jumping off Pluto 's back, or even the " thump-clop , thump. clop-thump-c1op" as Peg Leg Pete ran after Mickey . But this sounded more sinister, and Jackson just had to go up to see what was going on . His eyes popped as he opened the door. "Here was Frank Churchill over at the piano with his cigarette hang ing down, with his eyes closed and his foot stomping away," while on the other side of the room, Bert had Fred Moore up against the wall and was swinging wildly with his fi sts. Fred was trying desperately to duck and break away , but was doing little to defend himself. Jackson stared in horror , wondering if he should call for help or try to stop the fracas by himself. Suddenly it all stopped, and the three men walked back to the big table and looked at the exposure sheet, marking down actions and timing . They were working on a scene from Ye Olden Days where a big horse has a fi ght with a donkey . There was always great value in this process of ac ting out a scene . The animator even had his assis tant do it when back in his room , so he could see how the scene looked and determine the best angle for drawing it. This helped in deciding how best to use the time for putting over the business , as well as noting all the tiny details of the action. The handout is not finished when the animator takes his scenes and layouts and tracks and readings down to hi s room. He is sti ll turning things over in his mind. The director has told him that these particular scenes are the most important ones in the picture, with the best entertainment potential , that probahl y no other animator could do them as well, and that he really will make a name for himself on this picture . The animator listens to a record or tape of his sound track and won

ders if they really picked the best take of the dialogue. He looks at the layout and wonders if this is the right way to stage the business. Is the character too small for the expression to read? Maybe it should be two scenes. He makes some thumbnail sketches, studies' the photocopy of the original storyboard, then storms back up to the director's room with a whole new idea. " Hey, wouldn't it be better if we did this in a close-up, facing the other direction and saying this second line of dialogue flfSt? Then we could add a gulp, and maybe a sigh, and then go into that other line . . . ." The layout man turns back to his desk muttering something that no one hears as he stans a new layout. The director must listen because he may get back a

scene without any life if the animator does only what J he is told to do. Perhaps he is not thinking about the scene in the same terms as the director, and that possibility, coupled with the likelihood of a mechanical performance otherwise, makes the director do some thinking. He has an opponunity, now , to get a scene that sounds different from what was planned, but one I that has enthusiasm behind it and a good chance to be just as entenaining; it is worth considering . I A compromise is reached , the track is shifted, the scene description changed, new layouts made, expo- I sure sheets and greys are corrected, and the enthusi~ tic animator returns to his drawing board . The handout is over.

Supervising Animator
This title meant that the individual was responsible for the work done by the men under him. Ordinarily, he would be assigned anywhere from one to seven or eight animators of varying talents. If they were strong , experienced men, he had little to do. They would pick up their work from the director and do the scenes by themselves. The supervising animator would talk to them about the character they were doing, exchange ideas on how to keep him consistent in appearance, suggest business that might fit into their section of thepicture, or discuss further ways they all might develop the character. He might also commiserate when things went wrong or try to defend his animators if they were unjustly criticized. When the animators were less experienced, the supervisor did whatever was necessary to help them get a satisfactory result. He was present at the handout, making suggestions and being sure that these menl understood just what was wanted. In some cases, be made the key poses for each scene and even shot them on film as a guide for how the scene should work. Afterward, both drawings and film were tumed over to the new animator, allowing him to concentrate on just the movement within the drawing rather than wOll'f about all the other aspects of doing a scene. This young anist still had the problem of making that movement convincing and entenaining with the quality of life we wanted; his energies could easily be dissipated if be were expected to do too much all at once. We estimated that it took a year and a half to learn the basic fundamentals of animation and another five or six years to be at all skillful. Even so, we never outgrew the concept of helping each other, exchanging drawings and sharing ideas. It was the basis of the team effon and enabled us all to do far better than we would have by ourselves.

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The Animator
Stooy,layout, painting, styling-these are creative jobs , difficult and rewarding and interesting , but essentially concerned with solving problems in the most an is tic manner. Only animation is magical. This is its appeal. The creative artist can make something here that exists and breathes and thinks for itself, which gets back to our test of all great an: does it live? Techniques can be copied, mechanics can be duplicated. and even the drawings themselves traced, but the spark of life comes only from the animator. His taste , judgment, and ideas are unique with him and his animation. It is a highly individual effort. As a person , the animator may be shy or introvened, arrogant or domineering , quiet or pensive; it no longer mailers. Personality traits fade away as an artist enters the private world of the drawings on his board . Through the characters he creates, he can be adventurous, crafty. funny, evil. lovable , athletic; he can be a bird, a flower , a snowflake, a shaft of light. This is a very auractive prospect to most of us. At times his scenes appear to be controlled too much byo!bers; the design of the character, its personality , ~ layout, the amount of footage are all determined by soineone else. However, as a contributing member at Ibe group, the animator undoubtedly will receive I!lIlIt stimulation than restriction from this process . Wbile the layout man was thinking primarily of storytelling and design and mood when he suggested the locale and the props. he undoubtedly had strong ideas of how the character should act as well. Equally sllong ideas were held by the storyman, the director, and everyone else who had contributed to the scene up to this poin!. Now the animator must build on the work and the ideas of all these people , selecting and discarding carefully, sifting and judging, suggesting aad changing, until he has found a paUem of action that is just right for him . He must understand it and feel it; it must be his own, regardless of where the ideas came from . It is this personal thinking of the animator that makes the scene good. not the re liance oa others to tell him what to do . This does not mean that he is obliged to change the business or feel compelled to think of something completely new . First , he must listen and try to appreciate the values of the scene as it stands . More than one top animator has ruined excellent story material by insisting on animating a scene when he does not understand the humor in the story situation or feel the action. The animator works back and fonh through his scene until he has made the drawings that control the movement . He might have to make a drawing for every frame of film , or his key drawing might occur only every foot , depending on the panicular action. The number of dra wings is immaterial, because as an anist he would be drawing day after day in any job he has taken. Here , his drawings happen to be in continuity and related in a very special way . He discards far more than he keeps in his attempt to capture on paper his feelings about the scene, so his concern is not how many drawings he has made , but how well they depict the vision in his mind.

The idea for this scene in

The Fox and the Hound

Vance Gerry develops the situation ill his story sketch.

comes from GIl inspiration. al sketch by Mel ShalV oj the faxes meeting in a ro malllic setting.

Rough layout oj the specific scene by Don Griffith shows the approximate po sitions of the characters in a close up of the setting.

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Assistant Animator
Gradually we developed a professional class of " clean up men " who took pride in their work. It was their skill that made the pictures look so fi ne, ye t for a number of years they never got screen credit , nor even the salary they deserved . They sometimes were compared to a blocking back on a football team who clears the way for the star runner to make the yardage and the headlines, and it was true that they had to take their satisfaction from the success of the sequence on which they had worked. They studied line drawing, training on Holbein , Degas, Daumier, Da Vinci; they watched drapery in movement , noting the difference between filmy scarves, woolen skirts, f10wing capes, a nd even baggy pants; they learned the value of a sharp , crisp line against a large , soft shape; they knew how to keep a design in the free-f1owing changing shapes of ani mation rather than make a rigid copy . They always extended the arcs of the movement , squashed the charICier more , stretched him more-refining whi le emphasizing both the ac tio n and the drawings . They understood the business of the scene , what it was supto achieve, worked closely with the animator in :deciding which parts were developing well and which needed a little help , and the y could see the charstart to live as they " rolled" the drawings on pegs. This required a special kind of talent as well study-not every arti st cou ld master it. The best working pl an seemed to be the small unit only a few men who , with the animator, carried the responsibility of doing everything on their own . An ideal group would include an assistant aniwho was experienced enough to make simple IlnilnatilJn changes and corrections, a second assistant drew well but was just learning his job, a reliable limlkd()wn man, and an eager inbetweener who could as bookkeeper and handyman . Thi s las t cateincluded everything: threading the film on the taking a test over to the cutter, running up to Music Room for a corrected layout, or even prying the reels away from a distraught assistant director "for just a couple of minutes ; we want to see how it looks c ut in the reel! " Together they budgeted their work and met their deadline. No other system retained as much quality or moved as much work without losing control of the way it was done . Assistant animators who had this much ability were seldom content to stay in this position for more than a few pictures. Some went o n into animation, but most went into other types of jobs where their interest in detail, 'efinement, and design was stressed. Undeniably, it had cost more to have a clean up man redraw the complete scene, but it was the o nl y way we could have produced the rich charac te rs of the first features. In later years, as costs continued to soar in all departme nts , a new procedure call ed " Touch-up" was instigated . It asked that the animator draw slowly and carefull y enough so that the assistant need on ly touchup the drawings he re and there to make them ready for the Ink and Paint Department. By this time all of our animators had become more ski llful and were able to adj ust to the new idea without noticeable damage to the product. Top quality clean up work is needed on only a handful of scenes in any sequence , and a great variety of shortcuts can be used on the balance to make them acceptable. Unfortunately , the assistant' s work over the years has been considered an area where money can be saved. The production manager watching the money will have been frustrated through the early days of production since there is no way for him to measure ideas or work in progress. But once drawings have been made, a smile envelops his face . Here is something that can be counted, checked , timed , and followed through the plant. The term " pencil mileage" is heard often as the number of artists plus the speed of output is balanced against " footage to be done." Between trying to please the animator who wants the best and the manager who . wants the quickest , the assistant must reach a compromise that still satisfies his own standards .

Pose Test
The quickest way to see how a scene is going to pl ay is to shoot wha t we call a " pose test. ' While the animator is sett ing up hi s sce ne , fig urin g the size . the movement. the ac ti ng. he is making ro ug h drawings that wi ll become the basis of the ac tual anim ation . No w , instead of refinin g those draw ings and re lating the m to each other , he se nds the m to camera j ust the way they arc . They are the key poses fo r the sce ne a nd show how the sce ne is be ing pl anned . By shooting the m at no less t~ a n 4 frames apiece and no more than 24. both the director and the animator can see if the action w ill be strong e nough . or too strong. and if the amo unt of ti me all owed fo r the sce ne is go in g to be ri ght. Whe n a series of pose tests are c ut together in a reel , the re is quite a good feeling of how tha t part of the sequence will play . T he re is also a poss ibilit y that the scene may look funni er and more interesting in poses than it ever can in full animation . Fred Moore had a famous scene in Snow While that a lways worked far bette r in the pose test. The scene showed Dopey and Happy ve ry con cemed a bout the mag ical powers of the ev il queen. Grumpy had just informed the m that she might be in the ir room " ri ght now! " Fred used abour ekven poses to show Dopey looking from side to side , then glanc. ing at Happy ' s beard, lifting it, se arc hing under iI. then rece iving a " bonk " on lhe head . When th is pose les t came bac k from came ra . it had a s urprising crisp ness that gave excite ment and a fee ling of nervous appre he nsion . There was a big laugh the first ti me it was shown in sweat box . but that was the hest the scene ever looked . f rom the n on it we nt dow n hill. I Fred made new and be tter poses as he animated the I scene , hut the c rispness was gone . Afte r severa l uns uccessful tests. in desperation he went back to hi s orig inal poses and tried to work between them , hoping to recaptu re the spark le that was in his first pose test. T hat w as even worse. H e never d id find the ri ght combinatio n of ti mi ng and spac ing and regre tted e ver having posed Ihe scene in the first pl ace. The sweatbox note shows Walt 'seffon 10 ge t more life in the sce ne: Scene 3 1
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Be closer at the Slart of this scene. and as you pan up. come back at the same time. The minute Dopey looks unde r the beard . have Happy tum right aro und and hit Dopey. takin g out the stall yo u now ha ve . Happy wo uld ta ke it j ust as the extreme was reached a nd turn right to hitting Dopey. Fred, you suggested that Dopey's head , fro m the bonk , would go down and pop up agai n . Walt okayed il. Despite some negati ve aspects, pose tests have a distinct value. as we d iscovered when working on Bambi. The sequence of the young deer on the ice with his friend Thumper was a bo ut to be c ut fro m the story as being ex traneous business . The animator who had hoped to work on this section was appalled " The

dialogue that had been recorded was excellent ; the story sketches showed clearl y what great enten ainment the re would be in the situation; it would be a wonderful seque nce to animate . A meeting was scheduled to make the final decision, and the animator was de termined that this material should get the best possible chance for approval. For three days and nights he worked , posing scenes. ro ughing out new sketc hes , making o ut ex posure sheets, shooting held drawings and story sketches. until he had a running reel on the main pan of the sequence . It was c rude, but it sold the idea. Without the pose tests sho wing the poss ibilities in timing and reaction, the sequence would ha ve been cut from the picture. As it was, the relationships were built into even more entertai ning actions until that section became a high po int in the who le picture .

The Work Reel

When the animator has film on two or three o f his scenes. he wants to see how they play in contin ui ty . B themselves. the y may look just great, hav ing life y and sparkle and clarity , or they may be a comple te disappointmenl. All of this can change completely whe n the scene is viewed as part o f an overall contin uity. After all , they ha ve been planned to work in sequence Sl!dthat is the way they should be seen . The dull scene may have just the subdued feeling needed for that spot. and the active one may be e ntirely too violent . The only way to be sure is to c ut them into the story reel, re placing the story ske tches that are occup ying this spot in the pic ture . Here. the y will benefit from the suggestion o f ac ti vity and pe rsonality in the scenes just preceding, as well as the ones that follow. As each a nimator continues this prac tice . the story reel gradually becomes the work recl. or the ruff reel. since it contains all the scenes of rough animation. Coupled with the matc hing sound ree ls. they are constantl y chang ing with the latest revisions of footage and scene cutting. As each new test comes in , there is usually a request for the additi on of a sound or a slight shift in position fo r bette r sync. In this manner, the work reels , at all times, reflect the progress of the

sequence and show whether the anticipated entertainment is actually there. Everyone can learn something from them, even in this rough fonn. The layout man might discover the mood and design is not as evident as he had hoped, or the background man can find out how long a certain background will be on the screen and how much of it

will be covered by the figures. The director wants Ihe work reels for his sweatboxing, the animatur needs them to study his changes. and the assistant animator must check the scenes he is to clean up. Throughout the day, the assistant director will be trying to grab Ihe reels so he can make all the changes thai were requested yesterday. They are a popular and necessary item.

How Does it Look?

We never made a picture starting at the beginning and working straight through to the end. We began with the section that gave the best opportunity to get hold of the characters, then moved on to a sequence that either had the greatest entertainment potential, or was needed most for the development of other phases of the picture. There was no possibility of establishing a now this way and very little chance of finding a balance of fast to slow, excitement to serenity, pathos to comedy. The individual sequences were not handled like a short, hut they were complete in themselves and high in interest. We were curious about how it would look all cut together. We knew it was fairly easy to make an interesting picture that would run only ten minutes. Most people will watch almost anything that is fresh or funny or surprising for that long. Twenty minutes is an ideal length for an animated film, and even a half-hour show offers few real difficulties. The audience can be kept dazzled or persuaded or laughing, mayhe even crying a little , in that amount of time. But beyond a half hour , troubles start mounting . A feature -length film requires very special considerations. It is important that it be seen in some kind of running form as soon as possible. Eventually, the day comes when this can happen. However, there may be blank film on the picture track with newly recorded dialogue carrying the intent, and there will be many areas with only still , inspirational sketches giving just the barest suggestion of what is to come. But between the story reels and the work reels , and the bits of completed animation, perhaps even some in color, the staff can follow the story, and for the first time see what their picture is going to be. There was enormous excitement when that point was reached in the production of SilO II' White and a special evening showing was arranged out on the sound stage, the building then doubling as a theater. Every one wanted to see the film, but there was only room for the key personnel in the four rows of seats at Ihe end of the stage. Getting ready at home, Walt was nervous, anxious. critical, tense , eager. He suddenly called to his wife. "Hurry up , Lilly , or we won't get a seat'" Lilly, who had a much more pragmatic view of life than her intense hushand , turned in dishelief. " Do you mean to tell me that in your own studio they won't even save you a seat?" Walt was nustered and tried to cover up , muttering about how late it was and wanting to get there early and you never could tell what might happen , and it lVas a very important occasion' We had saved them two seats right in the middle ; as a matter of fact, there were four seats there , since no one was sure he wanted to be sitting right next to Walt at such a crucial screening. Seeing the picture all together for the first time is always a startling experience. Somehow it has picked up a life of its own. In some ways it is like one of your children. It may not be what you expected or what you told your friends you would have, but there it is, and il is yours. Up until now you have been living on dreams, believing that the picture would be a certain way and would tell a certain story and have these wondcrfui characters that everyone would really love. Now your hopes and dreams are over; this is what you have, and this is what you have to continue molding and shaping on a very practical basis. The picture probably has some fairly good moments here and there, but it will never look just right all the way through. If it is sup

Layout for the entertainin8 bed-huilding sequence iT. Snow White. The dwa~ wanted to make a special gift for their guest, but th, sequence slowed down lht movement of the story ana had to be cut out just a.s the animation was started.

to be exciting and is not , now you must do what to make it exciting. If it needs s uspense, put it . If it is too long, trim it , and if it is too short , IOQ.-Out add very judiciously. If it is redundant , or to make its points- whatever the problem-you work with these pieces of film until they become best picture you can make of them. Too often the money is all spent by this time and is screaming that the picture must be comin any form , "Just get it done!" But that is a decision. This is the very time when the most work must be done . Famed film director Blake said in an interview ,9 " It 's nothing to bring in on schedule or under budget. The hard part making a good picture- I don ' t care what your or budget is I " When making SI10W White, we thought that our main Menainnlent would be with the dwarfs and the funny they would do in trying to solve the problems

Walt quickly realized tha, the relationship betweet th e jealous Queen and rh, unsuspecting Snow Whil~
was the main thrust of tht story.

In The Rescuers. it was not th e conniving of [he wild, unpredictable Medusa that gripped [he audience but the poignant predicament of the lonely, little girl.

d dragon/lv Rescuers n incidental Jr role ill the

~he

brought abo ut in their li ves by an unexpected visitor. The queen and the girl were necessary parts of the story, but we would not dwell on the m. When we saw the whole picture in a very rough form that exc iting night , it was immediately evident that the tens ion between the vain quee n and the girl she was determined to kill was the main drive of the picture , and anything that interfered with this story progression seemed extraneo us. As a res ult , two whole sequences featuring the dwarfs were c ut out as well as a comic fight between Doc and Grumpy ; the sequences that carried our ma in story points were stre ngthened and made even more dramatic . Partly through luck , but

dogs ill Ads 'eoll arid Laso succesJjll1

,equeflce Iha[

to be changed

rome in mw in.

' ,derson .

r oll/Illeers ill :rs were cut a dedicated , th aI drilled 1incessantly 10 helpful little Ihe bayou .

largely through keeping our procedure flexible , we ended up with the best balance of story-charac tersequence re lations hip we ever ac hieved. While working on Th e Rescliers, we thought thai the greatest interest would be w ith the two mice and the ir overwhelming problem. We worked 10 make Ihem sma ll and inept , but de termined. Medu sa, we fell, would be a spectacular villain, slighll y mad, powerful, and a constant threat. The crocod il es wou ld be in vinc ible , stupid , and ch illing. They would be the scary part of the film . The little gi rl would have to be done ve ry carefull y because she was presented as a real girl, not acaricalure, and since s he would be difficult to do we tried to keep to a minimum the scenes she was in . W e believed our big entertainment would be in Medusa and Snoops trying to o uts mart each other in their attempts to get the diamond for themse lves, and in lhe mice trying to outsmart the crocod iles. Instead, when we sawall the pieces put together, the only thing anyo ne cared abo ut was the predicament of the little g irl. Medusa was a wonderful. flamboyant clown, Snoops a bumbling , ine ffecti ve partner, the croes onl y dim-witted louts, and the mice j ust cule little charac ters trying to do their best. But the girl! Your heart went out to the girl and the terrible situa tion she was in. Ii was not the vi ll ai ns surrounding her. who built the anxiet y , but the predicament itself. So we strengthe ned the sequences that featured her, paying special attention to an ything that would create more pathos. We staged he r sce nes for the most impaci we could get , and used the sad and quiet moments fealur ing her for a bal ance to the madcap activi ties of lhe rest of the cast. We used less of Medusa than we had planned , cutting o ut one whole sequence and trimming others, so that she would ha ve a brisk , crazy te mpo whe never she was on the screen. The crocs were cut down to relatively minor parts . The c limax was now centered on the situation down in the cave, wi th 'Ihe heroes facing the mindless force of nature rather Ihan any di rect confrontation with the bad guys. At the time, it seemed we would never be able to make Ihe film come off with the proper balance, spirit, texture, fun, heart , and tempo we needed , yet the public acceptance, once the film was released, proves that it was worth every headac he and extra dollar spent. Some directors stubbo rnl y ho ld onto their beliefs 01

:what the picture is saying and cannot detach themselves enough to see what they actually have up there on the screen. Woolie Reitherman has an amazing ability, as a director, to pull himself back and view the product impartially . He readily admits the weaknesses and the strengths of what he sees just as if he had nothing to do with the film up to that point. As he commented with a sigh , "You've got to find what's .working-not what you thought would work, and not what's in your heart, but what's up on the screen'" Among the things up on that screen that are working might be an incidental character who, because of an unusual voice or special animation or even sound effects, is starting to click with the audience. The farm dogs, Napoleon and Lafayette , in Arislocals and little Evinrude in The Rescuers are examples. We always tried to build on the scenes with such characters and even considered bringing them back into the picture in another sequence. Often we found that some clumsy Story point could be told in a fresh and interesting way simply by telling it through this new personality. Our best advice, at this point, is to develop and ;trengthen what is good; edit out and shift emphasis on what is nOi coming off; stay away from the commonplace and the hackneyed; constantly search for new things the audience has never seen before- but tell it all with the same old values and fundamentals of communication. No one can say that anyone of these steps in our way of making a film is more important than any other. They are all needed. The two most important procedures are certainly (I) to involve the whole staff in the production, and (2) to keep the picture growing and improving, constantly, right up to the moment of release. Many ideas that sounded great in those story meetings become sodden and lifeless when seen on the screen in relation to the rest of the business, and , the sooner these elements can be discovered the sooner I tliey can be corrected. Many other story ideas that i were only "touches" will come to life in animation , with so much entertainment that it is foolish not to get ~ the full value from them, even if it means adding .unsiderable footage. Someone outside the studio once stated that it probably was easy for us to make a film now that we had lIone so many: we must have found the fonnula. Woolie

retorted, "On every picture, you're in a learning process' It's not so much an application' of professional knowledge as constantly learning! " He went on to say, "It is always new, or it had better be. On each film, you start from scratch , make the mistakes, pick yourself up time and time again, yet never give up. You must keep your belief in the picture and your faith in yourself. For a picture to end up good, it must be treated like it was the very first one you ever made." Animating at Disney ' s was exciting, but it was also extremely difficult. We were under great pressure and had tight restrictions on time and money, although seldom were they both imposed at the same time , If an animator was doing excellent work, he was told not to worry about the budget, but "could he work overtime to get more of that kind of footage in the picture?" The demand for sheer perfection in execution , along with the constant search for top entertainment values, creates far greater pressure than the requirement to complete a job by a certain deadline. When an outstanding scene of animation was done, everyone somehow expected the animator to do that well from then on, and even thought, hopefully, that he would continue to improve, as well. A few weak scenes in a row and the animator could be considered to be "in a slump" or, worse, "slipping"! There was a cliched remark in Hollywood during the thirties about actors and directors: "You're only as good as your last picture." One of the top animators at that time adapted it to animation, claiming, "You're only as good as your last scene'" It was a joke with an uncomfortable twinge of truth in it, and we all felt a compUlsion to do our best constantly and try to keep moving that standard ever higher. Munro Leaf, who has written considerable fantasy and magic himself, wrote these words after he had seen Snow While. "If you come right down to it, there isn ' t a live thing in the picture. Technicians can tell you how it is all done with ink , paint , photographs hooked one on to another and garnished up with sound effects. I'd hate to call a technician a liar, but somebody is going to have a tough time telling me that good, beautiful Snow White , her prince, the wicked queen (who is really wicked when she settled down to it), and all seven dwarfs, and the hundreds of birds and animals carne out of any ink or paint pots . ,,'0

Seven Steps in Animating a Scene

When you picked up the scene fro m the d irector you we re given the story sketch , the layou t, the exposure sheet , the sound , and a full description o f the ac tion. Now, what do yo u do?

2. Thumbnails
Work out your ideas in sma ll size before making a big. complicated draw ing. First. you will test:

A. THE STA G ING

1. Think
Wh y is thi s scene in the picture? What is the e ntertainment pote ntial in the bus iness? What should I have the charac ter do? How can I best show it? " Don't start animating before the idea is worked out. Kno w exactl y what yo u are going to do before yo u start. "
ARTIST.-

Example I
Marc Davis- Cinderella.

Cinderella is awakened in the mornillg by (/ friendly bird. Thi~' iJ the imroductiull of rhe heroillc. lind il is imporflln/ 1 Jhow what kiHd of girl she is . Slw 11/11S1 he appecllillg .l1ol 0 merely p relly.

B. THE: C

. ' UTI'ING AN D CO NTINUITY .... ill , -hole sequcna so you Be fami liar wllh the" fi . With the director . .. _ ,_~ know JUloIlOUw """T scene Its In .

and the la)'OOl men: 'II haracler you will ha ve 1 Plan t 31l'full y whte t '-_ I enlcnainment.

on

10

gel

to",

mos

2. your camera use a \ ....'0-5 hoI I long shot. or a Pl an when \0

J. Look for opponUnllICS

tl~-up,

. _ \0 gel dcpch and I'I'rspec lIeS

live and avoid \00 many see

in a row Ihal afC'

~ df. <>. /
.

fial-on . Ie I1c:Il il is possible or logi4 Try 1 chan~ ang w . 0 confuse the vjew. . I lit.. do not do anythIng 10

".

.
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en . . hal is loogh to draw juSt to ' 5. Do not pick an angl e I . d'fferenl' II "II l ake longer be doing S()melhl~l~ ~ be M' dfeclivc . CIIoose \0 animale a~ WI hc:1 fill for yoorbusine. the angle that IS most p

w,

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3. Mechanics of Presentation
With a rough continuity ~nd Kene cuninll es!abliIDed. !~ individual pictures l hoold tit: c~kw and developed .

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@
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A. t>ERSPEC'T1VI: Be sure to match !he perspec!i\'e~ of !he layou!. IF!he Fee! do no! fit on !he ba<:kllround. how can you !how how much they lifl up?
E~amples;

'" PJAI/,

Aj oi((IIl' ....

/IAn _ . ...,.... ... l

A"'~ . "'1l IOHI. 1. "

If you draw two or more characlers in a Kcne. do careFul key drawings for si,.c rela!ion Ship and ",,-ging . HI'''' IInod eye contact if characlers all' looking a! each OIher!

8. S(' \U
(ho... ~

all I.",~,,, r", ,1'1" ...,~k " .., ,,,...-...1 on., [""m,' I. """,,.; ~"\lr f,,,. '-pi,'to",,,'" ,,",,. ,... ,, ",II fcmlll,j you '" ,he ,"~ '" ,,,,. ctlJl ... " " ~"u ~,~ ~"""., .. ,,~ Toc ',~k "f ,h,; ,t..r 'I~I. '" the ,IIIn" aruun,j 'h<cm. and 10 .... <...-1, ,~ho.' . ,,~n ""r-~ ':"" pan n~'~,"" ,1><,,, t>o:'h",.bk'. a. "dl a~ ~""'~ ,I""" dlam, ~",l 'W I

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4 . Solve Spec ial Drawin g Prohlems

Ik ,un; ",., no ,'ommu",,. '" ~ .... r t<k~:lII<l "'~ lit: ""1'1.,:.1 1'1\ "~"'rn"",,~"I.lc ,Ir~" "'~ 1"'*'1,,,,,,_ Wnrl 'hcm "", ." , hu"'h,,~,I' ," , ull 'If". t>U, do "'" 1"...'...-...1 u,,"1 the~ ~n.. ",1,,"<1

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5. Double Check Your Ideas

Onc~

you h.:I'"e you r ilk as dearly Ilefll\~d. check your I~)"out to 1>1' 'lire it will " .... ~ as pl;tnl)fi\, IJoe! il allow ellough space fur thoe ac:u ons )'00

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6. Blow Up Drawings FuJI Size

Indi"Mjual slelche!; do noI alway~ relate 1 exh 0 oIheron the p.:gs the way you t~hllhey " '001<1 . Kough 001 ali lhe l ey posilion, o llhe Stttle. ba.ed on your Ihumbnails all<! re.earch dr.win~ ',

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10. How
"/(J pouiblt

to Get It on the Screen

0'

10 do (/(Jrn "tar o"yllt, .., if ..... ji,,,u t _do ""Jlloi"8 ..... //rinJc of ... illt litis . .

u rtoi,. dtjittirt /Ioillgs .

Walt Dis""y

SIatIy after Tlte Rueue.s was rekased in 1977. a tndmnarted ,"J love those characters ! I thin ~ Illey probably the ,,,,ateM Dis,..,y h~s ever done ." U niably lhe animal ion of the characlers is what .... a n ... audience. but many othc:r elemelllS playa .... role in:o. ~ful picture: the colors. the bc:aul y. til: ,',su,al effects. the locale and the musk . The

_ o f ou. r.ntasy worlds tool: u much dW kalion

.n.,..'Ied~

in !he ocherdepanmcnls as il did in tM _lOll, and il occupie<J moch of Walt 's interest as

'Ilia '-' ~ in those firsl mtttings looking at !he oob' !.ketches from the ~ylisl or IIIe inspira . . anist. an image was fomling in hi , mind . a loul .ctptcl "'Nt this piel",,,, could b<!,,-how all ... pw ..wid fil lOgelher. I10w il would look . how il _1<1 SQIlnd , and 1>0101 il would ma ke p'''''pl<;: feel. II . . I lJowly developing roncepl . but all the paru ....: m..1y related righ, from the Marl . lit btgao to 5tt a plate ~hal WaS real . inh~bited by

'" pn:...s

Ihal wen: I"<'al. whc~hcr lhey wen: dwarfs living in a land of magic. or a wooden puppet being ,h~ by a monstrous ...' h~le. or tiny fairies pruding drops of dew at nigh!. In his imagination il was an 'oming 10 life-mythical. bul bcl;"vabk . Thi s was noI a dull. humdrum Iype ofn:alily bul one lhal t:.pr.Ing from drum" a land where one could fccl at home. yel whel"<' e~eT)'l hing ""as fresh and new ~1lIl diffel"<'nl. To achie~e this on lhe screen. greal auemion tw to be gi'-en to the locDle5--the si .c of the fum'lure. the props . the Il"<'es. lhe animals. lhe shadows lhey cast. the air lhey bre~lhcd. the clouds tlt;u floaled o' '(rlllem. lhe rain- it all hoo 10 be right, juS! .. hat you would find in such a place . 'The: inspirational sketches often hoo .1M:rA-n mIlCh of this. but they wt're only a handful of still drawin,s . uually done in a medium unsuited to production wort. One question always hoo \0 be faced. " How do yoo get il on the scrttn?" This major question broke OOv.'n inlo a myriad of fiufe ones: how can " -" gel !~I soft

~haraclCrs

Fanuosl

sh 3d<>",'~

",ere ~ho",,, on ,II<' "'all . :tdd,ng 10 lilt spooly

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drccl . bill Wah saw ""ore Ihan lhal. W",",n 1M d~..m were grouped lOI'CIhc:r there \... ~, no' a f1a! 10'" of ..,'-en c~noon cha<aC.cl'll. II w-. , more of a pl'11'llllll. . wilh the figu",s III lhe (""'ground (II Illulcr rolin, givmg onl,,"'" and "CliMion to {he group He .."OI'oIkmI if his .Iaff could do "He!hing like that lie wondmd if the mcn woold g~! fre'h Ideas on hghung In ~ if they acluati) could see a rcplic~ of the d..Otfs1lOI'JII" AI~n Il uner. lhe ,l~lCh ~no" ... hose "nagll\MJ\~ drow;IIg' in'pirC<J !he ' Iyle aoo "p'I""ar.nc" of mal) Silly SYlllphonic. h",! ~ar l lcr been ~.",gneJ lhe job d drow 109 ~lIlhe nook, 800 .-r'lnmeS of Ih" lo{lI:C .. l ....... Hi. Swis., herila~c ~OO l oxn powc~ of obsm-a1Ol made hIm Ilkally ,,,ued for capturing the storybook

,W N, .

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charm or ~ couage that dwarf. ""ghl ha'l' "mh . ...,j now he h"d .0 mallY dntwlOll' of the s!"ir>, tile bed>. lhe ...,OOOWS. the fireplace. 3.00 eYelllhe kItchen """ Ihal lhe "hole structure alnlO!.l cook! he \ls~tiud W~I! !-aoJ .. , So~ ..... ",Id probably b."k! a Il1OIII:I of Ih~1 house just from IIIeSC drn"lOg. , y'lnow. IbI Il~>dcl we had of the <lId mi tt was a bIg Itdp 10 ","t!). body 10 v",u;,lizin" !h"t picture. "nJ ;n plaoolng die sne,; 3.00 camer. an"le, Let, gel ,", cn Arw.Ico<>aio ht-rc .. ,",en already Itikl been trn~fcm:d from antrDloon 10 layoot beea"",,, of h" archul'Ctur.1 k_ledct. and !II,W hb formal tllt'nin& would he flUl 10 fuJ1het us.: . Wal l a.ked him to build lite mo<kl on a 5<:aIo d one 1t to lhe (OQI , Inlerpreling AU",n', I~ "kelChes 1010 rc~1 sha~~ and d"la~' W,lh Wall', enlh"'Iasm aoo cur"",,)" cleanng the " 'oy, lhe d........ COItage .....,n emerged as a rcality. comptete wilh fPl' niture ~"d prop,. E"cry""", cn)wlled ~n",nd 10 "'" 1101" u Iookrd

i,,,.

OOW CJO lhal brilliaoc~ of 0010.- be anamed?; how can we gCI Ihal elusive feeling of glowing lighl ev~r)""here'!: hnw C~n Ihal overall effeci be ~a[llured

in our elUde medium?

While 1M Nckground man thou,hl mainly of roIor :ond lhe la)"OOI m;tn of d",wing. Walt was all"."y, 1h'nk mg of a d,fferent approach thaI mighl open up someIhing enlirely new, At {he .<Iart of Snow IVhit~ . he

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studied 1he first drawings of IIIe dwarfs >ca 'h;ng through 1hei. for ,.... UnkllO"" imruder. Greal

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.(1lOknl. A (ew uCIl.:d morroenls lale . Walt had

. . . , ill... Why 001 lake Margie Sell ("'00 had betn hired 10 do lhe live III:l;on of Snow While herse lO _ !ohooI rolm of he, nn lroe siage . prelending to co"", *ough . door. enlering lhe room. lookin, about in ~. ~ing a sm;oll chili. and Nnning 0"", 10 s il On il"ThIl coold.1I be done " 'ilh the rroeUUTl:menu of Ik ",'xld of lhe couage blo",n up !O full siu. Then on ~'lttl of film. we CQIlld . hooIlhe modelttou..,. _hlllJllhe same camera moves--only this linlC' in asumnenIS. This film ,"'ould be prim.:d "III'IO/f reid eels (a newly disro...emI phoIographk (Qr prinling dirtCtly omo the ce l ~) and lale, "'ilh Ihe r,lIn of Ihe gi rl. If the dislanCeS I I . it would appu' Ihal Margie . . li).ii.\0 the dwarfs' house! ~ ntll'ly y,urI<ed . FOfIy ~ars lal<:l". TV cameras Tl:gular!y combining lhe III:lion on one Camera wilh a minialure sct . but in 1935 there were 100 man y problems lOka 10 be practical. For one thin;. lhe eels ftrtrilt and the developing ehemic:al~ "a .. sed an amounl of ~rinkage 00 eac h piclUTI:. 'one to the "" XI. lhe qual ily was in eonSlanl jeopardy. Walt for way 10 make backgrou ....h e'..,O ha ving them a nima led in 00 ..,,cral pielures . While: lhi s ffecls for individual scene s. il fu n he, the n al c haracte!'!' on Ihe cds f,om Ihe io lhe background by contrasling lhe

The work of the layoul men refkcted Ihis stimula1ion in eve' )"lhing fllMT1 the desig .. of the specirlC 5('e~ 10 the presentation of lhe whole sequel'!. Man: effoetive camera angles. iOieresling aroupi ngs of lhe characlers. u~ or perspe"l i~e to live dimension . types of $Unes 10 build the mood--4l1 ,,-ere hIIndled SO sltillfully that the spe<:tatOl"$ neilher noticed nor wondered . They " 'en: romplelely ab-wd in " 'hal was happening on the SCreen.

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of lhe COItage " 'as far from " 'asled sil'! uStd e'lonsi"'ely by both lhe . Iory skelch nlen la)'OUI men 10 determine whal they should .hen ~nling any piece of bu,iness. The Story bad the job of making lhe house Sttm n::;tl lICIivilies goinl on. and the la~"OO1 and hid the responsibility of mak _ in a praclieal "'ay. They Ihat " 'oold th row ~ h3tlow~ on lhe the 1ight~ for a variely of ef(<<1S: p;c.u~ thal had a new authority. for this longe, a make-belie~e hou!iC-il "1lS there them;n a "cry rul Slate .

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Backgrounds
The background painters " 'ere expe"mcnllnl;. 100. Il)'ing 10 capm,.., in ""ater 00101' or tempera' jnJediums easy to chang~ if necessary) Ihe .ame eff<XI till! styli_" had ",hic,etl wilh chalk or inb or some special hui ld up of p.oinls. Taking the layout suggeSiions liS ~encs that actually would b" inthl: p,,,ure. and SUrTQ\lnding hin'sclf with thl: original s ~ etehl:s that Wa h had Ii ~ ed. thc bac kground )lai nte r search<:d for ways to duplica te an elusiw dfl . These pa'nte~ ~re ~ the:: SlI''''' as easel painters, c,'en though they ,hare many of the same talents. The background palmer must know color very weil. I"l" scs< a goO<l .e n,c of de.ign. ~ now how to pull a pi~ture ttllt:r. and Ix able to handle hb mcdium utremely ",cll. lie may e"en ha"" some reputation as a painter of landscapes or abSlractions. hut here lit the Sludio he lias II "cl)' ~pe<:ial a..ign mc:m . Ik musl .tage lilt: char""tcr and s up[X>r1 the ""t ion . That con"",, Ix:f"", an)'thing c l.e. His work may be dramalic .ta"ling. 1'O"'erful. or thrilling. hut il mUSt still be only a ~k ground for lhe.' "'lion. There shou ld be IIOIhing behind the animated figures Ih" dismtCts in any way . Too much <ktail. hu,y .ha l"'s. eye ,atd,ing forms are all ((,"fusing: tOO much color. tOO much dark and light panem. colors that coonict ""ith the figures are all d,sturbing . The back_ ground anist i~ a.ked to paint l woodland gl* . hut not 10 ha,-c any tro!<!S or bu.hI:, in the middle where tilt:

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cha.,.",\Crs will be ",orking. He i. told al>o 10 ~. handling "cl)' simple on the Itft s ,de.' b.... a Itor!t will be: standing the",. IlOl mo~ing much but >till occ. pying the sp""". And the grass al Ihe IXlUon, (anOOl b< harsh or real istic ,,-i th indi"idual blades. becault drot will dra'" 3nention a""ay frum lhe.' aclOO.: nor ran tbr grass be: 100 soft and fU7.7.Y cither. or II ,,,11 ~ppe.tIut thl: chacICrs ~'" ,Iandmg in a cloud There mu>tb<, solid plane for their ftto match. and il must be pm i>e<:ause il i.grass. but it cannot look likc gr ~>sorb< 1 JNjor pan of lhe design . The areaS "'ben.' Ihr pol8In can >how the Ita"es and br....che~ and the btaul) III Ihi s rQrnanlic s~ are along lhe 10j>. oo..n the n,II side.'. and in a liny palCh O,'cr on the left bt ... th tb< horM"S helly_ It i. nOI easy. If lhe bac ~ground has been tk;,gne<l around tb< cha.,.",ters and the aclion in the first place. this ~ b< all (hal IS needed to gi,c a gn.'at crfeel Subtk (close in "alue) behind the figu,,"s aoo along tltt '"I*' of act ion" can .,ugg~St much ",hile ",toally s/IoIo"" vel)' liute . This is pos.ible to do, but a do:fini~ cfuI. Itn", . A~her " 'a), to keep the c haracler complaelr cQ at all times is to hold down all tIM: dcn~nlS in" backgroond SO Ihal lhey fr~me lhe actor as if toe ~M s~lighted. or working in a ")1001 of light . " Thi,." IlOl gi,'c lhe excite"""", found in a Wung dc.'sigo, I ... ",ill insure that the animatioon ",ads "'clllhrou~ lhe ~ene. The bac kground noa" i, p~"icularly fnr"I"lt,ed II!

Thore may be a long shol a !)usy brock .'. bth,n<,I IIIe figu'l's or a .hdf full uf lOY'. and on IIU. >nc a clo..eup of lhe characl~r. 'n.., pain.~r ....1. '''h' N"" I can ,hoY. all the lel1urc and lhe MId KTalchcs un lhesc ob)CC.~ .. There ,~ r~ally III nmilO k..,p .1Ie ~aTlle background on ,uch a CUI.

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and .he paon.er .... ,11 ruin lhe SCCI>C ,f he 1TIes. A pll'n colored card would be far beller. or juS! 1he rainles' $IIu~stion of lhe 1hongs seen ,n .he long shot AClual Iy. a li\"clI<,:lIQr1 lmn:a mo"on, on Ih,s ""Y ~bly ",ould ha.-~ lhe background out of focus. and tim would be .he ns,e<1 Olulion

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A >'<'ry dfect;ve SUite in Thr llt",'r 8001< showed the !WIther si uing on a 1= limb with only the luminous miSI of'hc!rOpical nigh, behind him . In ,he foreground .... as a small clu.stcr of leaves and flower dnwn vcry crisply. b.1I with just enough ind ividuality 1 ,iVi: the scene realism. heamy. and c haracter. [\ 0 look ~ars of upericnce 10 know tha, th is W(lUld be bc~l. bul, 1;leraliy, only minules 10 paint , Pointing backgrounds is a challenging and compl,ealed luignmem, bu, one lhal offers vast opporlun;. lies LO the artis!. Successfully done, the backgrotmds contribute m"..,h .o ~ audience's enjoyment and. like musk. can crUle a depth of fttl ing in the mood and e~ ,he dnm.nic quality of thc .... hole film. Wlh fdllhis was SO important that he asked [he background mo:n 10 uy se"enl difT~nt paintings of the key IlCeHCS .... ith ".nety of colors and techniques 10 litimulate tlw:ir imagiNltions and help !hem find the best IIflIXOKh . These ....ere lhoI in color and judged from the film IiO the aniS! could find the most S\lCCeSsful handl ing befon: flOCing the restrictions of .upporting the animation. The background pain(er .... ort;. closely .... ith the layout

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- . from lilt cMly u~rimcnts thai dcvdop eM roIor ~ 11)'1.. 10 the doign of 11M: effects animation . . .ilI _ l i d the dlaractcr$ wilh all man~ of ~ fOlCtS. BUI adaplinlllIM: slyk ~nd thee rolor Of! t I'I1II poett or p;lper is only p,arl of tile: problem. There IIiII Iht mallcr of gCll ing il 10 look rillhl in 11M: IitIII:Itd film on tIM: SCl"<:en .

*'

Effects Department
he hit! a Oity about tt.. way Ihings work. a feel for 11M: .....~. and uwally 5ttS gr<:al beauly in 1M p,at _ r:lNtUrc . ~ dfu ani~IOI$ have bn fas c-.I,,1Ih pu~ realism and ha\li: tried doggroly to . . . . rt ..."hiIe otllers have treated spiril in thee _ 0( .."lUer and la'll. drama in fires and 'Ioons .t1llOll,lohing Io\clines~ in lhe handling of falling b>tI and _ . During tIM: making of Snow Whi't nu Animatioo ()epanmcnt ,",W to a lotal of itr-Rl IIItII and ""On"oeII. many prof"tcicnt in special all amazingly polknl I S tIM:y du:wcndle$s

no effli animator is a special kind of ani.1:

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animators had done all of tile dIrm ill Ihti' own scenes : rain. smoke. sh:otdow$ ..... doud$. dur,! . speed li~vcn Ihrobbinglina IIIqmn1i pain and question marks 10 show confu _ hWah fell lhallhe$C all lacked style and asked ~ . . to be men ~ .... anl and 10 draw more accu -it They ottst...."Cd. and as soon 1 5 someone noted .. dor ..... g! of a real object moving fu t is blurred every lIIimator tried to find his o"n way of ..... ab!umd image in eanoon terms. In attempt,,,, I I " (xl! other. these animators rn:aled shapes .. btamt designs in thcms.elve$. dominating tIM: _ .,,;I the inkers ..ere pIIl.~led as 10 whet .... , _ ooncoc1ions should be t,aced in ink. painted on tilt: I. drybrushed. or done in different rolors . A fMnIr device for portny;ng an ann or a lei ..-.c 'If:tY fast was 10 dra'" a s.erics of afler i~le$ ...... alone. UnfOf1u~tcl y. this always looked _Ih$flllhttti uailin, eM limb than a tlW blurred . . Cnton (Jack) Boyd. wlM:> lal~' became heead or IIir Eff1S Department. ~1;1I laughs about I~OM: ,.. uFo:..- f"", 01 w spaghclli! It lool::cd awful-bul

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Then wllh a sigh. "Now J -"'lI<kkr 10 thinl of'" stuff . "iere anolhcr problem . These had beoI done in a "ery .implc " 'ay from the ea,lit\l "'" because they ancoo...d the figure to the ground out 50fm kind of contact with lhe background. characlers seemed 10 noal around. walk ing 1)11 au. maller how mu.:h "-eight had be<:n an"Nlled Into movements . J USI a cireular shape painted around feCI in an unoblrusi,-c j:rcy defined where lhey ~ s tanding. and as they walked about or jumptd ~ tinued 1 shov.' JUSI "here lhe)' wen: . Ikrng OJ*III: 0 covered anything on the backgrOUnd Ihat II over. unless il had bttn carefully animated 10 f. shape it eneounten:d . Too often an e,"ler .DIU!. . to ask the backgroond man ~imply 10 In,nl "'" offending objeci and luvc a barTen path in Oil ~ As the quality o f the P"~tures appro;oched "'- 0(. heuer book ,lIustration . Ihis crude ~h:ldow " .. Itplaced by om: dQm: ....lth a transparent paim I~IP" I much more realistic appeara~ . S,nce th" daBtleli the background ,,-i thout obllleralln& any of lilt drIIi the spoxlator rould now see every rock and pctott rightlhrough the shado .... and lhe background pauw became mu.:h happier. Unfortunately thIS """""'" dried very quickly. leaving .Ireah and pudJltstl varied in densily from celiO eel. c~u sing lilt ~ to i0oi:. quile agitaled on the scTttn as il "-luJod lit jiuered, When the painl "'as vcry cold il "'as .IOI1lt easier [0 uSoe. and if i, ,,'('re confined to ~II amo; llIe "'girls" could paint quickly and deftly., lory result could be oblained . So Ihe painters clo$c: to tile refrigeralor and moved fast. bul lilt was >lill only one ~h;>de ~nd the", was "" possible if a sli&ht variallon was de"",d. M"" that. it was impossible to palm large ~rus tHI ~ and kerl' any consistency 10 tile qualny . A far hener ",suIt canl\! fl"Qm palnllng tho: complelely black. but photographing il al tHll) upo$IIn: . This way . the", was complete o;orotroI _.hadow would be lighl "hen il " 'lIS ~ hot alllllll) cenl eXJXlSure or very dark when .hot at ..'till), p!I cenl. and helwern the 1"'0 almo!;! any shade C'OIIId obtained. ennchlOg the appearance of ttlt 5aI1 both design and color. ~i nce (he .h~dQ ... dark.ned
Sh~dows

II.

we were Irying 10 find QUI how 10 do ii , II look a 101 of mi~akes before you found OUI whal you ~ould do:' This Iype pel'On~1 exl'fl'ssion ~ame 1 an abrupt 0 end when Wah evenlu~lIy set up lhe Effe.:ts IXpartIlIcnl 10 sI8ndardi'.e Ihe ~ures . unify Ihe appearance. and ronlrollhe quality . With new imponancc givcn 10 ",hat always had be<:n serondary anim~liun . the men selected for the new departmcnt ..,I/Iom could hold themsel"cs down to a support"'e role . E"en !hough they " 'cre awan: th.1 their work .hould be subordinate 10 lhe main action of lhe scene, lhe enlhusiasm Ihalled 10 lhe e~perimenting _b...w..pt away care and rnuc:h of lhelr Judgmem . Again. it was Jack Boyd who shook his head and laughed as he thoughl bac k on a !.Cene he had once dono:_ "1 hild just di!;l;Overed ,,al.. r' I was a ~ar! You guys did a wonderful jOb on lhe ~flaracter animallOll. and I eame along with a splash and destroyed )'ou!"

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T'rIt J,.. u~ I ~ t'r<',('J ,haJ"", .. """.d Ih~ 1 \h( ~-mt i'< rfoo"c'par/leJ N I,. , ''''' ' ,,"11 Il>< m and OOCr , ...... Iu.' ~ "1, IIo'e onl) 3 h<3d1.:1>< IN II>< ,'am ....... tv! J,,,,~I.-J ,II<" t ,[,<n", " f 10" t !f,'fb .."hilln lot .,,,,1.1 t>c 'h<><>IIII~ s.:r""~ ern and 1".1>. .. r... ,~-'"1 ttl'd>. ," ,I\( pf"t-Itm> ,'I 1 ",',>n..! ~,",,,,,,,, nnn",...1 IL" ,,~, ., _In Ihr It.tII )'.". II\( ~"p."..,! ,II,,, < "tr~ ,n'on~ Iht f,f; 1 Ih1n~' ~ ", . II m,n;l\td on It.. dnH I" ,' ul C\['<II .... S . b, J"mJI'" ~ .... l ~n>untl r~lnli,,~ "'It. "ff) I !oIu,'h,n~ c Ir.: .; hJf:li;IC, ach, .. cd 11\.<\. "f Ih,' ,' ' _",.~,. ,. ,'fCJ'N a 'Uri'X f J J,, ~ 0' le~"'f('d U I ~ .. t.I.~ ,110.,,, ~ .h.aJ"" I" n,, R,'" ,,, ". Ih.: Wljltlk1"~ ,'''' m,,', .. no! Ihr ~"I "'-'" n ." II\(" ,'a'~ . . ~ M~ IJlllem " .lUIJ h"f Nfll a" IJ~ J! ~ b .Ju,J,,,,, I" au~ nl<'m 11M- 'u>!"n ... ~nJ III( b\l of ItI< .. ," ~1I.>n , ~UI .. .-..;,' Ill<" '.~u(n'. ,,~, i:lJk"'"~ t l "",~h In. ".I) il '"'' Ill<" de,'"> .,,, ... ,

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madf I" kJ\~ "~it Ihf ,h;oJ"" , ~nd palnl Ih" ".111 Jar\; ~n.J "fl In>!uil Tht ,11<..-, an..! ft-~I of Ihr dlaflfo.!cr> "~f" pa lnl~J Ja,t al"". ><' 'he~ " ''IlIJ I>t J IIII.>M. part ,,( III<: t-ad~h",md . ~I""~ lhe- f~.hn~ 'hal Ihc~ ah .:o.I) '" ,h:.J."" 'r h",,,~h III~ uri, Ih",,, . 'ht . m". Elf" "" Dr p~rlrntnl ,',In;,, ,,J ,>t onl> I" " lIlen l'~() D ' O.", 'lr"'~hlf,'r" a c J, ,Iullho.)m. anJ ..kil,,'llfJ hahan and C~ Y,)u nW , a 4ulrl aroJ "'".,,,'" ~UI ~'IU311~' >lubborn C h",,, ..... "h" I"HJ I" pl., II>< "3,. f,JJlf as. h<>hb. 8 " 4h 'I"'~< "1111 ",',-cnl> Ihl 11\,1>1 "f III( haJ dlffi,;uli) unJ.f,'~n..!ln~ "hal lhe) "crr J,I~'nJl . and ~,'mmunl, ~Ih'" N I" fen ...... , .. " ... , al""'~1 ImJl"'~I hi .'~' ,"II) "II<'n l.mp<'fs ilaffil Sm,'f !M) d,J m,,1 ,)1 Iht ~.Hdol " ,>r~ 'h~m .. I'n. I II<' ~ n.~~.J ,,"I, ~ ~ ln~1c ~S-; "IJn! t><1"'~" In.,m , aM 3 m~Jof r ail ,,( hI S J ~I' ,,~ . I,' :1i;1 h In'~'1'r(I~r. Jlpl nm~ It,' ."II I\a,, _ alllmal "f~ ha" . ~urra,~d and f'C' K.m~hf S!;II. ,I\( il(h~IIIIUI fClUI .. Illal 1M'" I"" n\("n .I<J .. I~ .nJ ""Ii.:ald~ ".;hlntJ ,, "h ,11<';, ",nalC scnk "f Jel"n ,n

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Dtp.ilrtment a steady .",,"u.~ ~~ dn, full of ideas . 0... o f tMIoC ,.~ JOIoh Meador. comer ,.ith an unusual CQrIlb,na'ion and ind;vitluatiSlic. Josh ,,as painter. drsigner. and he ity as "..,ll. 8) the eoo of laken over lhe depafln""nl. and for year lalcr. he had well over a hundred rnen lurning oullhe most imp I seen. One of lhe", !-aid ... live aclion arod upc:rimcnling ,,;Ih lhe and smoke and a ll IIM:>5e Ihings . lie wa:; thorough ,,;,h hi~ research ,,ork. He <.lido, down and an;male wa.er. he ... "'~"'~ .... w:aler. lhen too~ il home: a nd ~tu<.lied ". days y<MI <.lid that_you " ent homc alKl dl"llwing . j Some: things jus, oould notllc <.I1"lI ... n; wind. fog. driuling mis" a Ihick almosl aU kinds of snow . 8laine Gibson. scul~Q1". who was in lhe Effects ly len years said. It is quilc Il thing like that ; when you pul a line even lhough you only give il a i a"a)" ;t". something tha!" . <.I,fferenl nUll foct did not .<I<:>p l<:>sh .
the mar...ebstorm. he against of II.Itun: The before llIat winter " as o'er he

"'",.. a ...

r.::~".:'M~ ~

layout it was an old pol . ruSty and p.ilf ,,ilh 500t from yurs of cookina . Cy fell lila. light from I~ fla~ ,,ould he fdkc'ed c~nty o,er I~ ,,hoIe pol ; Ugo claimed that I~ lighl "'ould he only on I~ p<lt1IonS not co'c~ by lhe 500t. since soot Ilas 00 rdlccli~e po,,ef. Each man wlS adamant. and. s;n<;c lhere was only one way of plUying ",ho was right. a tire was buill in an em~y filII' cun ;11 the middle of lhe floor. with the shade from a goo~ncd: l.,,,p invened n~er it as lhe pot. Soon lhe fl~mc~ wcre dancing merrily. While t'eryone else was screaming . Put th~I tire OUt! tile discussion gre .... ;lIto an argument. The " .hoIe: ",rface of the lampshade "as indetd b.:athcd ;n glo,,;ng li,h! as the fla~ en,eloped il. bul lhen: "a~ 00 5001 on II- liS )"el . l'e<>ple ,,ere running aboul. and ucilCd prol~' " cn: now coming from far down.he hall . but $Iill lhe IwO In;matOfS fanned lhe flames earnestlyIhdr faces right down al lhe floor_ and slooied lhe curved bol1om of the shade. The llooleum had begun 10 curl on lhe floor before a brigade of Dixie cups could be organi1.ed 1 <.louse lhe 0 flames and send the frustraled cffIS animalors b,ac~ In ,heir desks-wilh lhe poinl still unpro~ed . Maybe il was inconsequen'ial any",ay and hardly wOI1h coos;<.I Milg. buI thaI intensit)" of feeling and the: driYlllg drsi.., fOf knowledge: "'en: Iypical of their IpplWCh to :u.sign menl$. 8y 1935. new mell "'ere CQming in.o the Effects

in

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nexl

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Tior II....... .~'h1t of iIIirr fl<)(J li~!; i~ lit, bOlll. (I ,'rn' .Impl, rJ,.i~~ lor 1M "'01" tff"". "'" ift llor u("""I.u"," lilil ...., ..... _tlt TIt;"" " .... ,., .... St. I. ...... impowb/. I() 1.11 """" Allu .......... """. /D, ......y shr ""t'" Iw
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Th,rr ....... ,,0 ""Y'o "Ully
,"<1h'woK- .rwpriolu in prr histork 'i"... . bu, this "",. .,ondl,., SN ""i.IS " ro,rd

" Rile

1)(

Spring" ,n

mi." ral.. , .".01" , ",ltId, .....Ir . follin, rocl:s, fin , "ndflowi.., Ia ..... Iws' l t)I6r ,a,/i." ItOM 01 ,M., rl /fI "",Id loa"" bult a ..i ma,rd ron,'I"';"gly ,

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256

hard rain , h<:avy r"on, blo,qng r~in I:Iln, dr'I.1.1ing l1Ion' llIcsc .... ~.., pr,med 001< ..-111 papas, SO Illey oould I1c cOl11bmcd ,,"h Ilk ~,...n OS III:1:ded 10 I:e l any dfcci wanled Jml l1li bM lOkI, "Wilen I look al no;n. I don' l K'C 100
fain,

\Ofl

tlMod: I.... around c"cry drop.

I

ibt drop>.

SOI1lCIl""'~ I don' s.rcah Qf ligh!. and lill~ .. Tile animamr's d", wongs b gil'(e Ih illUSIOn, bu. by COomb'n,dIM, II was poss.ble I There waS drcary,

sad ~I""'ct In S""",lI'hu, "Ilen M ber death, Illerc "',IS Ille fury Oof driv_ III, lIOI'my , e,cllcd min ,honly before, as .he dwarf,

chas<:d Ihe witch up.he rockS; and alter ,he had blkn, . he >I~ad), drenching. Ilea,)' r~ln thai seemed 100 ,,'bIo Ille nil nlCmonc. "\I"y, A fe,,' )c." 1~lcr. a ... 1>011' >C<:Jucncc of <'ffeets an;mal;"" (Jericli n, a 'Ilmmcr >loml h,p.'point 01 cn'ertaonmenl on Bam'" 'n.. effect. had bcconlC an Imellnl pan of the film, ron'ooolm8 drama and excitcrnC'" ami !T)i)(X!. a, wd l as the, " 31 clemen. of makmg t"cf)th,ng so belle, able . Of all Ille n.,untl cle"",nb lhal h<Kl.o be dial'," In peocj) hoc. withoul ,hadmg, WalCr "a' the 010" dlf fkll11 The combmauO<l of Ir:ln.parcncy. ela'''elly. "''(elght . mOoI"Io.),. and ron,"'enc), "~lller ""h lilt many ","Ood,wc,aled wllh bod,e, of " '3'cr. ma(lc II ;'11I'"""ble to h,,,,dle rcah>l;cally. II had 10 be rcpre

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.. nted in a design Ihe audience could accept without ques1ion, As one animato, said, "You had to drJw some kind of effeci Ihal would give Ihe impression of ,,'alor withoul costing a fonune," yet what could any one draw in line Ihat would look li ke waler' "You ,,'eren'l jusl drawing the creSt of a wave, you were moving the highlighls and shadows and an the color iooications that were so important \0 lhe animal ion ,... If it was a large body of water. the animator had to Ihink in temlS of the mass, the perspeclive. lhe depth, the movemenl of ii, all going back into space. And he had to be careful thai he did not have everylhing mov ing Ihe sante amoont and at the same speed. which wO\Ild gi"e a t)'pe of rhythm 10 lhe aclion Ihal would kill any feeling of realism, Ed Aanlal was one of those "'ho had a special affinily for large water aClion, which he allribuled 10 his year spent on a fishing bo<Jt off Alaska . "When you lived all Ihal slUff." he commented. ")'ou kind of memori"" ii-YOU gol Ihe feel of il." One animator admitted Ihat he had tried 10 fake his handling of Ihe water in a !'Cene instead of taking the lime and dfon to study real water and make il righl. The ",\ri: was crilici7.ed immedialely. and a """"" experienced man was caned in to take it o,'cr. Nothing but the highe>l qualily was accepted. and although water was the mosl difficull effc<:llo do, and lhe moSI e~pen. sive. mOSI of the men in the depanment felt that the

audie"'" remembered impressive !'Cenes of good ~ltI animal ion longer Ihan any olher effect. It 1"'" nOi only a malier of repre .."ting MUICteach film had its own design concepl. and lhe (Im,"'I of the effects had to comply. Someone woold U)maI) different wayi of depicting whatever it might bewater. snlOke, frost. or sheen--searching fOl a "-3)-01 drawing Ihal was compatible with the Style but !iii allowed the necessary frttdom of movemenl. H. WOIIIiI Iry complicated groupings of colors and patche., niP. lights and sparkles, drybrush. airbrush. any effeellhl pictorially would be convincing and exciting. Donrc tile period Ihal Josh Meador was in charge of fie department. he was a wur, of many sugg.-. si"", he had such a feel for design and fomt aOO em The experimental sketches were .ho"-n to !be delor and his crew> and decisions were made allo .. hidt design was best for this particular job, Often I Ito color leSIS were shot to be .ure of the results bdM embaning on the e~pcnse of animaling an elabont concOClion. Josh would brnk dow" the "I."",mol his sketch. figuring whal lhe animalors "wid do .1tI should be added by the inkers and paintors. and.iIII would be done by Ihe cameraman with ex~1III spcciallcnses_ It was often difficult for the an,mau. visualize how his limited ponion could p<.>S5ttlly 1'1" duce the exciting drama that had be<:n de>eriixd Wall had SCI lhe siandard. and that way of ~ Ihings persists to this day: il muSt be lhe "el)" bell ~ can do; and, ,f properly prodded. you can al"~)1" far beller than you think you can. Duong lhe_ of Pinocchio, lhe animalors were experirnenunl'" various ways of handling bubbles, trying 10 gel_ thing on the !'Creen Ihat looked wet and shiny, 1\c) carefully animated the circular forms. keeping lin rubbery and fragile, wilh changing .shapes: bullllOlloi their effon went into the choice of inks, of culm. highlights, and lhe loxhniques thai woold milk. da circles look like real bubbles. The 3nimaloo f..... shot an assonment of e~perimenlS in coIol" and. them for Walt so he could choose ",hal he ""lrltOO III surprised Ihem all by commenting oot on the lines. colors. bulthc qualily of the animation_ "Ilikeda ---Ihe OIhers look tOO heavy. The bubbles shouldll full of air." Who else would even notice if .... mated bubble looked heavy?

....'... mr N""" F"r~MM - Alpine a/mba>.

from

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bUN r~s"w,d

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Iwlow

srAllYl' (No.'I'AGE 199

,Jr, 'itrrm.nj"l Ty , a nn<)

Sp,i","

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"n;m(l/rd show It"w rir,

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f'"'"''' of blad a"" "'hi,. d""bl" uposrd (J"U ,Jr, d'''''',n,s , ..." ,Jr. sIr,,,, '
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of

Spec ial Effec ts

Pinocch,o is ~wimming madly 10 e:<cape the pot.<III cha.ge of MUn,tm tM " hak . lIe is ~UfJOllndedll) ~ a ll da.hing for Iheir Ii ...."". He finall) brt~j 10 I:I! .urfocc and app;trcnt freedo,n. but lhe mon'olnllll n)C, from lhe deplh and III, huge cklit. heavy sound on all ,,110 had med loelude hliD C~Clung rnorncnl- lhe audience ohoukl (ocl $;00. lhe susre""". lhe desperalion of lhe"_ Iry,ng 10 (:<care. The nnllnatlon of Pinocchlo is gOCld and <iox-;(\ICfI whal i~ nceded for Iho.", ."'encs. The: r"h Iff . . animated and the cff':':I' of bubbles and !.IftJlJ. spccdhn.es all g"c lhe impro:.slOI1 of grtl! C"ffMIIII speed RUI SOIllClhmg more is I\eNed II dot; .. Iha! neh lool. of a fir:u...,lass ,IIU$lraIlOl1 II dim ,,ay 10 gel a waleI)' effecl here' Afler .1. "'~"I

.1"""'

way down tht-rc: and oughl lO look di ff~n:nl . And .",hal abllul Monslro? 110 .... un ""' make him look huge?Of course we need the Oilier char.oclers to be ",ocll smaller to give the proper ~alc. but how about :some sllading on the whale? One cont inuous lone over his entire bult will ~'cr gi,.., (h, illus;on of volume: . WIIal will take i\ oul of the Ihin. flal world of the line drawing. and get it inlo the depth ~nd dimensions of the shaded df'~wjng and the painting? To gellhc WlIlCl)' effect . a panel of glau ,,'as ground wilh (he same Iy~ of ripple found in low-grade window glass. When Ihis panel " 'as placed over the "cels u!\de, [he camera ~nd pull~~ slowly th rough It.. scene. lhe images ilenealh it .... rithed and " ';lUIled jusl as ~IS do when rdlected in I lake or C$fJ"Ciall y when

U.,..CTSA1o'I,.,roll

G~",,~ R"~'I<'1'

Pinoc<:hio. S"",/J
/l1l"'~6 g~~~'"l1y

secn uOOcr Water.

Fo r 1m. tiny figures in long shots (fijures 100 small 10 be drawn XClIl'lue!y or painIW) . wlbholf n:lief cc:ls could be used since this permincd normal-size c haracters to he rrouced 10 very s""tli si7.c. or blown up large. as " 'ell as reposilioned or even made Inlo mul1i pic prints . To ~llhe sllading on Momiro. sorroeone devised I "frosted" cellrealed 10 ereale a 100tli on lhe surface Ihal would la~c ""ncil. paslel. chal~ or crayon . wilh ~mearor s mudge orcareful shading . alICe lhe drawing was compkled in full cok>r-il was really ~ of I IUlured JliIinling- a special procedure cleared lho: cc:1 10 ils normal lransparency wilh lhe ani.!ls origi nal work ready 10 go under Ihe Camera. Now artisls could wed: in lhe colors lhey wanted and lhe sllading lhey nttded 10 uplon: new dimensions in visual effects . 1llc men ... ho wI~ thesoe problems .... ere tho: skilled crnfUi men of diverse backgr/)\lnds who had \:Ittn thrown IOgether in the calChall deparlme nt. Special Effecls, W.lt aJ"'ays Iud bttn skeptical of theory and phi kJso. phy. preferring 10 have practical anisans around him who could get right down to work .... ith their ha,,,;IJ. For some reason. he had a dislrust of engineers lIS men ... ho designed primarily for thc~lvc$ without regard for the inlended U$C o r the product and he refused 10 have anyone on lhe: slaff wilh the lille. Engineer. There were unly three categories for a lechnician: c~m~"". sou nd . or special effects. Bill McFadden had a degree in acronaulical engineering. which Ilad nuth ing 10 do with e ither ( amen or sound. so obviously he

haw II mold. uMdu/II',"S

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~ "",bi~J ~'j,h

bad a~d forth, II .Iigh, "p

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w's~ jllJI1It'S

N"'t'IIM ~1IIb

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O.aU

M"ro "'ilh violnl tl(',i...ry "'ilhilt Ih .. Ih~MS.

1M _gft"wl< of W [or. ~"fi'~ in Bambi " .., "",. "~y~(1 b,,, b~ ",O>'i"S "

di<l"rr;"" ,Iau 0 ... ,

'III~ flliolu

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df<"<1s. lloog ",nb lilt makers. Iheamca1 craflsmen. plImlm. n~l"nllt\. (a r<' nlcrs. a nd Ilk: odu'r individual. lrallled In
mCn In Ihl~ cool!lomcrale
I)

had {o Ix in

~p"~1

fc'~;()n Ihal ,,'a, "eve' ""<;"~',.~:""':::,",::::::;~I'.::I

Of

flo: dOIng nrxi

/10 .. n mlghl ",laIC.'

lralnlng Of Iflo: 1 1JOb lhey nll ghl b.:: ask~d 1 find a way 0 ~. Of build a "hole ... " camera. or. pm of lUre.. des,gn. tIl"khng. Of siring oc;Ws 00 bIld I<J re.~"'nI >taB In lhe firma .... nl Few pt<>pr il fir SIOOIO knew" /10 lheoc n""n well' Of ,,'''''1 the)' <kI . .. c,"cr)"one SlIW Ihal ~ma/,"g >ceoc. were. apptJll,, _ lhe 5Creen. As one employee saId. "You C",,'I ""In how m~ny prortlc II la~e. 10 do "'-'""I'lh,ng hk... Rill Gamy. an u!X'n 00 "'a.....-:ll krues .... rIill head of lhe lkpann""m. bul Will ,.."OItt!j nell man on an .nd",dual baSIS. ISklllgquWlOIIS _ Ihan as,ign. ng J"b~ . A~ one of Ilk:," s;lId. Tht '1ues1.ons Wall a s~cd nlO>l were. 'Can you do _,. III 'What can )"ou do here? '" "J'"hc:y ,,'e", calk<! 5"'C~lboxes and SIOf)' Intttings and ofIC"ll)W WI

'7.':':":':',:::::,:.:1
r...

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ID

Igredients of a Scene
J
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Gel>t,.."1> "nd Pin()("fitio Iry

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{I> 11",/0 Iheir raj' imo the ocean ~'h.n MOIt.,'I' ,h. ...hal. ~ns his ""'WI/o 10 snu" . Th. SCt"t /a>l, bar"',. flJU' '<,<,ond, on t~ S,"m and .hows ,"" ,,,,,,,, _

~!

ing COJtNpl

of ..'10m

mad.

a good-looking pic/" .. for Ihis pia,. in the film, T""

.eparau poT/S o'r: .... . Mons/r,,'s ",,10 aM

u~r ja .... 8 . Seagull. in di"""". C. W",... aClion on dislOn/ .......an . D, WMN running inlo 'M"th . E. Th, ra/I, F. Wale' spla,h., ",." 'lor IUlh, ra/r, and

G. PinOC('hio and erppushing 1M

=:----D

H. Tlte ki",,, Figaro. N 01 ,hoM'n: J""bI txp;>nd smole jill,d ,,,.. lop half of Ihe s,tnt .jrom ,"" /ir"liul
Pinocrhi(} s/anM.

P"'''

rot,.

The "<ira/I'" ojrht pklur.

Tt'COTds ."d. SCt"t by n,,/II-

brr. drscrip,ilHl, mul/oo/. ag . OJ .",1/ os ...lto ""i mal,d il. Srquenc. No_
10.7 aJ P;"""chi" slt",,s Su"e I a, 6[,,14 [,a/llu and d'a"'lf by six ani"",
lorS.

>OJ

-- . . .

"

as ~he p,tCU of an ,dca stlned ~o come ~ogelher, \\" ah ,,'oold SIan calling in lhe men "ho m' ghl do lhe ,,-ork, CUT}"nl II \0 I mort ad,'anced sialic ,. He~. Ict" S gCI Joe In ~and "bo 's IMllmk fello .... ho bu,1t Ihal Itllns for us? You \( """,' , Iha! lur from camer;) ; gel him In he..." 100, An.d see ,f you can gel a mus;clan. 100: (hese liuy~ will havc to ,,'o.k logcther," Camer;) ' man. c~nltr, styllsl. colorist. (cchnictan , anist Ihey formed turn s n needed. " ';Ih no money for upenses, no lime 10 n:suKh. only ,he" o"n in\"tn u"e mmds and Wall 's enlllUSlism 10 gUIde lhem Once the y ,,'e.e asked 10 buIld an amngernenl tlla! could hold $CpMlte la~'cn of an"'ork al "If)'1ng d,S' tanCes from a still camera. so Ihat the ensum, p/loIo graph would h,,'e lhe appearance of dept h It " -as bUIll of " 'ood and glue and lape- lS BIll .\kFado;kn uld, " Yau couldn' l build anYlhmi Wllho ullape , y 'kno" , .. But 11 " 'o. ked and Wah lI ked the .esull and suddenl)' " '1\ talk,na about buildmg IIloche. one. larger Ind more complicaled , th .. mlilhl be used for shoollnil ,,,,malion TIus " 'as more of I problem and called for enlllleenni k""",'lcdlc, bul on lhe rords II " 'as buIlt b)' Specoal Effects: And SO lhe firsl muillplane camel"1l " '11 born . Foor years Ialer Ihe men " 'e.t 11111 " 'ortlnl ,,',(h lipe and glut , bUI no'" Ihey " 'c re creallng nquI slle, delicale scenes for Ihe films FaMuw<I ,,-as a pamcu1a, cllaJlenlc 10 !heir c...,ati~c mln.ds. "nh all of liS unpre cccknled effee,, _ To leI ,,-raith! rising f.om lhe gra,'cs in !he fin! sce ne of " :-" Ighl On Bald .\ IOIIn\4l,n: lhe)' ck~t:>cd. method of ",nlIng the an"'OTk 01110 a p!C of benl lin. much like lhe mlmm In a fun house It 11,'e an ee rie effecl. bU110 .vold OIher renecll ons tKh

fnme had 10 be a Ihreemmute Ilmenposure "ob'" room eompletel~ da.k Wllh 1M lime needN wMilt alllhe mQ\eS an.d dunges be(a lhe ne\l fl"1llllt be ~. lhe men ba .... ~ could do 16 f"'lIlts an hoor ThaI " -as only one fOOl of filnl, and somt of!ht >CfIft " 'ere o'er ! O feel long' S'lilng Ihere In the dark . hour afte, hour, the) nOl keep from noddmg. but ~omeone In the Ihru'l!III c. e" a l" aI's manag..d 10 keep Ihlng' ~o,"g h) s.n, ... 001 Ihe hour or 1M fOOlagc Of the ne~t lnO'e to bf made One of them ...,membfred after an allnlp.t ltlSlOIllhat he had heard, Th. o'clock," and a bIiIr Ille., " Four o'cloc k ." ooe t~llhe ne~1 numb.! ... "S'x o'clock '" Whll had hapPened w fi'e u' No one kne,, II first. bul j!rogg~ cOIIfe 1Qn\ rt,~aW Ihal all Ih",e men had fallen asleep II lhe !oamt I.and SlePI for nearly IWO hours befo 'Oint In .., aI.,. a,,'ake ned them Earl) In Ihls C1 hau!Un~ schedule the final pial "'eu maok for ShoollngtM la~1 \Ccne In lhe pIC1urt ,,.s the endln~ shol of lhe "A'e .\lMJ.I '" '<,..~ "h,ch had run 1010 st"cnl del,,~ s. PUIUIlI ~ fif ""I on lhe SChedule The.e had bun man) r.u~~" ... 1ar lhe content of th" ""CII! !o<: .. nc, rangIng from !WId a lass " lndows 10 lo ,,'cflng cloud fo.mallunl till S)'mboli~ed inner fhnl~ of il"'lt magmu><k BUi ll" declo:lcd on a Ioog. conllnuOllS s<:ene, nearl)' ft. lenglh, Ihal ,,-auld "aJ'I " '''h an Impn-.s1Qn of tho: _ nOf o f a largc GothIC "Ihedral From lhert. tho: c.era ,,-ould nK)'-C slo" I) and Sltad,l) Ihroullh tho: III In,cnor "'hlle a shaf, of hghl d'lsol,'w '". KrosS the Image 1"tH.n a ,'emeal !JIaft of h~ht ..0111 spn-ad as gl,nt door~ oper>c:d on a fantas) " OO'idl"

n..w

no

THE HORIZONTAL MU lTiPlANE CR ANE

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u.yo~ 1

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-'U lI'UI lR ' OM""-! lUI TWl DO NOT !lib

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100-0-

t~r K"rr~

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<la_1I. Jiving a spiritual feeling for the end of the

1\t 1opia1 effects men looked at each OIher . No ~ Ihty had could move that dO"'ly and continuo wsI)'-"hy. it would have to bI' 40 or 50 ft al:>ove

Ik drt"ings. Maybl' the camera could move horizon tally. but c,'en if il were put <m $(I"'" kind of linle ~ and !lIO'o'ed Iloog a track. a crew could ne'"er III i III prttiKly ~ same place a second time 10 .at !he diiiOl"n Walt menlioned . And evcn if they wert lhIe 10 calibrate the camera mo'"eS $(Ime way. k an.'Or\ would ha"e to bI' on pane5 of glass at least IbM or foor ft wide. and mounted on some bid ohund, and tho6e stands would haYe to bI' move1blt.1OO. It was out of the queSlion. il could n!M be . . HoIo ..."OUld ~y e'"er conuol the light ....hat bid of room "wId they lei. and ""QUId it no! bI' lIIf'OUible 10 do away with the reflections off the ,ws! 1"hm was juSt no way that this cou ld bI' done. apoaally in !be few remaining ""h bl'fore the dead-

'- for die picture. So Walt had ~ cllpCnten knock the seats out of k cud of the SOtInd $l.3.ge (which was at leIS{ 4.5 feet

_I, II!\It down the recordinl senioru, and he told

8m! 10 iO ahead! A couple of cameramen. 1"'0 or au (alPC'nttrs. twO inYenlOfS, and an an ist. and the pt.,:t "':as begun. A panilion was built across the end If .. $(J.IIU mge. and behind il stnnge things began DIjIpC_. A ~iaJ $l.3.nd mounted on rubber ""heels . . bui~ for the camera. and on the side, poinling f'cidIylOthe floor. wu. metal pointer. On I ""ODden tail naikd 10 lhe floor tiny numbers were marked in IIlIdt and red and blue pencil. I II cardully melsured

from one end of the 5!age to the OIher. Set astride !lie camera track and the marked rail were l~ stands holding IWlCS of glass with lUTpOsingly litlle color painted on ~m . Most of the dfect would be in the lighling and (he camera exposures . Tooay it woold be called a "Micke y Mouse" contrivance. but everything seemed 10 ""Qrk , to be sturdy, and 10 offer the necessary cootrol . TIle tape would certainly hold for one lime Ihn.>ugh: as ""ith """,t of the $Iudio se"I-ups. this .... as never e~pec~ed to be used again . W ith barely three we..ks len before the deadline and only days after (hose men had fallen as leep filming the spirits rising from the ground. Ihc: crew suoned to shoot this last S(:ene . With e"eryone can:fully checking and rechecking_ each man made his moves as the lead carn.en.man read from the dabonle e~posure sheet and the camen inehcd its ...ay across the stage . The Crew who had built the set-up stayed on to do the shooting. eyen lhe carpenters . Since lhey knew how it was supposed to woO;. it was assumed that if tny!hini wem .... rong they could fi~ it morequickly than anyone. On thai crew "'u a )"OUngand eager Bob BroughlOl'l. ""ho would contribu~ his talenl$lO the Special EfflS IXpan~nt for another 40 years . They hoi; nights and they shot days. and the only time they had I break was the One night of the ...eek Walt played badminton on the stage from 7:00 to 10:00 in lhe evening. It tool< JUSt over si~ days to t.hoot it In, and Ihc: men fell into bed ""hile the film was being processed at the lab. The next da,y I "ery anxious group assembled 10 s how this won<lerofwonders looked on film. It was beautiful ! There was nol ajerk or wobble in the whok thing. but there was a major diffICulty . In one: of those

FIIIIlSia

unfalhomablc vag~ric, of tho: human mind, $OIDWIlC had put tho: " -rong lens on the camera; $0 in addition 10 lhe magniflnt an,,OO. lhe camera had recorded the Stano, the track. and c>"cn lho: busy ,,Oftcn; running around during the wk of ~hOOling! II had 10 be done over. The deadline waS now only days aw~y, Dul Ihi~ was 001 the deadline for Camera "'ork, or r~ the lab. Of fOf the ~nswer prinl , This was tho pn-miffl: sIIo"';ng of the picture ;n New York ! No pitlure c\'Cr had been premiered with lhe 1.,;\ 200 fcci mining. The filming had 1 be perfect this timc . The 0 CftW shol for three days and nights. stopping ror a brief reSI during lhe badminton games-then back 10 the f'gufts On lhe floor and lhe carefullllQ'c S. All was goilli " 'cll, (off was kping lhe CIl'W awake. and a qu;"1 detem1ination had stilled OVCr lhe " 'hole process when suddenly. late in lhe e"ening ofthatlhird day, lhere ,,'U an canhquakc! Not a hig, shattering one, bul a rolling, shaking mOVC",.,1l1 Ihal fro,., Ihe mCn in lhei. l.ilCks. Rockinlcl and vibrating before lhem was the line of wooden Stands holding lhe glas, I"'nes! The mcn held their bn:alh. bul;1 was ovcr as :wdI.Icnly as il had begun . No glu5 "'as broken. ooth;ng was off ;IS marlt, lho: lrack sc-cmed intac1 and straighl. bul 110,, could they be sure? If they ,,'enl ahead and compleled lhe scene and il lumed out to have ajump or ajerk o. a fal>e movc , it would be ruined and lho:re ",ould oot be enough time 10 reshoot it before opening ni,ht. If they 5Iartcd all ovcr a,ain. lhey Nll'ly would ha'''' lime 10 fin~ il before Ihat imponall1 date . What iflhell' ,,'Cre a t\clay for any reasoo? Was that CUlling it tOO Ihin? This was a big decision- for SOmeone d>e to mah. The Crew went hom", to bed . The next morning lile del"'rtrTlo!ll1 heads decided il would be bener 10 cha....,e aoother ~anhqllakc. fire, ~ flood and go for a lake lhey could be sore of; sounce Ipin lhe cre,, rolled lhe camen. back to the slan;ng mart. checked the lens. pol in new film. and staned one la'll lime. Wah cancelled his badminton arid barred cvcryone from going on Ihal stagc_ Wilh only one day to spare. lile Crew finis hed shooting and rushed lhe film 10 lhe tab. n..re were 00 di_~ on the stag<: ~ al the lab. and the men had done I peffectjob. While lhey look a ,,'eek 's vacation, someone else jumped on a plane for New York with the precious film under hi s a.m . arriv ing in the afte.

,,-ith a good four hours to ~ pare ! It 01110 lhe ",nd of lhe picllll'C and that is the ",n nighl afler ni,hl il lhe ,,'hole la" reeL ' Why did these men work SO cagerly? Why did all)' of us become >0 t. unquestioning, SO tlclem,inrd? young aOli lhal the " 'ork WaS it; menl sccmed impossible al lhe slart: let a "'TJ found 10 do ii , and to do il SO ,,'CI1I""t the was a,,'ed by the results . The I Ihrough barri~"lo new frontiers waS II10re than us could resi st.
0000

Orville and Wilbur Wright ."~",""' ",~r Kilty Ih"k thai lhey ,,'CI'C be'ng eaten ali,.., by sand fleas, .mliled by lhe bIo:ra"'I Ihat got i t cold wiOll., t i ; 'to read thei' ureS wilh i!Ultlcqu31e r tin lhe . i SO exdlcd abou t what Ihey were doing. by the liny successes of each day lilal the)' fell kids again and could hartlly wail r~ the that ,,-uukl bring them it' ~vcry in\'entor has the cha"l'C' 10 lion, fOf o ften in spir~tillO end, up i compromise and d",d,ery . Fortunate are those ha\'c known lhe e X hiiaral ion o f the crcat; \c prott>JWith tile bo:ginning of the s.:cond World w;sr. this camc 10 In cnd . Our highly lrained and mt'n " -cre dra,,-n i I skills were"",", urg",nlly nee<.k:d , Only younger nll:n relurned to the fabled Del"'nment, but the "'ork was different. was calling for experimentation. bul in efroc;"1II !I'dods rather than in nrw fidoJs. By Ihattimc: , Ub I"'crko had returned 'i , Iype of creali\'e ;n"emion. It had been barely I years si"l'C' he " 'as known U lhe ,reatesl anim;l1Q1Ihe "'orld, yet now he had given up drawing to centnll. on his in"entions, finding """" proc:cS!>cs, building new devices. crcating effects . Pan of his genius ,,-as his Ibilil)' 1 10 the hean of the problem when something ""Of king. Whe,.., others lried 10 fix the fai!ing pan. insl;nrlivdy went right to the thing causing lhe prte. le m . Where "'hers looked for a way to gCI lhe

Ikn:. Ub found a way 10 maxe il into ""mclhing bel'". II< underslood cameras, projeclors. lenses. cds. palM. and film, yel he al", undCn;loOO Ihe "nisI's difflCull;'s. the ing.rcdienlS of a qualily proc.lUCI. and. _ of all. Wall' s dreams . The Spedal Effects Department became more IOphllliralM. repiacin); hapha"ard laclics wilh orderly flOC<dures_ InSlead of Ihe contraptions bui II with tape iII.uch a casual maooer. the new devices were built to M)r\; and 1 I." . A machine . hop was ",semhled !O 0 ..u f)fision instruments and intricate mt.'Chan ;sms . . ~<lUkI a,Sure ",pealed qualilY in the visual effecls . no: mon in the Jcparlmcnt bc<:ame SOm'" of the mo" IipIly skilled in 1101ly"'oOO and occasionally were lent QUI 10 ",her siudios whcn "cry s pecial effect' were

""'" The

unforeseen and enormou.< prohlen" of Disney1IId;md Walt Disney World drew lJb away from the film ~'orI;. and Eustace Lycell look over Ihe depart ..... Eu>lace waS one of the " kids" from Ihe carliest ~l.;md together with Arl Cruickshank and the rest of am... coold handle any problem tossed 10 them . Sca1IIkd. e<perieoced, c realive . lheir ,kills were oeeded ...... oftcn on lhe live action pictures Ihan on lhe ~tf"lIy budgeted .nimalion fcalUres. For Th .. mack Holt. IOCY had 10 Ihink up the answers before anyolle nlqu ile awaJ'C Ihere would be a problem_ They koew kft "wid h..'e to be a device Ihat could hold a -..Jel spaceship .nd move it in e"ery flO"ihl.., manlei In il(\dition. lhey would h"'e to haye a camcr~ on IIlounllhal could make any move 1<> match . and lhe ~wld have to be ~-oordinal~-d by so",,, meehan icaI IMllennind . They S"I around in a circle. di s aMing, first. what lhey would have 10 have; second . .tIIItrpe of Ihing would do it; and. Ihird. how soch a til, coold be buill . Thi s approach was reminiscenl of ming the homemade contraption for 1he lasl shOi in ' <lllkUu.. bot lbe results were dramatically different. 1W .... n dev~I"P"d ,;omclhiTlg so intricale and com pIic-aIe<l. )'tl SO simple in appearance and operation. *- ~~"" 10 be a highly sophistiealed rot>ot- which is ju\l what il is. allhough they prefer 10 call il a "C\lIIlfM.llcri1.td c. mer~ , " As long a< these men can ""'" up "'ilh answen; before we reali7-c 1here is a ~i()II . tlx- film, will continue 10 combine fantJSy .d believability in a "ery real way.

"'*

Color
Before 19J2. the only fuil color canoon, an)'""" had eyer se<:n were in the Sunday nc ....spaper comics. SO it wa~ only natural that ..... hen Ihe first animated cortOlllS appeared at the lah . the tcchnicians tried to II'\3tcb their harsh and gaudy and brilliant rolon . Wilen Ihe original an material waS sent over to show tile deliraIC gradations that had been SO urefully painted. the: ltx tion was still. "Why do)'ou ..... antthat? This bas!OOlt punch and sock to it'" Gradually their .!litude: changtd. but somehow the film did n01. For yea .. Wal t battled wi th Technicolor 10 get them to give him tile elXl colors his anists had painted . until everyone boe~ 10 reali7.c that it ..... al the oolor system in the film i~ff that waS tOO erode to control 10 such a fine de~. It .....orked quite ....dl for ail tile hues in a middle value. but once the colors s!lIned gelling 10 tile ligtwer shades they bleache<l out quickly Teeth that W lt supC posed to t>e merely clean t>ecame SO chal ky tlleyflirly leaped out of the mouths. whites of eyes glartd likl headlights. soft foam on water looked like piles d popcorn And on the O1her side of the ""ale. an)w.. slightly dark weill almost black . To get. crc.mcolored dress or a soft bluebird .... nOl casy. and a black dog. li ke the StOlty in Lodj' aN Ih~ Tr<lmp. was alnlost impossible . If he were paiRlCd darker than a medium value. he ....."111 too dart ta Kf any del.il or facial expression. Careful shades of grt)' had to be selec ted. and the feeling of a black dog came from painting the backgrounds very light behioo him b'ery color sy"lem on film has ils own stltngda and .....eaknesses thai somehow mu,l be ma.>tcrtd II) the craftsman ..... ho want< to put his color theories (11 the screen. It is oft~n an annoying and ffU\trating gamble but il is wonh the effon if one is .1 all concerMd wilh the appearnnee of the produce T . Hee. brill. . caricaWris1. $lylist, and director. claims that. "Colo! i$ equally imponam to the drawing itseIL " It sUppMI lhe whole idea being presented. cenainly. aoo il_ troi s lhe mood completely. leading the auditnct a surely a. the mu sic tr~ek from one feeling tQ the .m. More lhan that. colors hav" lheir own vilali1 y. mat.. characters as weI! as si1uatiOfls exciting, restful.l\appy, Or ev"n funny.

'/.oJ)' in

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I~""nn
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;,n oti.mi ,~~~. jot

11<" 1M

1b. delil>C"lion of any personality almost stan. ,",';(h

. C()Sluming has been an essential pan of the

less understood impact and poIenli.l of :;:::::~'i!~~~";~:;~: slightlylhe rolors them Hee is more sensili,'. (han rl>OSl when he "On50meof llte caricatures. . [would make

""" face ,'''''n. because of his character. . he '( look good in any OIher color. And olher make their fa~s completely red. and f",os "'ere no! red . Red is vibr~lions and
il "ibrations and ~II Of;1 is elecl,ic and iI' s alive if you'"" around a pcrson for a linle while .

. he

or be does no1. Relative values can be learned.

approach always will remain. making or sensa!ional. dark and mystic Of realislie or abslracl. no maUCr how ....ell he leams!O pOI colors togelher . This is a conSlanl
onhodo~

:';:~"~ producer who wanlS a special feel to his

if he has a dozen color stylists and backpaimers. seldom will any be exactly right for , There must be conferences. critand to oblain a i ilit idea and graphic

~~:f.~~:~:~~~:r"j~f'~

will ha\'e the responsibility for IIQI only a cnlor ~ey for the whole picture. but of til.! characters in tbe various direetor aJ,,'.YS may have visualized in a pink gown. but if pin k does nOl fit the 1Ct.eme being suggest~-d, he had bener be pre_ change his concept. perhaps radically . The "Nutcrac ker Suite" or tbe quaint 1 tt '. house only can evolve as the "m together perfectly. The background man ... ill have complete authority in this area. since is fully .uccessful when one function has domt a balance is maintaiMd . the direc layout man "',ork do",ly with tbe painter producer watches the results carefully. 1irtt~r oelp comes from the Color Model superviInk and Paint Department well. ability to qualify for is easy to do and woat is difficult and time how much any prOCI'SS will

cme what colors are available. and even " 'hich ones are stable or cause problems_ In addition. she is 3 fine anist and has a good color sense, She knows how much tbe thickness of a cel wi!! darken a color and "'hat to mix to compensate for tl>e loss. To tbe un initiated, the list seems endless. As one of the women put it. "You had to know e"ery other aspect of the business to do your own wor~ . and be creative about it. . . We're like a liai son between all the departments,'" Finding a set of colors that will work with the gen eral scheme. the specific bac kground. and the needs of the character is only the beginning of the problems tbe Color Model expert faces. All of the earlier work has been done on paper with a variety of techniques. and now a way mUSt be found to achieve an equivalem effect in flat shades of tempera paim within outlines on a cel. Handsome. appealing characters li ke Jiminy Cricket or Thumper look so right that the average person has great difficulty in imagining their being any other way. but tbey all took imagination. dedica tion. and persi~tence. One small example is the expense that will be incurred in putting any character on the SCreen, To begin with. each color represents an expense in itself by the time it is mixed, put in small jars. dispensed to the painter. PUt in the exact area On the eel. and then allowed to dry. Each use of color adds an additional expense. so the Color Model advisor speaks up early when she sees a bit of questionable detail on the ani_ mator's drawings . That item will have to be drawn many times. have a color selected. be painted on hun_ dreds of eels. and. finally. chec ked carefully . We were told. "Each button COStS ten thousand dollars!" and ....1: became vcry selective in our decorative additions to the characters. The question is constantly asked. "Is it worth it?" "Do we really necd that exira but_ ton?" " How about the buckle on tbe belt--docs it really need three colors?" Jiminy Cricket had 27 colors in Pinocchio, but "'ben he appeared later in the Mid..y MouS<' Club films that number was CUt to nine, Almost any character will h.ve that many colors. no matter how simple he is. There are always lots of little places to paint> such u inside the mouth. the eyelids. the bonom of the feet: a person docs IIOt ordinarily think of these as having a

diff.",m color. )'1'1 il i~ needed for definition E'-cl)'oJ>e k llQw, if the character is a drab liule guy, flamboyant extrovert. a deceitful villain. a SWeet IJIO(hcrly type. but the selection of the eHct colors !hal go logCtller 10 CrealI' this appearance is a mauerof ptrW1131 JIIl'ference. The beueT the I~SIC and judgmem rJ the c(llor ,noo.kl experts. the more handsome the \'lIarXlOr will be. These chalicnJ;es are compounded by ttlt fact thai <01()fS thaI appear right in a daylight lC!Iing become garish against a nighnime background. Olkn. different se1 of colon; will ha,'e to be chosen

r.:.!he night scene. or for some O1her unusual sequence

II'iIh a ,peciallighling or mood. And the problem does 101 SlOp lhere . l! is DOl .oougll (0 choose colors for one character 111M IIIill wor~ Ihroughnullhe whole film. H is colors ibomusl be related to those of all the other characters lIIaring with him in all the ""luc"""s; and. inevitably. "'"' sh.oo and hues Ihal seem perf1 fur one firgurt cla:;h and Fighl wilh Ihe perfeci .;eleclions for ... <halllCler beside him . Then when Ihal annoyance is 1OI,"td. the ""xl sequence introc.luces new Figures who lipid evcrything Ihal has been dided up 10 this poinl The .. is 'Iill more. Often there will be mOre Ihan _ cilaractcr representing a generallype of pel1'on in ... \lOry. Tltere mighl be two bad guy, ....orking as a 1I:Im. '" three fairies who arc alway. togelher. Tlte ~Ie. of course. w~~ seven dwarfs. Seuing Ihe cokIr n"o(lC\<ls is a difficult and lime-consuming prnce . It lakes mure than one nice skelch 10 Find the
....trs.

Iftt.: picture is designed to be reali<lic. brighl col. en on the characlers will be a problem. causing the lrad;groond painter con'tan! headaches as he endeav. cnlOfu the Figure> back into his painting ur maintain UlKctssful color scheme for mood. Snow Wltile run.., through In.: woods in terror is a good example of colors thai ooapltd as well 10 tlte threalening foresl as tor had prtvioosly 10 Ihe sunny glade where she had . . ""~ ing nowers. MUied color.; and a moderale of hues give lhe painter far more lalitude in : ::::,,,,;:,:::.pictures on the screen. A characler will limit the badgrounds 10 about I'1S of oolors for the whole picture; any other . will be muddy. 100 light. 100 colorful,

Black is a complete absence uf lighl on lhe screen and Ihus becomes a hole ratber Ihan a color. While it may add Kcent and sparkle to a still <.Irawing. il has a lendency 10 suck Ihe life oul of the object when it is projected . In SlupinK Beaa/y. the bodice of Merry wealher's peasant costume was black; and while il made a brisk pallem in lhe o,"crall design. there was an ama:>:ing los. of vilalily in the scenes in lite color print compared 10 the rough peneil animal ion . BIK k detail.' alo;o tend 10 blend intu lite darkcrareas of lite backgrounds. causing them 10 lose lheir identity. The marcelled wJves of Captain Hook' s hair io Pe/er Pan caused much consternation in the lnbet .....een Depanmenl because lite comour could 1101 be a straighl inbet ..... eeo oflhe lines. but had 10 be a complete draw ing of lite hair in a new posil ion. Ho..... ever. his hair caused even more consternation in the final Film as il faded into lite dark shapes in lhe background in scene after see ... . We could have saved ourselves a 101 uf work and money if ..... e had known that tbe oolors behind him were going 10 be Ihal dark . As a rohn. Pitlocrhio is undoubledly tbe mosl gor geousJy inlricate Ihal e,'C r will be done. f"uttJmi(J had more imp.ressive scenes and visual surprises. but for richness of handcr..fted detail. Pitlocchio will never be surpassed. Walt knew Ihal be wanted a picture wilh a greal fling uf atmosphere. with dimen<ion and space in lhe backgrounds. He wanted dimension in his char aclers 100. wilh an emphasis on depth and roundness in tbe actions. To aid in this. lhe Color Model advi sors. working wilh lite background painters. the color experts. and a special group of effecls animators had developed several t~hniques Ihal changed a nal area of paint into a rounded form. TIley used a blend (hat was rubbed on. drybrush Ihal was st ...... ed . .and air brush that was sprayed on. Gradually one department after another ....as crealed 10 controllhcse special processes. ~ airbrush depar1. mell1 alone had over Iwenty wumen in ;1. all adroit al controlling lite delicale spray Ihal o;oftcned harsh areas of color. The killen Figaro had boIh airbrush and drybrush 00 his face 10 give him (he .soft. furty look .., Iypical of a kiuen . Since Iltere was no way of making (hese particular effecls e~actly the sallle way Iwice in a row. there waS bound 10 be a n icker and a crawling wben il was finished. but it helped lhe appea..-. nce ~ .

muo.:h thai lhe decision

'us

made

10 uSoe

boIh te.:"h

1;10.... that seemed IOSUITOOOO lhe fig<=5 . and he ..-wed

boIh of those featurc. kept in the final furm. no IIWIa" how it w~s done, To lhe a.'scmbled l,rtists. liOlJleoid aoo some new, he said . " 1 $ay the~ arc possibilitlcs. those backgrouoos down the~ ... ~oo wi.h ourdt-fl" drop fairy lhere' s a cha~ for a differem trcaunm Get away from lhe vivid 001"... aoo get a night rokr for her. .. Our bIodgrounds should be done ,n I fantastic ,,'.y when rcndcring lhem: iii) l oa)'. kt'l open up and give us something thai hiu us. BOO.\I''' When lhe meeting was 0''''' the pu1.1.1cd t~hnlC" asked each other. "l-1ow Ihe dic kens arc we goinglO get this thing on the KreenT' The new anistS ..-... de~d. 100. Obviously. '''''"' painting " ' ;1.$ lOOt !lor ans,,er. They ,,'oold ha,'c 1 uplorc all the lechrucal 0 devices and ]If'OC('sses .ha. might help lhem . IS well . think up some new things to tl)' in evcry arca. Su.d)... the s ketches, lhey gradually f""nd ""nain c.. ~ that could be dra"'n. and others lhat "wid III ~Iy on what the camerl could do: the kn~, tile fi lters . the double and triple exposurcs, Still might be h:tndled wilh special work 01\ top oflhecm airbruSh. oils. 5mud~s. bknds_ They u ied a fim tesl and looked al " long and hard. "Oee-----it doeS,,'t look anythi"g li ke the ,","" " liked: what do we do now?" All the eXpenS,..1 ' thoc showin,s. o ffering SUJi\CSlion$ from limiled knowledge. and lhe materials werc for a second try. Finall y a way waS h:t,-.: taken lti many a> twctlly separale the camrra . or a mask LO block out light from neath. or. IiOft mul.iplane effect " 'ith slightly fOCtls edges; each SCene was diFfercnl. each inative e ~plomtion, II original sketch in every way . ll>osc ,I"""ed and $/Iimmercd. " 'ere feminine and worked in backgroooos of pure magic. The " 'hile ballerina blossom Ihat floated.lO fully down onto the placid , black water wa, i' ",,~," " 'hite oolline that matched the rolor of the pculs she g ill looked 1 hanh. too ch>llky. Th;.~_ 00 shot again wi.h a slighl diffusion that helped. was not unl il separate exposures inlcnsifi"'] ItIt th31 she seellled to glow " 'ith a pristine bc:ltlty. and radiant . Elmer Plummer h.ad do" . . . "", knew ,,-hat he "'amed in values. and wort.,.]

mques.
l! was imperative Ihal Ihi s work be startetl early so

would be lime to e~perimen1. This hltllthc added ad.-antage of keeping the ,,'hole e~w ucited as they saw new df" being created for the piCIU~ e,'en though lheir o,,'n part of lhe production at that time migJIt have been minimal or rootinc. It also gave the animators I chance to make their OWn 5UggcSIions and enn to inoo'ponm, emergin, ideas imo their handling of the c1l.araclCT"S . When Walt Slaned Funt(u;u. many of ,he pictorial s uggeslions ,,'e~ so diFfcrcnl from the SUlndard appearance o f cartoon material Ihat a special crew of color uperu was combined " 'ilh the Ihni ci.lJI~ and cameramen to~ what could be done in Ihis new direclion bef~ commining the " 'hole Studio to the projecl , Typical of the new men we~ eSlabli~hed paimerl soch as Lee 8 Iai . Elmer Plummer. John lleneh. and painter teachcT Phil Dike. who was put in c harge of all color. Everyone was encour~ged 10 experime nt in tech niquet, ibign. and effects . As John Hench said. " ThIlI was one thing; if yoo wanted 10 do something Walt v,oold let you do it." John gill inlo back,roonds. ,,-hich soon led 10 a curios ity ahoul "'hat ha ppened in cam Cf1I . He had done some photography, so he tried dif 05CC what dfIS hecould gd . This led to fercnt I~ 1 three yean; in the fabled Special Effecls Depanmenl doing everything. At one time he e""n did some effects animal;on. His sense of design led to work at WED , the " Imaginecrin," subsidiary company that c~ated Disneyland and Wall Disney World . tk later became one of WED ', ch ief uccutives . Walt tried these men he~ and I1e tried them lhere. IS he found out wh:tt they coold do best; and wilh hi s ;1ICe$SlJ\\ drive 10 pia an iooividual for t"a~imum crcative output , he Maned them de"ciopinll his radical ideas for a roneen featu~ film , Li ke the styli ~ts. the y werc unhampe~d by past nperienccs on cartoons. and .... ell: free 10 uprns an idea in the medium W I heM ~uited !hem. without regard for how it evemually could be duplicated on cds . Alone meeting. Wall' ~ eye was caplivuted by a series of wft pastel sketches 01\ black paper soo,.;ng a tiny fairy srnltlling dewdrops on the pllJItS at night. Wall panicularly liked the delicate handling aoo the

lhe~

ha,..,

IIIMI In S"",ial Effecls unnl lhey g.... il: btll he $lil1 paUMW lhe bIockgroono.! himself 10 be su", Ihal il would look ju~ 1br way he " 'anted il . Elmtr explai .... d hi s posirion rhis ,,'ay : " I was a bo.a fdt uri". and h:ld picw",s hanging all o~er lhis roll/llry .... arercolors and oils. aoo ~II of a sudden I "-l1ll)'~lf dOIng. "01')1 ske"h in paslel. bul done: in IU<h I ,.... y Ih.r ir w., hard (or a guy who was nQI a p!O-.. ho did IIQI know lhe lechnique-to pul il down fie wno .... Wah relied on lhis u!>Compromising

y:.

insiSICIIC( On exacl values 300 relalionships 10 gel the .... weHecls he ,,'U ~.king on ,''' ~n . The cornmercial anisl who mighl say. " Th al' s good enough:' ~ would neVer h....e ,''' pc:l'$iSl.~~ or ,''' judgmenl 10 ~ kIlO"" the diHe"'~ , [1 ofren rook gn:~1 ]lCTliiSlence. One o f the m.osl imp"'ssive KC .... S in lhal k<jucnce is 1'" pride of 1'" harem in the Arabian Dance. the delinre. whit~ fis h with lhe long flowing lail. sur_ rounded by her bevy of maids . As their black . ~mi tr.lIIsparem tails enshroud her at lhe stDrt. there ill I

filmy light provocativ~ly gleaminll behind this ..... t of veils, Never h"s an object on celluloid looked so diaphanous ~nd delicate. When Ihis effeci finally h~d been perfecled. il presenlcd an cnormOllsly ronlplicatNi job for thc camcl'lIman. but Ih~1 ,as OOIhing 10 the shuck .. he rttCh~ when the rompkted ~ne was broughl 10 him. lbe Slack of dl'llwinp was far n~ Ihan one man could carry-lhe scene was over 100 fttonll- and il luoI:ed like a ~ mall rnounlain. for il included nul only separale dr~wings for lhe fhh bul for all of tl>e 'par. kles. lhe effects. the shadinll on the tails and Ille fins . Each le~11I<kktl anulher group of drawinll". In facl. the SC<:IIC had bttn so unusually luge that the animator. Don Lusk. and his assislams had been the subject of Je"enl gag dnwinp showing them d ..'3lfed by lhe

or buried under layers of pa"",r , The ar\JOII r>& tU311y was I:>n*en inlo th= !o1IC~. "h"'h lNdt, ea.<icr 10 carry . but it ~Iill look 'u'>\ as lung 10 $IIott The . ucss of these glorlUu_ ""cnc:~ "')S dDt. large nlCdMlre to Phil Dike. the 'tUdl0'~ cob ~ nalor . lie had an mgeniou s ""lUi ,on 10 the prOOIt1o Ii gClling a ,alhfaclory re_ull fmm Ihe clu""e,,~ , lies of lhe film being u>ed . I k a,~NI Tcchniroklr 111 prim a KCIIC as far 10 the m! , iok a~ lhey wuld ( lhey called " OUI of line "); then . gooually. on ~ so,'e prom he had them ..... ne ~k . onr ~ ill I lilllc . 10 normal. 110en he ordered Ihc same thlllll the blue . This " -ay he klli:w "hal he could tIp:<!. what hues Were on his palellC. and could work IOda limitalions. These c~pcrin",nting 3ni,,. h:Kl funller d,rr""h. wilh lhe slightly mOl'<' orgamicd dcpanmc1ltS" surmtlndcd lhem . Walt h:od ~ "'~y o f Idling""" prson 10 go ahead and gel " 'hal " ... nttdcd. 10do . . . c~r "''as ~"''''''Y 10 rompielC lhe .JOb-.. 1Ih:,u any oflhc other people ,,'100 would ~ in'....hc-d m sa a projt . When lhese roew men "-.,01 10 "",nl and annolloccd that they had 10 ha.e a rlIiI Ih ing. ur somelhing had to be d{lll< " ~n"," "'.y . they needed six in kers riChl away 10 do W11I1' ..... dirtttly fOf lhem. lhere were all "'I<ts of departmea jcalou ~ics and " 'oundcd ~b'OS. Su""' ...o'iOrl ""'" b'JIII 10 :!ohe new. unheard of p..oblcI05 . run their. menl S cffocicmly. and >tilt g o~c Wall "'hal ho ___ !<n . when !>OTOC OUl$ider came in wilh an lde~ of ubi!: over for a while. lhere n"tur~tty wa. SOIll" ronnicl MI one could c,'cr run IQ Wall and iI.,k him 10 ,tr:t,~. 0,,1 or Ikflne lines of aUlhorilY. S coch man hadlOW o his own diplomat and do whal he C<>\lld to get Olhrn. coopc:nl1e . ThaI w,s the "'00-1 pan of 1'1111 Dok~ '~ l ie " 'lIS respecled and he was hked. bulhe IWIO cnll1dy Ihroogh other ","'Oplc and tho" de".._, " 'olh " 'ords as his only lools. lie ( oold not poII1Jl ~ .. them. or s hoot it for them. or c han~ a teltS for_ and sioce lie worked primarily with Oilier an,!-1. . . was no end of opinions on whal the color >hooldll and Ioow it could be oblaioc't! , But Phil w.s ''tT) ... Iomatic . always look the bl~nlC. :ond ~_ thai the mos1 beauliful scenes c,'Cr done In IIU ,,~'" ( 'plum! fore,..". on film .

~ne

aooIher"

a'l."'_

Ink and Pain t

'I\Im: ron>es a day " 'hen the animal ion dra wings h3\"e
lien COOlplete<J, ThI: sc~ne worh in continuity. tm, ct.nmr Kts as ~ .hould, hi, c~pres.sions communi

"',k

>troI!gIy, the I~yout Stlppotb hi~ actions. and tt.. of C05!Umes and props are all accounled for, 0. ~I <by, a big (I\rtk goes up on lhe prodU(:lion BIn lhe draVl'ings an: far from finished, They apprund as " -001111 ~Iy , Now be pUl inlo Im,ir final form, lhe way lhe "il l see lhem, III tilt I"'cr-lies. lhe drawings were inked direclly on pafIm the)' ..-~n: dnw n on , wilh 00 shades of tlnl'l for le~lures, doCS, ~lwJ dorolions Ihal bc <lone with a pen, Celluloid! were used only W Nckground ~nd " hdd ' obj",ls Ihal did 001 TIll! SlI>ed the ledious VI'"",, of redra"'ing c"cry II "'" JllClure for e>"cry si ngle fra""" Winsor ftll Ihal Ihis ronslanl lracing broughl a life 1 Ihe Iolal drawing Ihal was 0 an form. bul few who fol lowed bll diligence and dedic~lion , He ri,hlfu ll y com"",rdal lrade OUI of ,m, lit had tIt "eloped, l'..-.;r,'ro by Ihi, crilkism. lhe ",,,n in the ~ludiQ'i ~arch for easier and quicker " -ay, 10 gel II I , As long as 1m, backgrou nd lop of Ihe drJwings, lhe aCli on of lhe ..-a.\ ~Slri(lcd 10 lhe O('I'n arellS. and this limI)'pes of gag. I"''' could be u~. Then one ...-..dem:I "hy lhe figure5 could IlOl "" on the

,,'.1

were drJwn on lhe paper I Inslead of being done as simple ink dnw both "'" ch<lraclefli and lI>(ir locales could bc ;.., . all the sh~ of grey as " 'ell as black and AS long n II>( pai", u~ "'n ~ue. lhe

::.'7.,~~'~~;:;~:'

":~:::::~"'; lhe eel would bloc k OUI Ihe parIS of tl he wal co>"ering. while lhe dur cd httIt dfect on . i else in lhe Kelle . Earl 'i dilCO\'~ry.or in\'enl ion. and btcn 00 essential change in Ihe procedure in

t~::!hing lO!>lIy 1....1 lhe drawings " 'ere lraced

cdluloid. bul quile another 10 do iI, Anyone . ,.. " . '. ,' o w on glass wilh a pen will m:all

Ihal nothing mighl come OUt of lhe pen al aU. except a long. fine scralch , You draw ~Iowly. you draw fa~I, ),ou make link mOkes . ),ou usc sweeping lines. lhen suddenly. for no reason, Ggrbloob! a hug<' $pl.ner of ink "}ln~s oul all al once , ll>c same is true of tracing / ' onlO a eel. It seems II>( ink mUSI be floaled " 00 ralher Ihan elched in 1 bc ~ ucccs,fu1. 0 In New York, il Will' fell that only men could master Ihis diffICult an; in Ho llywood Walt assigned IWO ,,'Ornen 10 lhe job. and " 'hen he could not p.ay lhem he married one and made the other head of 1m, Ink and Painl Depanment , The IWO ladie.' in qUeslion ne"er denied lhe slOry. although tl>(y exhibiled knowing smiles as they listened 10 W~It' Ii relelling of ;1 O'~ lhe years ," Mary Tebb remembers !he day s Ihal followed be ~a"SC she in ked all of Th~ SkrltlOIt f)wrct by llersc:lf. riM . .... ulls. and ,~nebrae_ She ask! het'selfnow. " lIow did I do it? I don' l know. J wa. young, J sec il now and I'm amazed!" HUI it was si mpler then with a heavy. untapered line ~rQund e>"erylh ing and none of lhe refine"",nlS Ih<I! would make each eel >uch a "'ark of an in only a few ""'"' )~ars . II WiU Walt. as in aillhe otl>(r functions. ,,'00 gradually raised the qualilY; he asked in a way Ih al ~howed he e~pec!ed (he girls lobe able 10 do ;!. In Mary's ""ords. " That's " 'h<I! maOc him g",al, I Ihink. because I>( brought out from ... ""'"' than " -e lhoughl " 'e had ,' I'ai nling is not ~s difficult as lhe inking. but il s!ill lakes palience. OfJ!~nizal ion. and considerable skill. Mary u plained lhe job this " -'y. You .... ,..,!O learn how to do it right first: leam how 10 mi~ your rolors read yo-ur model. put the righ! painl on Ihe righl Ihinll- how 10 dry it- and be su", yo-u don't do il "" the frool side of lhe eel inslead of II>( back , It 50Undi easy. 001 it'. amll1.ing how nlany people can 'I do i!!" On drawing after drawing lhere an: linle areu Ihal could be anylhing: pan of Ihe flowing hair. lhe skill, a tail. a ribbon. or even a hand behind II>( b;ock in II>( middle of an K lion . Looling at the: drawinll by il~lf. lhere is 00 ""'y o f lelling what il mighl be. or ..hal color Ihould be pul On i\. SOnlelimes a check of !he dra"'ing5 in sequence will rtoveal II>( idenlily. but oflen a fuJi confe",1lCC must be called , Wh<l1 is Ihis thing sOO"'ing Ihrough t..n:: supposed 10 be?' To Iwlid this kind of confronla!ion, lhe animalor's a5li$llnl usually

 c/ pink painl .
~

ad, Wbo Kill.... ,? inI9J4.}"",y ,.1:1 '"~ ... poirUM

" '<IS iWt! in ,'''' , m.1 1M 'ff'~'

do,"'" milk,

()

little OOIes on his dr~wing~ c ~ pla,nins any m)"5IIIrious forms erealed by the "",'-eme"t . The ""OItl(n "'00 had "'-orked up to the "lOll: impo.- ")Ob:s cootinu.lly were looking for ....ay. to "':Ike fir mdi,-idual cds 10m; '1"IOfC appealing . They did no! .10 St'O crudt. barren "'00 going .hrough .he planl. ~ though the)' l """, thai pnlbably. in ac.i"". these ...."IISS " 'OlIld do tlocjob. Still. if the dr4""'ings could lor NIk to i0oi; b,mer . ' 0 have a bil of _hading. or a -'go:. Of one "IQI'C color. or a bil of detail tlla, _101 ..ally male the wort Sp.1rU", . they would sug-

...

looI;ing al eel of Sn"w White. some "f the w"men

lilt thiot tile bI;oo.:k hair looked unnatur~1 and han.h . S() *r tntd adding a .....'Sf' of drybru.h on a lighle, Grey tlMlfltn the cdge of her hair. II helped immensely. SO *r procteded to add ;. 10 e,'el)' cd all ,hroullh . l1c
"l1h no indkation. (o,m the animator... and IlCIIi n to Kuide tl\o!m but ll1cir ""-n sens.c of ,,'hat , IIattd right . This had to be do"" on .op of lile cds. _ tho: OIIly ...... y to he sUre the effe<.' was worling tom 001' to Ille ""XI W:lS by ml'pin~ tho: whole s he..,t ""I/uloid. heavy ....ith paint . It "'as tiring and ri _ked ~ lile pain!. butlhere "'as no OIher ....ay . No 001' quile reml: "'ixrs wllQ first .~uggeslcd the IIa of ,nking tho: outline of an a,..,~ ....ith lhe SlIme ... IIw ,,-ookl bc u~d to fiJI in lhe area. but it MUlklnilCd lho: aprcarance of til.: char""tcrs . Each ~ mal,s . srpar4.e c"lor must ha"e an outli"" --.I it (!elining it from the area ""AI 1 it . 1l>e hat is 0 lho: hair aoolrn,r. Ill.: face still .nother. and ... W .. lhtst' ootli"", arc done in black ink. there lot thea,)'. crude: loot Ih.1 is tine for PCN Leg PelC but . .""",. for more oclicatc charac~crs . CoIoretI inks tried 011 tlot first color films and "-nt= an imPfO'~ but "Iotn a !oot of quality and careful shading nttd!. 11ot)" were still 100 strong. So sonle<'ne up . ,th tlot Klta o f inking " 'i,h the ~~ p3im be put on the back o ( the cel. Thi s pa lot tIlinned do""n to the corosisteJ'IC )" of ink and made dM:Ur '" ma"h the ~)"ing effec~ of the thickof the eel on lhe color beneath il. Now there was CM!m.!Nt "as scareely noticed on the screen . The .... op:n for SClft color chang~ 011 ~ny form. the Ih.ldes aOld su bdued "aloes Ihat l>3"e the beauly ~ been sking .
~.

_roIor.

.""Id

This t)po: of 'l'ftne"'ent was particularl)" needed on femini"", fac~ " 'helhc, thl:y " -ere human or ani ...... ls. A strong outline around any p3rts of lhe ""ad changed the feeling. as indicated by Ihi_ nme f",,,, a I'j~O<"(hio , directive ; " When Pinocchio is a puppet. before COITIeS 10 life. "'e are going 10 have the black line ....here his neck joins because it looks "lC<:hanical. but " 'hen he comes 10 life. il spoils the cu te""ss .o have those li""$ in blact SO We just ink this in the SlIme culor as his ne~ k SO you don'l gct any hanl edge ho:re_" Hefon: lung. the chane.c", had "lOll: colored lines on lhem than the bl<ICk. and the y became so on,-01 ,~ Ihal the Color Model e .perts had a whole page of notes on j ust the inking. a.t<Ic from 11M: notauon~ of lhe colOO' lhemsel,cs . 1l>e na~ aepled for the col ored Ii"" be<.:anw a ""self ink line."' and even afler lht inkers "ere replaced ....';{h duplicaling proce:n. lhere wa~ still the r.eed in crilleal arcas f"r this kind of fines.., . Stili l))o(R refinemrnts " -ere ,uggested--many mon:. 01le that was quite impor1ant fot a few )'urs ....IS called lhe blend." a ....a.y liltle crayon tlult came in "anous colors and cook! be rubbed o n top of 11M: ""I to ~Iightly duken the c"lor un<kr""alh , With the .. aliMic painting mid strong dimensi"" in lhe backgrounds. the ccls with IlM:ir Oat colon ....ere beginnin~ loot like display urdhoanl." Tlle srlf ink line leading to aOOll1c Shade had helped . but now ""ith a trans!",re", smudge dfeet available ,n lhe blends. a luming edge roookl bc suglle"cd . As with tho: drybrush. il required flipping lhe painted "",Is 10 "" Sllre the "'ork followtd through in both placement and density from "",I to cd : it took tim" and judg nw~t 10 put on juS! the righl amount in the right place~. but il ao.kJcd "'och to the ~ppurallCC: . .."., bknd ,,-as such a suttessful addilion Ihat n"t1l Mickey and Pluto " 'ere given a face lift in Th~ Poim u . MiCkty's dleeh were not only round and ~hadc:d . bolt lhey had a lighl bil of ~allh y color: Plulo's "'''ndcrfull~ flal lack of anatomy . uddcnly sported \ sh:ooJing thaI made him 10m; like a collec. ion of old telephone poles. In the ne~t picture. he had aU of his fornwr cartoon noppiness reslored . Howe ver . "'hen lhe blend was taSldully used it Crea led maf\'elous crfecl< . In SOIlle caSl'll. the scM-Ink line: would be rubbcd off after 1l1c 3rea had been p.1i~ Ie<l. and lhe place " 'here the ~,,-o colors canle together "'as

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lion . a ... hok liule d<:panmcn! e."()I~c,J. (()II~~'nIGf peoplc ... "" wcre WpI al lhoir O"'n special tfflS, When thaI mammoth scene of tho: fish from It.. "Ar~bian Daocc" am"ed at Ink and Paint . il "'M!!Iis group who pul IIv lra~m palnl on IIv fill5. !lor drybru~h on tho lips of the tails. tho sp;lItlcs In !lor water. the highlightS <m tho hubbles--all lhe ( l in "'or\.: thaI had tll be "'alched and checked and follQw.td through unlil finally tho ca"",,,,man rlaced lhem 01 his pegs. one by one. in sucuss..-c C.' postoRS. to o;roate 11M: nlystic and shImmering ~pectadc of Ihls pncr lor;al harem, llIc Irail s of fairy dustlllarking the PIths of tIM: d<:wdrop fairlcs . Tin~Cf &11 In P" u Pn" . .t e'< ~horobject ,1000'ing " 'ith ir~nt mat~_tIt el)' tIM: work of this speCI alized crew . Difficu lt and" mandin~ as it was, it Wa, the es,,",nee of fanla,y. SKIf'J and animation. layoul and background. special dfll and can~ra could all creatc i""redillk illulJOR>. I.lho visual s!imulalion Ihat came frum this patltrn.t c~re and \ kill addcd a touch thaI could not be Ilupl> caled by anyone else . Actuall y. thore was more in,ul.'ed here IIwt JIll anislic endeavor . llIc !ransparenl pa;nllhat ,.,. . . the appealing filmy dfecl on the screen "'as IIII4r from the bile of an Asian ox. alld "'as smelly MIl unpleasant!u usc . When this paint was emplo)'! kr

.....

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cu"erW by the blend so thai it bt:camc invisible. Wah was as amv.ed as anyone . "This is very effective! I think we a~ cenainly on the righl track: ' Then. ..,membering hi. continuous financial problem. he cautioned. "But let's be very sparing Wilh Ihis blend and tholil: lhings . That i~ "hal wHI hold up the works: aU that bknd will s low it up." Later he commented a~ain. "\ say \'.aleh this bklld business. and not de) a 101 of unlll'l:essary work . It is tOO upcnsivc. 1 00. We

muS! keep from going bmc on Ihis pkture.

Most of these inoo\'alioos had been worked 00\ by

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the Ink and Paint ,",pc:rvi:;ors and the Color Model advisors since lhe rest of the depaMment was too busy producing the eels to do any experimenting. Wah asked, "Can'l ",e do wn>elhing "",., . . . ?" and the women thought back 10 their an school days. or their
childhoods. for any materials !1Ia! mi,h! gi.'~ a rIC'" effect A~ !he: demand ,re'" for !hi~ clabon>!e d<:<.:ora

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i. was imperative lh~1 00 oulline be: ~n. S<! lhe int ers had .0 .race the drawings 0010 .he ~Is in ", h~. ~mounld '0 invisib le ink. The p,amlers complained . ha. lhey I"lOl only had 10 wort: fas! bu. rould no! c,,",n s .he lint lhey "'~re ..... OI"klng IO! The washoff relief cds had .he cmulslOll on Ihc back of the eel ..... here lhe p,ainl ",'U 10 lO. 1Uld ulreme <;are ~ 10 be uS! 01" boih ,.""Id come off .he ~I 'ogclher. Bec ky Fallbe r,. ",'110 "'as lalcr he:.! of Ihc drpanmcnl. ... y "0Il. il w~. honible! Everybody moaned when lhe y g01 those kinds of scenes." There even waS . rouble w ith the eel. lhenlselves. e~peda lly whe n the on ly ones avail able Were made of .he highly f1~mmablc nilralc. O ne s hipn",nl would be yellow. one grey . one Stl would buc kle . the nex, would warp. ~nd all "" oold shrink once lhey ""ere ..... ltO ~I . When . he animation on 8"mbi .,aned rille" .. , Ihroop. lhe Ink and Pain' Deparlmenl . a ntw probkm .lrosoe. The ~gs of the !lttr Iud 10 Ix 5troII& and ngld fOl" .he animal 10 be rotIvir>eing . The aSSISlan's and inbe'''''ccners in.he animllion bUIldIng h:.! wen care in p<"IClically l<acing the legs dunng a scene of lillie nlO'el"l"lem. bu, now lhe inkers found .hey coold
.h~dow5.

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iS1S no longer could be hdd !Ogclher. Whon pox< rClUmed four years laiN , Ihe mnecnlralion " .,. 00 bener way.~ 10 achie"c Ihe ,''''''e re, ,,1i Ihal "1'1('( h.Id eml SO much in lime and effon . Since no rI.,<:ord~,,~", kepi in Ihal era when procedures chanj;e<l WUn c<1Ch scene. gradually people forl'ol how lh;ngs had been done . Before long. the C<juipmcm Ihal once prodoctd III<: greal effccls- Ihc dnnn lhal had ek:m,d (he frosled cells, the mechanism (hal had proce~",d wa,ho(f "hd cels. the in.-cmions 111:11 had held delniled wor\; 1000ethtr under lhc came ra-WaS all ruSl;ng On (he bacllO!.:II'Jd newcomers walking around the 101 "I nonn wOl'\lJtfed why anyone would keep ju"k like lhal around. JUi>! a few years Imer. i1 waS lhro,..n OUi OC'C3Use the ,"1m;! was in new procedures. The primm)' concern waS (0 free the ink.rs fromlk ,101 wpy Ihese dr,;wings accuralely enough 10 a"oid lhe jilitTli and wobbles Ihal always manaJ;ed 10 creep in . Since lhe mO~cS were so , 01,11 ,nd no knowledge of animalion principles wa>; in~olved. the Ink and Painl artiSis sugges lcd Ihal Ihey do Ihe inoclwecning on lhe eels, ciiminaling Ihe e ~lra drJwings Ihal were causing lhe Irouble . There were many days during (he making {)flne piclUre Ihallhey regrell~'<l baving made (he offer. 001 lhe resulls wcre magnificcnl. This Iyl'" of dedicalion. in addilion 10 lhe len long weeks oflraining hefore anyone e~en was hired. led 10 III<: mosl bcauliful inking eVer done. The lal"'red lines and lhe sure, def! much made each eel a work of an. Be fore lhe War 1here were many 1alen1ed candidales 10 choose from for (hi, work. and lhe ones selec!Cd were line: anisls in lheir own righl. Belly Kimball admils. "n.. inkcrs were "el)' good 31 dr,;wing . . .. They had 10 be, because Ihey had 10 gel Ihal feeling of lhe ani . malor's drawings in lheir ink lines. and ifs vcI)' hartl II} cOnlrnl a I"'n on Ihal slipl"'l)' celluloid." M~I)' Tcbb fell lhal the morale of lhc slaff was renecled in (he ...o.-k Ihey produced . "'I (hink Ihm's one n:ason why lhc produel ilself is. . slil1bcauliful . because il was done by dcdiealed 1"'000Ic. TItcre is cenainly some elusive rea~," why lhe pKlUres never look daled. heyond the slyle. and fashions in both an work and humo.-. Wilh lhe second World War came economic prob-!ems. and lhc in"nen~e slaff of highly skilled special

tracing. 5Q they ~ould<kvOle Ib<v tIme 10 thlnv tmU re"lty counted . There wa~ ~ 1tIl't OIIlbc pan of the animal"'" al lhe!>llme lime 10 faI_ ""Y 10 duplIcate accuralely theIr own crisp. !III-& drawlnl" on thl: eels. The: " 'O"",n " 'ere good. vay goJOd. but I""i. won: ""'" . 1111 a tratlng. and _inKs never h:av<: thl: villllily of thl: orillll1al. In lhe rofnn. Ub Iwerk. adapled the Xerox proce." to 0111 IIII(th. creatIng a great machine that copied the ,nVlIIIgS OIl an ch,elric~lty charged plate . Th"re was 'WY hnlt \ltl...,...,y in the ",.ult. and a light hne was ",10", OIIt cnhrely. bot the ~nimator's drawing "111 do:rc. ~ronll and Irrevocable: In the !>Iacke" of "'In flC!. thIS heavy. black line put uS right back _ tilt 1921),. hefon: the rdinemenu of inking had

~~of coole"

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....

Other oolon Ihat the Xerox CorpocallOfl rould offer dark were no belle so we allem~ed to mate outhne man: acceptable by .ISlng II as the "ylc of the woole ptClure. backgrounds and all 1010..1"", ,;".... wa. IhI: result. spearheaded by the mulmal"nted Ken Ano.lc:rson; the linear qualily of the anwort gave a crisp. handsome: look. especially for a fIlm about !>lack and while dogs , Th" animators were very pltased. bul Wah leh it hleked lhe delic~cy the ca.e that the old picture. had achieved. Many in the IlKhencc relt "'" same way. saying thaI they m~ the elegance of"'" prewar films . It was not unlll we h.ad perfected a &",y Ii"" for TM Ru"~rs that we able: 10 lose the harsh OIIt""" and regain a soft IooIt ThaI simple change brought rave. from c.i, ia wOO claimed we had developed a wholt new Slyle for this picture .

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Many s~ori~s ~m 10 call for a final shoe of the main charxlCcr .... alking a""ar inlo the di~t~occ: .... hile the ca~n pull. back ~lo""I y-usually up imo the sky for ~ picwre of the SU""" or the m<)()f1 or a ti,l., llial says. "The End." This was always almost impofoSiblc 10 animale. because: of the dual problem of making tile figure juSt the righl amount smaller .... ith neh SICp ",-hile keeping tile same s pirit throughout . The camen u~ually pulls up intc) the sky beca use the c h~ractcr looks SO [uTibl., thaI he is ruining tile wllole cooccpl : and, even though the see"" needs 10 continue for al khl nine feel. it ....ould he impossible to keep him Q1l the screen any longer. Out will\ the Xcro~ machine. all that h"" changed .

We ~ 10 animate only one complelC SlCp cl chanw:tcr ..-alking away from us. and it tan bo size con"cnient for us to draw . Once the action c~ked and approved. the dra"'ings arc stili 10 '" Xcro~ DepMlmcnt where theyall' bl"",'n """1110 61: correct s ile ror the SCene. More than that. tht drP ings ~rc repe~tw o,"cr ~nd over. s nl:lller each ti ..... tru.1 theon:licaliy OOr character can keep ",.I~ing b ever. From a pr.tI'tical stan.dpoinl , the painters c~ paint him after he reaches a tiny Si7.e. but uswlly'" point is no! ",ached until the ~s o r lhe !CellI: lint

!Je<,n well n"'l . 1loe ooc problem thai ","'ains 10 be sot'"W is brouaIl about by lhe "cry procwu", that sa~es 50 much eff<rt

fiwGlrom Th< Rc,""ucrs. TMn I"nd//ines ,md" medi"m ill ,M Xerox I.",~hin' finally ~~,., uS 1M '''fl ."....,...... "',u mort. Colo,m line. "dded Ii! a cd of this
t"1 ,_, WrrropI""d thf df/icdcy " ... hod mjoYfd " 'ith the inHn~. (}lol""';"" IIf t~f ,'0.</ .

..... y lmall. insignificant, hanlly ooliceable error in

lilt ..-.:l,'cmenl is magnified by repel ilion. A slighl limp.

,gimpy ,,'alk . n unnalUr~1 TOil to Ihc OOJy. a fool _picks up 100 high. a leg lhal pushes into lhe ground. lilly lillic Ihing Ihal would nC,'cr be nmiced in one step 1I1I1 ordinary scene. becomes amplified wilh each ~al Unlil Ihe characler looks as if somelhing is ItIIit>ly "rong wilh him: and as the camera soars up l1li0 the sky. mo" of lhe audience is .....ondering if I(Jn'Ir(lIle silould not go help the poor fellow before it is
100
1>1~.

~re continucs 10 be a need for good inking. bUI it is In Imall areas "'here a self_ink linc i, u~cd or where some imtreMing eff':':l is desired, The long hours of

endless copying ha"c givcn way 10 special work thai re<juires II\c same skill s. bul nOW Ihc inkers Can con cemrale on juS! the Ihing., Ihal will make Ihe picture look il s besl while cosling Ihc leasl. With. gianl machine to take o,',r Ihe dull pans of their jobs. they now can devOle lheir lime 10 lhe project' lhal a machiroe cannot do . From lime 10 time. Ihe key creative perwnnel felt Ihal some of Ihe Ink and Painl aniSls who had done superb work should gel "",en nedil for their effon.. [I would be impo,,;bJe 10 mentionc~eryonc. of course. bur a few. wilh unusual talcnlS. or Iha! cXtra bit of dedication. should be recogni7.ed. Th is neVe' oc<:urred for sevcral reason~. FifS1 of all. in lhe early years, 00 one gO! screen credit. Walt had known Ihal the audi ence ....'uuld respond beller 10 one name-onc producI Ihal easily could be rememhercd--than to a long list of unrerogni7.ed names. Slili. he was appreciali''e of erealive effon and fell Ihe person who did an ooisianding job should be given credil for il. On Ihc comic strip he had tried 10 replace his own name with those of the men who aClllally were doing the con1inuily and the drawings. bul he was lold by lhe syndicate thaI such a change "..ould kill the strip. 1be public knew Wah Disney and Ihal was the name lhey wamed 10 sec on lhe drawings. regard Ie" of ..-ho made lhem. When he embarked on Ihe fealure films. howe,'cr. Ihcre WaS a precedent already sel from lhe live aclion films that justified Ihe naming of his key people. Bul by Ihat lime. Ihere were over 600 members of his staff putting in long hours. working with complele dedication to the studio and devotion to lhe films. Mosl of lhem were unconcerned aboUi SCreen credit. preferring 10 be known as just pan of lheleam. Slili. il was impossible 10 lisl even half the number of people who really had struggled to make each tilm an outstanding experie 'lCe for the thealcrgocr." Ass,slanlS. inbelwccncrs. cutters. sound men. cameramen. and. especially. the "girls" in Ink and Pa;nl had lobe len OUI. evcn lhough Ihe tilms could nc,'e. have been made wilhout lheir suslained effons. Some people claimed Ihal Ihis work was only a craft and 001 al all comparable 10 lhe neative thinking done by lhe "men in lhe main building." but we relied heavily on their skill. and thcir ideas. and they ncvcr leI uS down . We loved those girls, Still do!

//

II.

The Disney Sounds

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muir ,if ",,,,I<' IIYIII/d },.. i"di" "'~"j,,lJIr w Ih~ "";'''/11''''1-;( rea/i:mi,," "" /hrir pan'" how h",,' 11111"""/ it is far ,,,'uple 1<1 ',.,,,,1 10 /I" 10 ""'S;<'-<I Jilll/Y of rhythm , II", d,,,,c'-Ih~ Wall Disney

M usic
~<rl "'as ~iII be ing d'me on the laS! segmenl . of r _ ", ,"'hen I"" Bambi "'C'" on(wed ;010 rull pro. " ".1IIId W~II .... 3S kepi hoppins from one prujoe<: ... room to lhe: nc:xt to kttp up " 'jl" lhe red . as Ihc:y ~. 0... day he ,,~s called inlo a met'linS un fir knll n~ ~q l>C nce in Hambi JU ~s he fi ni.<hed S! y ... ,ng Iflo: ,,'o.-k ree ls on Bccthow n', "a>wml S)"I11 .e ,.,.y. The Il~",bi pictu~ ~c l was on ly half .>mple.III. '- die inI/:". "'' as clear and (he music-ian. Ed l'Iu",b . QI ~ 10 ~n. hi, Kkas on the CQI"C he was WIIIIIII H3If"'ay Ihrough IIj~ (JTcscnl a, jon. Wa ll ~ h,m alld asked the projccllo nisl if !1Ic f "a"II/';" IIIriI " ( (t sfill up in Ihe bOll(h. The y weI"<!. so he IIltd II> flo: ... lIN: storm mus ic from lhe PU5wm/ Sym ,.,., nln in .ync ""ilh lhe flllll,bi red _ w e wnc - . I by lhe ro"-Cf of lhe mus ic and lhe ucilcm,," 1 ptt 10 the dnowing~. " 1IS o"~r . Wah lumcd and said . 'There. iI. that'l ", hal I wa n!. Somelhing big! Sce lhe diffN .

"11m "

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1 ,:1".i00i; " -a.p:I" .hoc k. p:ln disbelief. and part ....... "'Bou, Wal!-Ih::u 's n ""loo"en!"' . 'II! 1tipOIldtd. " Yu h . , , ?. and wailffl 10 he~. _ ~ ...hy Ed roukl 001 " . il,, lhe sam<' SOI1 of ... II ""S 1\0 rnor.: Ihan " 'h;ll he as ked of his whok lit! O:Iy . fl"r day. M it ulldoublcd ly the 1110.1 importanl addilion m.iI: ..,..111 bo ~ 10 lhe piclure . II can do more 10 pnlduction 10 lif", 10 ,in il inlegrily . ~I)"k ,
~:?' mnnin~. and unily lhan an)" other ~'ngk
; . Willi lhe s urge of a full on:hes lra . lhere

" 'ill be bigness and majesl)" and soarill~ spirits; " 'ith I nermus, flullcring n",lod)" line on a single inuurrK'III or pulsaling drumheals. lhere will be agilalioo. appoe hension . suspicion. Music Can build Icn.lion in com mo npl ace > nc~ or ea"" il in noc s Ihal have btton", visua ll y lno frighlening. At times lhere is nl ... in playing counler 10 "'hal is being ..,.,n , C haplin "'rile~ o f hos troubles in getli"l arrangers 10 realize Ihal Ihc musk hehind his {ramp charneler . Ilould 001 w"mpllO be funny. bul should Slri v" for an e mol ional dimension . " 1 wanled II>e music 10 be a cou nlerpoinl of grocc and cham. 10 e~ pre.!s s.e nlimelll. ,,'illloul ,,'IIieh . as Hu lon say . a work of an is inc""'plel" , "" Slill other limes require lhe music 10 express :Ill allilodc: 11131 cannoo: be .100..'11 mooll y in "",,'inll dr.ow

connotalion~

ing, . Feel inp of isol~tion. rejec1ion. an awarenes~ 0 1 beauty. ~ se n!;C of growing .trengtll. of lIope. of dc~otion-theS<' are ~II inner emot ion; tllat are diffi . (lilt to show. FonurI3tely. this i~ the area of greatest strengtll for music. ~nd the mu.ician " '1\0 feels the mood in your fi lm can make it all intensely moving . Since mu~ic is IiO dosely assodalW with nlOSl of the major even lS in our lives-nursery .<onss. C~IIII)' fire songs. s-cl\ool 5Ongs. rel igiou~ 5Ongs. dances. .... eddings. and . finally. funerals-it becomes the 5001 of our nrmory. f,,",~er coloring OUr Impressions. JUSI lhe playing of a familiar theme bring. I>K~ the CI11<>lions of I""lt e xperience. and through associations W~ Can be made 10 feel empathy nen fOf proples uf di~ tant cultures . This bmnes a "ital elemenl in makmg fanta>y ....orlds belicv~ble-notjust as ~ plact obse ...~ from lhe comfort of OUr lhealer scats. bul a "'gion ...c aclually inhabit f{)l" the duration of the film. " dare lhe days of ,;<)\lnd. it .... a~ the organ;,ts and piano players in theatefli ""rms the wuntry .... ho used lhe magic of muSK" 10 trnnsl""1 audlcnces 10 other lands and other times. In a pnnmi\"e ~nd "ery di""';l ",,,y.these muslciam comm unic~tcd w;lh lhe vic""fli. leading them from one emotion!O another as the slory in tho film unfol<kd. From opera thoy look thomes of pnsion and _ n l . dr)criptive pawlV' and mood scUtng phra>cs. In fol k songs. popular soogs. sentlnlCnlll ballads. Ihey found m(lodie. "'ith strong

thaI crealed an immensc emotll)ll.ll Itsponsc. ~'Ioy'" theater mu.oc,ans Ilad a lfItC,al fffiill for JUSt lho righl music 10 fit any silualion. t~ bP:. ground 10 r~"eall lunes from cverywhere. and I~ abi~ ily 10 improvise constMlly. adapting new i<kas to old song . Thoir music communicaled; Dan,c. R0mance .. Loneliness ... Cold ... .loy ~ . .. Bra"cry . . . . Walt bffluglll men in from all oyer the coonl')' to hel" dc"clop a new u~c of ",u,ic in a woole now ilB:! of cnlcnainment. TIley i""loded Carl Stalhng. ~.. had oncc pbyw fOf lho 1..1Ougl!-0Grams bact III KatSIS Cily: Ikn Le,,is. also from Kans;os City; Fnoi Churchill. who wTOle the mu~ic for the famous tlypap<'r sequence wilh I'luio. and "Who', Afl1lld of the Big. Bad Wolf .. ' and all the wng. for S_ 11".0.: Leigh Ibrline . ,,"'00 ..'as moSI f~lfK)Us for " Wlft Yo. Wi.J\ Upon a Star"' bul had done tho m.. ~ic flO" ~ divcn;c suh)ts as TI... OmsshUl'I"" ,,,,d,II<' ANI_ Th.. Old Mill : ~nd Ollie Wallacc. ",'100 I;omf"M'J do! .<;ore for /)umh<, wilh Churchill and was be>! i.DtM for "Dcr Fuehrers Face ... The,.. nrn were jOlla ~ Albef1 Malotte. who achieved nlOR! fame as lhta:e poser of"TIle lord's Pra)'cr. and the h'ghl)' ~ I'aul Smith. fresh out of uni"ersity and full ofmlWCll ideas . His adaptalion uf canO<\f1lCChniques in !he 5CIl'!$ f{)l".he Trul' Uf, Ad",nlur,s ..,,'cral years liIICf III.kW immeasur.obly 10 tllal SoeflCIO of live action films IJUtio Bakrl' al ... comribu.NI to botllli .., aclion and ~~, shn-..ing jual facili,y in ~)"mphonic sunes Of ~ ( hoscs. Each of the." , men had a greal SCIIS<' of melody'a unique abllny 10 orcho.. r4le ,'cry lfItCW f... II~. CI" them all. F",nt Churcll,1I probably h3d ,he feel for.he an ,mal(:d film. a~ hi. !CO: for S"",, \I/itr showw '" well. The buhbhng qualily and fri<-tdy spirit o f lhe "",clion in which the ~nimals UtI;( Iht pi 10 ,he dwarfs' oottagc ..-a~ especially apprahtIJ. _ ".., as ~cd F..d Plumb "hat gin lhe mus",!IuI u. somwnng Ed squinled hiS eyes. " Yknow. 1\.,,_ or;"w eyery oote in thai orchemation and I >I,ll ~.~ figurc OUl what dnes i, .. Aflcr Fr.nk ChurchiWs dealh. hi. room ..-as Ollie Wallace . 011", was ptPl""ry . 5pr\I(\J . .al~y . had a Iwin~lc in hi. eye .... "hon ~clauDeil that Frank '~ spirn " -as re"pons,hle (Of the: grUI ....,.

.0

t"- to.lIinlK"d to come f ....." that room w~ IIQIkkd _ htad~ and ~miled . Sut one d~y he was SCI","ng II1II prof~ gn: .. anno)"lIocc That Churchill ha'"t _ntltn a dent note in lhe la.t Ihr days! In 1928. 00 00.: knew how tile llrawings of Ille ~V\OOI1 ~nd the limes of the musk enuld be plJIlIw:d ~r It "'a, easy enough 1 improvis.e a..::OI"I.' 10 ~ 0 oornpklt\l filn . bullo figure out ahead of limc ,,hell: it bexs ...wld Ottur on Ille drawings " as ~)ond ....,~ Wall in,;sled I~ mu,1 he a way lhe IWO \Wid be "urted logether and he eon lrolled and built IfIOIIlnd changed . What kind of graph or ch~rI or kOIt roIIld t>c de,ised Ihal w<lu ld bring the mu sk and pK1~ 1.lhc.?, 1\1: ..,,,1) arri,ed Wilfml Jackson had lhe ans"". . ... "" metflll"lOl"lle. He rea.wned Ilia! if lhe film ran at . _ lpo-ed of 24 fl"3n~ a second. all one hoolo .. _... drlerminc how mIlCh music wem by in a,; .t, " lIhough his knuw ledge of musical siruciure " 'as n41mrn(ory. lie did know b;lr~ and beat. ,...d ~wffs

.".t"" :~:~';':"i~';'OC;'~':': "~'": :OC~':,"~;:;":':"::~~d~:'!~: :Ihcse

:~~~.~:~;": :N;';:W~ ,Y;:orka werebefore figuringtried )'car .nd half baffled and out

first rIC" langua,e hoo been disco\"crW . hctITI$l.implc C1IOUglI nov.. bul Dave Hand reponed

acrenlS would occur" hile tile drawings. Jacksons s)"Slem " as calii ly

~~~;~~~!':'_~ Ille .ong adhemllo a s.ricl '~ionS in .empo and 0100 lime
he ",rillen OUI from b"ginning 10 end . the dilttlor kne'" ",h:,t pari of Ihe song "'1JU1d be any action he planned. anll the musici~n
" -ell: being planned 10 go "'Ih animator knc" that if he had hi~ cha. from nlly in Me"sur'\' 54 .0 I~ middk of I~r'\' wooid be dlher a slid(, "'hi.\lk or an glissando (0 back him up On Ille final

Tht musician and the director wo.ked closely lOtile $.I"~ room. planning .he ~ntir'\' pic.ure: anImator bej!an a scerIC . Wil fred Jack~ in an inte.view: Fir51lhe mus; ~\lU1d IUUeSI lune_ for .he various ~Iions of ,
la

' :~';:;I'O gel Ihe mood Of general.l)'pc of action II . lie "ould palientl y play Ille Sam..' phras.e

o"er and o"cr again ,,hile Ihe animal ion di=IOf visualized and timed (he aclion in his mind. WorkinK back and forth . lhe musician ,,"OUld """"'ti""'5 ~h:ongr: el"menl~ in the ~ore 10 enhance ~rlain "",lions. Of the dirw()I" ,,ould modify SOnIC: piece of husiness.w Ihay il worked beller musically When bOlh "'ere !HIlisfied. (he director " -ould mark the aclion do,,n on lhe .dope sheet" [Bar Sheell ,,'hik hi s panner ~kelChed OUI lhal pan of lhe music SCofc. TIM:n lhey would move on 10 lhe rIC~t link pie of action . This dose cooperalion became the Siandard pnx-edure as other mu~icians "'ere added to the staff. It was a long and tetlious process for mu sicia ns more a<kpt .1 improvising tbrl)ugh inspirJlion. and they often ,,-iM\ed lhe)" could wilhdra" from lhese daily meetings .fln laying oul _ basic fOOIagu and the numbc.of Iw"s in a 'If a chorus . Even after the di=.or had wor ked o,tt evc r)" I.st ""..-en,enl in Ihe pi""re . slrelching il '" condensing it 10 fil Ih" palle.n or lhe beau. there: " 'a.< slill the animator who h~d 10 be sa. isfied. and he inc,i.ably had more refine"",nl, and ideas Ilia! built on ,,1Ia1 alread)" had been done . Ther'\' ...ere other limr:s " 'hen It.. anima.or simpl)" muld not rut over all the busirICss demanded within Ille fOOla.. ~ limilat ion! impoM:d by It.. mUlie. and lhen lhe musi . cian "'ould bc asked 10 add jusl onc more lillie beat to his music-jU.<1 one? ASIOUndoed a( Ihis lack of com prehension of lhe basic ma'hemalkal SlructUIl: of mllsic. lhe n'"sici;1.n would insist on a filII "",asurc. or bener )el. a phrase . bul that onl)" ~med 10 add fT1I)r"( problems. The IIClion could nt~ br: padded by thai much, SO!he ) 12 measure ,,as in~cmed. TI) ~ measure contai ning 1,,"'0 bca(s. an exIra beal w~s added. crealing a measu"" of Ihree ~alS . When lhe first musicIan lave inlo this rompromise the kmpo wa, in 120. I,,-cl'e fra~ 10 each be~t. 50 il ,,-as ~alled a 3 12 measure; bul the lern, I"'rsiSled f"(gard less of lel11[X1 f(1f years_ It wa> like adding an exira ~Iep on u"", fOOl in a mareh; insl~:ul of Lefl, righe lefl. righl: il ball1". Left. righl. righl.left. righl'- When an animator "itb a lI1usir:~1 background asked hov.. Ihi, " as possible. he ~impl)" """lIS lold. Oh. Churchill knt"'~ 00" 1 do it! 0 W.1t used to claim lhal Frank Churchill always ~kpt Ihrough lhe ;,Iory lI1"eling~ alld rIC'er li~lened 10 his firsl instructions. bot Frank hardly can ~ blamed . lIe

'."IM:

knew that no maner ,,'hat kkas w~re tossed out. and 00 maner how cnt hu~i3sticall)' they might be receivw. that wook! h~ve linle bearing On the mu~ic he eVentu ally "wid .... ite . Il y the time: footage " -as addW. ~ ~pealw. K<1ion CUI 001. and c"C1')'lhing plasICmI together ,,-ith an assonme:nl of ) 12 me:asll~'. all)' original plan " 'ou k! be SO but,he=! lhe~ " 'ould be link of illeft. Ue figu~d . COI'TCCtly. Ihat he ""OIlld do benefto wail unlil lhe decisions had been made and lhe foouge, SCI . and then he could write ~ ..:orc ,,'ith integrily and no w. "'gardles' of " 'hal had happo.:ocd 10 lhe soo,alk.... SlnK IU~ , He would 5il al hi ' piano pen ci lin g in hi' melodies and mUliering. "Thi, ltOIe is for lhe dill'uQI". and Ihi., is for lhe producer. while this link note oo"'n hell' is for the animator. and Ihi. i$ for the di. ecto' s Aunl Tilda. and Ih is is j us t fQl" me!" It ..-as 001 an ca,y prucWll~ for an)'OIlC. bul 1""1 c""" rollabor.u ion " 'lIS the "ny Ihing that prodUd lhe 1lC'" art fonn . From lhe ad"enl of sound to lhe laIC Ihin ie. music and animalion had been 0IlC. Wil f=! J.,bon C~(lI\'Cd Ihe: general feeling: " 1 do 001 believe thell' ..-as m..eh Iht)ughl given to the I1m,ic as ono: thing and thl: animation as another. I be lieve we con 0 ceived of tl><:m as dw>cnls which ....-e " 'c,-" trying 1 fusc into a ,,'1><.>11: IICW Ihing Ihal ....ould be more lhan si mply mo"emcnl plu.< sound ." Jerome Kern rccoK nized the artistry in Ihi s process ~nd claimW thai a di.ltioct ne ... music.1 fonn had been crealw. He termW it "the use of music as language' and credited Walt "'ith mak ing an oOl,tanding cootribulion to the m~ic of his timc-po$Sibly lhe only ",al contribulion o f tlw: I ..-.:micth <.TIltu,),!J lbc dfecl of absolutely c'-':I)thing being related to the musical beat bttamc SO ..,,11 do.-.:1opW thaI. in lhe musical ..-orld. " Mickc)"mous. ing" lJcc,~mc: lhe name for mllsle thaI accented QI" echoed e.,,1)' oclion on lhe ..,,....n. As a " 'ay of>\COring. it " -OS IlOl limiled 10 ca'lOons. but also was used wi lh good effect in suc h picturcs a. Kj,'g Kong. matching the huge ape's aSC(!<>I of lhe Em pire Stale Building "'i\h dr.lm.lic progression in the orchestratio n. If Ihi. close integral iun u f music and aclion had been a heao.h><.:he lu lhe music ians. il was e qually dcm;mding for lhe animators. forcing lhem 10 beconle more crisp in the ir Ihin"ing and bener Ql"gani7.w in thei. ,5UICment... The:y al"'a)"5 had been rtqui=! to Bel iIoCTOSS the ~tUf)' poinls on lhe leaSI amounl o f lime:. bul

It.." y had never faced the discipline of "''''king IOthr rigid pal1ern of a beat. Where ,,,.d,na .. I)' they ,,'oW!I h,a.c la""n an e.<lra ci~ht '" ten fr~m". to COInf>IrIc. l><.:tion. stage a pose. QI" reg"tcr a look. the InUIIl moo.: them ""arch for the: absolule essence 0( .... Klca-lhal and ~hing more . No fnlls. 00 "'I~: pi right 10 thc point. It is doubtful If lhey ncr .. ,.,.... ha,'" "",hie,w Ihis con.cic dislillation ,,';(Il0011''' ('I-. stanl [IIl:S>u", thai do"' ....... d lhe r r,nd a .... y. 1.001:,. back On it now. we Can sec thai it "'as "aluable ad necessary Iraining . Unlimiled footage nc~rly al"'11I lulls Ihe ani mator inlO a ~l ipshod I'crfuflilance While II><: shons fealuring M ic~cy and acl,on lIP .... re giving lhe ",u, kians such prohl",,,;. the S,u, Symphonics Were pushing illto ~ new relalioMlt,p /I music and ani",alion. He",. the ;lItegnty oflhe was mure imponant. and the action had 10 do :odaptillg. When a Ihc,,1C from used. il bail 10 be used imacl or Ihc " 'hoi. cffet!

"""*

Bar Sheets
The exposure sheets were ,I~," and only enough footage for Ihree ur four beals 10 Wilfred Jackson wanted to see lilt OUt before him like SMoel music. so he "bar sheel ." This oflen " 'as calkd lhe" sil"lCC ;1 ,,"cnlually CQfIlaincd all lhe dope mus;,,-- and the aclions. bul ;" "'",. ;,,' '"',... lay OUI the bars of mus;,,-- in long boxes tM songs. ~ ' \1 cach beat. and a notation of lilt Ian of which par1 was "erse and " 'hich chonos. (hal mighl De used. and whe~ tilt 'nu,K:

Vie"~';:;:::;::,<::::::::;:::';~;;::~,:
b<I ~es.

song, Evel).thinll;;':ir.:,;~~: (Veil the location of sound dialogue. Along wil h Ihis was .... riltcn ii" "~,,,;~ .. scenes. lhe stans and cuts ~nd tDe pal1em
Ii

into ~co nd 3

Wilh alilhe information in ooe how any changc on one pan lhe otlw:r parts. and corrttlion~ could be ~impl)'-OO paper. Disaster follo...ed ,,'hCQ forBOI 1 correct the animator's cxpowrt 0 ootif)' the cutlcr. or mado. aJI~ 'i e"~I)'one concerned. bul Ihat son

"':':::~;;:::

Iplikl!

Tlw:r~ "'~ re

00 3-12 measures here, aJ>d con-

lIdmbIy mort work ,,'as requ,red 10 fiJ>d a<:.ions lha.

Ii Ihc: mus>c . IOId the >l0f)' . and >I,ll buih a penooali., II mo.n~ ih31 " 'as righl. ,isually. ,t)U1d ",Idom ...rn.t-.: sound on the U1lCk a. Iha. poin. and lhe ~ had '0 110"'" mon: like c hoaographcTli, 1)'uI~ 10 1lI"ld ~ un,riC<J 'la ,cmcn l in m ,...cmcn. rich in .. _1QrI31 COmen' and w'lh a mllesi, 'c nQ_all w'lh,n ro,C"~' of an e.<tubl',hcd >COre. The visual male!III roukl JIOl be choppy or f.... gnlC:med; it had tQ ha" c . ., "~ unily Ill' I"" mllsic. 1.1ho:v fil'S! bttn s im_ , Meps and runs Ihal easil y could 10 ful !Q,1, lhe Ileal of.he '''USH:. 8uI wilh 1II111l<:nee on humor and pcf'll(lnal'IY . the films qu, c ~ ly inlo Slories Ihal (iC"'llnded 'he acling

.'.

::~~~:" :,:m!po.

100. This rcached a pea k ,n 1935 C,mur/, which comb'ned ,,c ll koown strong perwnalilH:S and a .i.llalion playtd

enlirely in pantomime. It was a rarc combinalion. reOeel,n, slill another use of music as language. As One pnxiuc<:r sa'd. " Who else ...-oold lake a bandcon CCTt out of Walt, boyhood. mi~ in ' William Tell" and 'Turkey in ,he Siraw' and a Ka nsas cyclone. and come OU I w'lh a performance Ihal would enchant ToscaninP'" (Typical of Wah . he did 001 Slop I"'", bm began Ihinking of an eVen bigger lise of lhe sa me principle . He called Ihal one f"IIIIIU1;(I,) In addi tion 1 lhe siories Iha, ca lled for . piriled 0 musH:. Ihl:re " 'ere ""'lIC~S Ihal ulkd for a mood 10 be eSlablished by a spcc iallhernc . In many in!.WlCe:. lhe feeling of Ihis score ..."t)Uld inO""nee lily furthtr <k "eloprncnl 10 ~uch an Ulenl Ihal il ...as decided 10 record lhe IiOUnd rim and ... urI< 10 ils limitalion~, The", is a fpedal feeling in work that is done Ihi s "" ay ,ha, i1 nO! found in ot her mClhods. hilI il is "",re cxJl"nsive becau~ of lhe demands il makes in all the crealive <kpannlC:nls.

A bar is Ihll$ 24X loog_

'C"
Ioc~ion .

. . ., ". .. . I.; : I

Now we added lbe """ne <lans and CU IS. nOIing how many Frames beFore: a bar. or aFter a b;tr il mighl be . [f a scene ,,e,.., ~hiflcd . il ...as eraseU and pul in its ne ...

. .,.~ and ,he ~aff lines. ka";ng Ih i.. ... hich bors. or ,,,,,,a' lIres. of the son~,

.r:r:-:--l.
Call 1l: Ihe aClion. , imc<J 1 the beal of a me lro0 ""n.. . lhen wriuen On lhe bar ,heel . ,..,Ialing lhe aclion 10 lhe beal S. Now".., knew j usl how many ban ....,'" needed ror nch bi. of business .
Ne~1

,. . . . No- !.heel.
dclcmllncd the ,cmpo t aw us lhe number of fran .... . lOs. 16s .... halevcr . The .lrUClure lhe number of beiliS 10 ,h~ bar.
...~

Lalcr. dialogue was added, sho ...i n' ...here lhe 'ake Maned and ended . Localion of wund effecls were OOIed . 100. (There is s. ill 00 music sllggeMed. just lhe bealS . )

In ,h,s ;~ :::;~:::"..:',:':'":':".:':'~bcal. h~c 'h"each bar. 12 f",me> '0

Timing, Spac ing, and the Metronome

The: IoCt;O" ,n sccne wI. pl.nr.td by IN: .niml_ tor and , .... .1'=1<)< ., ,h<c lime ot' the handoot . If 1MI'<: wal musk. there
"'_ldbcclI,,"'~

" 'ilh me, Ooc . .. , . bttn ..... Ikin' ()n 13.. .. Wilh lhe m,:ln,IlOn .. 1"IIn ning, I~ mo" C> " 'cre Ic'" N ; how long dotll~ ch ...
aclCr ..7Jk. bow ...... y SlC'pS

uxt Of tempo seI by the "",.ician ,hal could be

m.l"'cd on the

c~ poiu"

. bee!. When . mcl('{)r'l()<l1< "'as .... to th.t tcmpo.th<:>sc

.... rin.n b.." btt.mc ludi bit. , iVIR, ,oad indkation of ,"" lfnOUnl of Ii ..... f.,. lIN: oct_ of the =~ . If m.n, " 'as "" sound 10 ..sf as I , .. ide. ,he m<:tro"""'" ,"'lltM only "" Y t" dele.n,ine the length "r Iny of , .... "" lion . A Stlti", of 12, (N'icc. strond) "" n ,,_lIy "sed . ... hiell mcam thai. bel' came ~ 12 rl'lll'O. This ju.r hlJlP(ns 10 be 'M tempo of III mw:hc:$. al'ld ofr.... ,ood ol'ornl,i,. ",'hen no me' ",nome i. ~y, W",,'le ""}' ..-cll k""""n marc h until the rb)1hm il well e5llblio/led in )'00' mInd. tap )'011' f_ ane! t\Io,.., r...,nd "",n' II>< "P' aI you ac, out >Unt. You ,,',111101 be mon: til.., . (!'IIme " rr. M ill Kahl CHl<c proool.imed in " IC<', ...... "Evcryooc " "Ilk. on

dotl he cale ... ~n doe>. ~ "op, how lonE;' ~ ~kP II w:as.1I n.ocN ()n c~ . ~ . pos"re . heel. <<>rr<<!w. al IC""'.' OO cried )! ill 'l'IOl~r " 'oy , "nlil Ih. "cry be.1 pallem of 0<1100 I\ad bttn
rouOld . II ",oscalkd. " " iOldin, lhe quid .... "-'y I() do lhe 1nO$1."

T" roncci,-c "r a Inies

or ""c;"". Ihal would pUl ""cr I~ siorypoinl, kccp I~ per.o,.. lily o r Ihc char_ 00 he ;n"glnol,,. cnouglc l<) he Ctllcnaining .... . . bit ... i",menl To do il all " ';Ihin lhe IIm'1> of the alloctttl rOOl."" " 'Ich I r~linK of ICC<:nC. I() malch I~ heal and geM"rei Ih l ' g.,e ~y n< .nd mych",. 100/; more Ihon "" "" d"'''-inX abilily . A vis,tor .'a1k,,,,Ihroo,h the hall. " 'oold hea. the ",.u.red licks .nd cocb (omin, from "".",1 to()n" II lhe ...... lin .. , I. III< ,,,,imol"" Ii"cncd and acl.d. conoidered and limed . Thai metronome

""it" ..

Th~ ;~spirm;OI"'1 ,k~1C1I

by Mrl

Slo,,~,

,/w,

J ~88~S'M

,lrrsunt.

EXAMPl.ti fll ,
n~

-Ktltt ..,,11

_ NI

,h.

,rod for a , ..iilt,

Soc ... d<lCripllon: Ani",als

In Ihi, "".... fron. TIo,F.,. aNI ,10,- /f",,"". ,here: had 10 he ,he j.pInlcd r~l ,nK of 1" 0 kid. In lhe old

' '' ''''""n,

hole . The

playin g; fo > in waler; lIoun<l dh'cs in. ,pl.'hi"~ ,,.ter .11 ""cr hI> friend .
TempO' Stc mC"lrot><>mc ()n 12 beac .

maUM" dccKkd '0 .,;on lhe occ ... .. "h ,hi: alone '" III< wote. 'hen bring lho

.ni

-,i~i2:~~;~ ",,,,."'
,~

AI,n ini;

f",

WI lt S'"l'IChfidd immedi_ ~Iydn:w I.ke:hof. man at I~ oo.:lor', off,ce ")'in" "Som<lhin,' . .... rong

th,n, ""","" ...i.h ''''m~''

l~nlc,. ""....

""",._

10'11 I

'!em . "n",knlln,

I'Cl,,,ld in on the nimh r ",,, .. L"tcnlnK 10 ,he rRC,m-

l:askmasltt ...... ic "10. ,..,_ """",iblc for F*ki"3 """'" cnlena inmenl inlo s",all .mounts or fOOll,e Ihln ~ny oohe. prooNUrc ,

...,.... , "'" d<ccnmnctl tho,

" OOloge : Undele.mlned, bUI keep bri,k .nd l>II.y .

,t>t "'" >h<>uld fUn for II) f.--s hef"", hi: Jumped For.t>t di~ . It>t I"'P """'Id

.... . . ...
~

h.,c bi, leap wi,h 11,,,,_

It"m /H , of f ru ....

It'~" j" ~m

aN,,,,,

TIo,- bo<Itrring ",./1

~

of ("f)ft'tK'

{)ft/y ~ MYI/o'Io,- , . ""nd_

""1

,!O , ,0
-'J

" 'vi,
'0

0,

cP

.t

'""It '(Jnd'n ~ and iw"'l"ng l'<M1tJ(1l ,M ~",.. nd /<N si.. '" ~,~II' fr- '

Tlo,-y

,.. '~/,,~

txpos"" JA",

' It 'lo,- f -

fra_ ......" ".. ...,"'.... {)ft,M of a rMrI, liu ,/oj .

Ch<mM {)ft ,10,- r_q'(Jjj"~ , 10,-.." IotJb /,u

I,

,II,.

r""" ,hrno';"JI "'~r'r 1M P"P's hh>J ..,/I bot ""

.....,~

Th~

(lnim"'",

m(!k~.

"

of Ilrr d.."wing' i"

,mJ jump .

rlrr Tun

)
"".... :!4 frame>, ~In! ,he t..sI. Thi, W1$ chancd on """jlo)$U~~. ,..~h the I fnme>bbnk .,Ihe >Ian. co,ng 16 f..",., (0' Ihc spIaI/I. >nil """' ...... 8 f"",.." ...... (111;1 ... ..., ,lie pioclu~ drenched. bul boighi",. The whol< ow,.. '-10 ~ fttt 8

of ,he pup ', head ., he ~ '"' hi. run . To

,he.., became It\< !">Silio"

16 <'<lUI' .pac... . Earh o f

or "" ro.

,.....

'''mon.OI'

Thr I.you, ,,'., <lIcok.'<!

..... " ',",IT ..-", _lor Ih< pop 10 run [Of

.""'"PI

16 f...,..,j from (he field booIo, 1<1 the rdllC o f ,he _wr. ...... ""''''inp ...re .... o(lho oil'" dog >lid hi, Illiludo .hroughoul "" at100II. Ali re - . d ..... to dc:lCfminc .hI: .pacing. 00101 far he _Id """.. 00 .""" dn ... _ "-n' . imple: ....... of .. kin, .he di.- . from ,.... fiBl dnl""

.i,..

,h.,

."II1II,,,,.

k..,p 'hi' nm 'i,..,'y . n S (",me galk>p was c~". ,"'hie .. P'" the pup. happy. bouncinB """,<monl he cnlcd . Wi,h coofi. den in ,he timing and ,he p.3.h of ac'ion. all of ,he ;m"')("' cnttgH:' ,"()Il ld ,,",W boo conccnlr cd on "",tin, d",,,,' in,> or 0 ployful pup in mi",hievou. mooJ. W1><n tho f"'X'"d"'" i. ,,'rinon do" 'n >tep by i tep th is "'ay. i. ~n" Ilk. an im 'ol.'tt! and tntiou. pm.:0. bu. ""tually i. to~ .. only a mall .. of min"t .... 1lw; bi, hanl"", i. thai it
~i'"UlItc",,_a~

'pa; ifio artion. 1lw; >lcpo that ..,.,nd .., """,h... ",.1 in ""';tin.,,, ill oll .. imulal. hi, imagination . and in. on:'~ lxlth the fu" of doin, the ocellC ond Ute prtlbobil. ity that it .. ill comcOUI on tho so"",,, just ,he .... y II< has .i .....li<l i, _
A c\oocr!>hot or til< ac tion of ,II< (ox and hound pI.yin, in Ute " '''ff. Wi,h

no

$Olid

,un..,.,

",,"Ulh

. . 10 lhe >pol " .""",, he

~,anddi"idlng j,

into

10 think about his ""nco pl.y " 'ith tho idoe . and , ..... it all ","'ff in hi. mind ber"", be i, co.mnil1cd to

tll<ir r.. t. pcrspc<,,,'c bo,. cornel impo...ant as the only mean. or .... bI,>iling the k",,1 or .he "'ater. A IIrld is dra"'n .0 n:mind .Ite animato< or the d"' ...;ng n: .. ric. ion. as he bob!; the cha ..... te ... "P and do... " t() l ive Ute fttli~ of ""inl in ..-at..... T1tc timing ()r the acti"",. "hkh . n: matched to .hi. pcOl{l.ivc. i. til< only .... y of _;"~in, thi, ill".ion .

T~ r~ptJ. u'r Uofft ~'jdo.~

0<1i<><t "'IHJplhr "'~. IN

jump.

rmd,~ spl~sh .

.'.... .,,. :/( . " . ... , ..... . . # ' :""..t; .

-'-"Ii" :''"''\". ,. ~'''''. 'F''''' , ' . " ., ':-> ~ \o .' ,
. ~ - .'

",

,
.>"<-

" ',')

EXAMPLE ,1'2 .
WOT~in, '0 mu.i~ in dn n/nl>ilJh"/In.,po.

I'

,.<...'
,'.
.;""

.'
.,c."".
,tt<: do<>rs,cr. bu, nOl "., long ,h., 'he 'empo " ,poilcd. A, 'he door i. ope .....'\!. ,he pig ~n'idpale, f, .. . n"'''ie. 7 f,,,me. divtS for ,tie .... ,. and gnbs " "" ,he ... ~t be.t. ''''''' pull> "
in very The .....,,"' door ~I.rn rould rome- "" d.. do.....bnL of Menure In A.lln,.ll of 'hI< OU, 10 ,he II.h of lhe ""', ....
oornc

"'" and co.mlle. lhe bIg ~km/;n'~ of 1roe Set

,in&th<' ,nclWOOmc'ma 14 I>o.!. ",'e u')' 10 vi<u.lize lhe 'ypc of KIK>n ,hal ....'ill "" bc:~1 for 'h" ",wo{ion. We "'"'" 10 S .be pig \.11\11" gle ntllnUy .nd . kid on [he romo .... he :..,empt< ' 0 n;ach 'he door. (TIl .. aud~ ch2ncc to .han: hI> .",""""" . and ,he mU'tel.n an opponun;ty

Sec"" de"criplioo : Fi..., h.

tie P;I runs iftlO his

$'''''''

houH. slams doof Wel-

come mal I n fron, of door. He ope ... door. pull ~ in "... ,I.m~ door .pun.
TtmpO: ,woJ 14~. 0.-7 f'"mes

f...

,'>'do.he

pcr

""'!.

First. we de,ermi"" tbc

nuun

acccnt~

,.-t ,.-ant lO

'" .uppor1 ,roc lC!ion.) The bel' :>I'ccn, musically for h,m '0 da~h in,o ,he house would be on Mca'Su,. 155. w"h ,he door .Iam roming 7 f",rntS !a, on ,be up
~.

- Gotn"broughtlocdoor. , 1.
2. Sllmm,n, the door.
1. Or<n,ng III< <100<. 4. Pulling the mal 'Q . S. Slmu1Iing,hodc>Ofagain. S~c<,"d. ""C "udy the uposure >heel In<! ,ht lay.

~alt h ,"

,he 0<11011 . "They

The nc .. bI& accen'. for ,he "I"'n,n& of .he doxw. cornu on MC&lu,.., 151>. jUl, 21 f.amu af,Of 'he d<><>r slam . The d<><>r muM be clo>cd 10011 enough '0 the of lhe house w"h ,he ",ekomr ma, .,

g., pic''''''

'em is jlUssible. II i, f.st. bul .Ho"",, Ii".., "'..,. ..ery Ih,n&-,heudted f:>l'c.'he ",och . or<! lhe l",bbi"1 "r ,he ..... --and ."ll len.,.. p<CM" fo< 8 r",,,,,,, bef"", ,hean '"khnl.tctche, of ,he po>Il""" <>f"'" lillie "'. throw,,,,,,,, the ac:ti<>n help; 10 prove OU' ,he pl"""'"g ll>e ;1(1)00 ,,",II be brhk. bUI "'hen " " chaned on lhe ul"""'" '''''''' il i< all cleat or<! look> in'ere,""& ' II ,. 1>me '" "an .n"nallng

.how. ,h., 'h" pa'_

Tho: ..'hole Klion of S,,,,,,, \vhi,.. th~t ,howed t~ Moo"" lying on her bier while her friend. mourned
_ planll<d 10
~

I""",......,d

Ofg~n

lrack

t h~1

SCI the

and lbe mood of an)thing that would be dllnc riIoullly , No one ~ame 0111 of Ihe lhea ler " 'hislling that ..,. bill it was ~ ~at pie of mus ie ~nd did more to dIotr \II' I~ sprclalOlS Ihan is generally ",alized. TIM: IIIIlbtr of scenes was c~",fully pl~ntlCd as well ~s ..... rootltnl. 50 Ihat then: " 'ould be 00 busy scenc!i ... fl)( mo ...... nothing Ihal " 'ould conlr.odict the feel ill in the music . Tho: ... i.... I<)I' had to play Ihis lrack O~er and O'o'cr to ..uta'" lhe righl feding in hi s dr~w ing., and hi s oc _ .j It "'as ncccs'j.3l)' lhal he s,ilturatc himself wilh as5plm 10 caplun: a similar mood in the animal ion . l/IfO!lu ... {~ly. nc~t door. Fred Speoc~r wlS Irying to _ as much life and "italily as he coo]d into the tInrf,1S they ... ng and danced for Snow While in lhe Earui""",nl s.cq,,",oce . A~ lhe d",ary org~n t~s o f mournin~ Ktioo seeped through {1M: wall s . Fred IIIDNI"P lbe "oluOle on his recorti of lhe yodelin, and ~. This quiekly cnli.'cncd the funeral ne~t door. ~"ng hours of gelung ,nto JUSt 11M: righ' mood . Tk!t ..'~. poundi"g 01\ the wall from b<>th silks ~nd fitrot lohooots of. "CUI OUt lhal sad Sluff!" an''''cred .,. "Swp thai d~neing in lbere!! "

mllsie . The Silly S)'mphooics had laughl lhe starr tho "alue of 1~Il;ng musi" speak its mcssa~e uninletTUpl' cd. SO the ~nimnlOlS ,,'en: well pn:p.arcd for an (X. l<ernely diff",ull job: ncvcr enough l in~ in 11M: nlu.ic to do what needed 10 Ix' done in !>Orne ""l""r>ee$, al><! far tOO much lime in .",as Lacking ideas in lhe fim place, TIM: years of lraining produced unsufllused M;enes of <le<:eptive simpLicily _ Wall had discovered "et)' early )"N' much lhe music "ould do to eSlablish a mood and how milch il aided in communieatioo witll {he audienet' . II did not bavc 10 be a symphonic score or c~e .. a gn:al p~ of millie, us long as it COlllained lhe essenlial cicment of com nllmiealed (""ling and ...~s right (or Ihat spot in ttlt picture , C harlie Chapl in ,,'roIe of his ""'n d.sco>'cries and r""lingl: " ~en in !hose earLy cumedics I SIn'C (or a mood; IIsually music c realed it An old ~ng ca lled Mrs. Grulld), crealed lhe mood (or 1'ht Immi,ra"', The tunc had wislful tenderness Ihal suggesled IW(l lonely d"relicls gelling married on a doleful. rain)'
<,\;iy . ,,~

Prcscoring
I. f""kU"' . n""" of lhe m.. ,IC " '"," " frft -.I dol ~ ,0 "rIC' he.,. ,,~och t .."a,cd .... k .-vd conJui"", fHr ,he use of ,he b;tf ,heelS , Wnh ,"'" Iror bt"" 42 frame.' al><! ,tit ~'I 4 7 and ,tit nn' 4~ . Ibm _"ti "" ..... y of ge,,,ng a CQfI.i ~,cn' "",",u",,,,,,nt !(. chiln , In"ci>d. ,he ,ra<k s ... crt "re:od" hy ,be ntIm 110 ... ,"" a, .... y .."ad I"" diak>@:'" 'rae .... _m'"I!1It Il0l>1101>. "" ,he ,,~..,,)' . " M,",ure "umbel> ""crc ...-ri"cn "" the >111>. alon ~ .... ~ acrmh and iUl)' OIhor place"",n!> ,he difn- ... or ""~h! """d. Ac{"", OOIe. " 'ere .. fIl'en t til< P<)', bt,id< ,he mu,,,, .."ad,", In Ihl> CiISC . tr...

*"

".,po"

Wah had a si milar kind of rcaction 10 lhe emotion s uggested by music . and " 'hile he did not P""ICI><! 10 know h(lw il wItS constructed or """. I, ...orked he always knew jll.'1 (he feeling he wanled if 10 Bive . During lhe making of Sno... \Vhi,.., a h3d been planned 5how;ng lhe d,,-arfs assembled in the oYlside lheir cottage . The)' wcr~ Irying to Ihink of a presenl they coo]d make for the girl " '110 had ~ome In , my wilh I~m. and as lhey Ihoughl a mu sical vamp gave the (<<ling lhal S(,"~, h;ng "'OS aboul 10 happen . One by one tbe y " 'ould have an idea. leap up, ,nake {heir annolloc"m..,n! , havc il rejected, then wilt back into dc:spoodcncy. and moo: 'hough! . Wall wanted lhe music to ho lheir altilUdes . ~nd hi s rcoc,ion s to lhe propused Sl:on: is Iypical of his feeling~ aboollhe

SC'tj"""".

,,'ood.

.""""(01

..., ,,=
proct<lure .

l"'f'l """" .' a fttOId ,han a " ... l,n!

,,'as f",,/Jjw, ond ",any exira Story ",,,etings were heLd 10

Tho "]"....1. on ,,-orkonll 10

~ ~>con:d lrac~

music In ptctll"': " RighI""'" you 100 much sharpness ar.d 'boomboom- of the piano , When one o f 1M guys gels an idea . 11M: key!ohould chan", . WlM:n he lifts up the nmsie g,,",i " ';Ih him. al><! when he sits dO"'n ,he mllsic should go do,,'n. . I don' , like {he idea of lhe muSIC jum]l1ng al you . I see i! liflin, up ,,'i{h lhem . . As eoch guy who think< he has. rare idea is ~O!ed do"n. the music 1""$ right into lhe wilt

.'''''y

!la,..,

Iitd!ht tat ~ivlIOC'l' to ~hov.' d .... ing all pa"S of lhe

dow .

Music Not Prcscored

MOSI all"""';"'" on Iht ft.",,,,~ , as noI dont ' 0 a pr=omJ ItXk . and will> .he tmpl\as,~ on actillg alld mood.he Snt~ ...'e,., belltr ~upponl by a fl' 'tmpu .ype: of mu sic 'han by tbe rigid beat . 10 tbo$ cnts. .he mu,i,,, ... would a>t fOf dummy ~ .0 he ...up ,""",,'i.., him ""~' he had ." mllch alld "'here 'hings happe:lICd , A mu,ic cll<:d "'a, ma<k of ,he ""holt ",'i.h .11 the ,"""me, . he fOOlSltps. jumps. "auns. dISplays of troolion. or stlulli looks . fool ages ,,'tre mar\;1 for each of ,he", . he .. nlt.s 00 ,he bar .~" . bu, !he choke of 110",' 10 ,ie all of lhem lOt<.htt "''a$ Idl up 10 .he rom~r. If .hey bopp'nt<i 10 fall ,n rfI)'thmic .... " ....... lie rould u", a Ihl ~ml'" if .... cho>c. or he ( wid do II .11 to free be.,_

Surprise Accents
lbt audic""" f l. romfonable ,,'Ioc ... ltd 10 btl"". thai .". in Ih,ng< w,lI happ'''' aOO.n fac, they .... , Thr Clta"""" ...Ik' in rhy,hm wilb ,II<: musk ; he IoCctlll$ his mo'e ...... "l> 00 the b..,; i. fl. ",hI. TIw: oppJUi< "",>I be lrue of the ""fJ'flse ,IK . he un~_ dIo ",.nling . n..", accent> . too..ld ron .. 00 ,'''' off bt. .11<: up be.,. ""n,.""","", in In.. middl~ of ,"" ........... " 'he,,, they are lea>! upc-cLl. "floc auditoc. OJ. led 10 anllClp;1l. 0fIC thing. and the COOllnuctl aettn'i on the "",,'nbea. fonify IhIS >o(n<c "f secu,ity . To lie. ,",_ prise . Ihc ..... 1Id mOl" rotrIC al a ""ally """,peeled pi..., in t10c """ie _

_,ion

Jim Macdonald dcvb.ed an in..,.,.,in! "'")' of n.apm:;..,@uidcfOf ol"mII>..::;"' ''''ilh.h is problem. On a 1'1 of blank film. he I"'""hed (KII hoi., ,h., would make clkh.1Id pop5 ... hoen ,he film ...'.s run '"' .he soulld head . "T'heJo: sound, " -ere tilllCd nactl y the acl"", '"' .hc film . .., ,he m",ician rould hear wlocrt .he ""C."t~ c.me while: wrilillil a SCOf'c to

'II!'

'0

maleh.

lbt I"'bloc conllnued 10 enJOY .... in' clnoon cbor acl." 1110"" in close rtlation 10 ,"",ic ; there "" as ..,,,... .hin, f"""n,'in,aboot il alld 1lOnICthing tha, felt ri,11l 10 Ihtm. 1I_'c,.." . iI had to he dont "",,'ully . ...,th alld . urpri.., arefully avoiding the choppi"" .. alld "ricky_tick" ..... 1Id of the u,ly C at-

"""" n"" . .,,.,

,~ .

Walt also ~\l g.ge~ted tloc", might be feelings of diwnaroce in .he harmony. for the sak~ of comedy. and 10 5h<>w that tbc", was 1>0 a ~reemcnl in Ihis group, Without jus. the right feel ing In the ",usic. he l/lc)ughi tltt: .... hole idea of doc sequcrocc: " "1$ onlinary IIId ~ ..tdi doing_ He ro""'lenled a. the end ur lhe mting. "lt~ imponanl that ..'e work OIl' a good musical pattern {It! .his or else " 'e had bener give up .he idea and IrY 10 W()rk i1 0111 in some othe, .... ay . The seqllC'lICf wally was ~ut OUt of the piCIU"" Wah was JUIl as Crilical of the songs that 10m !ug.gcsted for !he characler! '<1 ~ing . One ~ ",poned that Wah could get his ideas acrnsi almost wit houl usini words. because his c riticism Wl$ "WI)"! ill terms <If tbc feeling he: " anled . He knew !hall lIIerely prclly SOIIg wi,h a nicc melody w{)llid ~

.'"Q-

_ _ ordinary ~nd drag h~< picture do"n. The wng IlIII '" ~,c a fr~slllless and a Yitality and something IID1 brlotl' he ,,'OO1d acpt it . If it did not rnUe him ftrI tho .... y he ...anted the audience to feel. he " "QUId .. tho romposcr 10 Iry again. As he Malted work on ,..""1<151',,. he was very honest . . . his lock of musical kno,,ledge. and it did not -rr h,m in the "'ast 1h.3! his r.:octions wer.: those: of I11III In the suut. l.copold Stot.owski ...as im . _ If helpful and s!",nl some tinlC' e:>;plaining the c.lNCtion of a musi,,0.1 number and the relation of form to the reaction of the Ii.<te"" . He concluded. " If our pleturi'.ation i. contrary to Ihe music. it will _use the public; if it is in form. it will be clea. ~nd ~ and they " 'ill enjoy it. W"fs "'"flO'Ic was leu erudite . . ~ an: th ings ill . . mus.ic that the ge""nl public ,,'ill not un&r-.d ~ntiithey .<co: things on II", screen reprl'Sl:nting til nIIIlic. Then Ihey will feel the depth in the 'n\'~ic . OIr nt;.ct is 1 reach the vcry people who ha, .., walk~-d 0 this 'Toccata and Fugue' because they didn't ~ it. I 1m """ of th< people; but ... hen I -.lmtand~ . I like it!" -':mably IS lhe work r>llreSSl:5 On any SCtjuence __ KleIS pop up. aoo surpri.<i ngly ofte n these ilka. _lIy will strenglhen the musk. since they shafJlC'n Ik do:r.nilioo and emJlhasilc exactly " 'hat the com . . . IS Iol)"ing. If tndy creative people"", involved. .. nosoc_ is quick 10 ..,Ihe the impro"ements and tItFf to adapi his KOfC if that is still possible . The ~ solution to all of this " 'as the "temp (tempo.-y) tr.oc:kJ that were uscd so n tcnsively Ih roughoul "lIIin;'s. fonies. and fiftics. Ia concepi. the musician " 'ould record his idc~s in ~ .-If Itmporary forn, as a guide f.... all the pro<IUC:. . . thai ,,"OUld follow . In .'iOr1le cases. a small orches broughl in and the " '00 .so carefully planned IC>ult could be usc<.l f.... pnJdoction-i f desiml . 1I<ilhefs. the studio co"'poser woul<.l play hi s score on .. poano 01" organ. 1\0: 1IIl'"lIntag~ of Ihis (arly t~S! recording is obvi_ . It pl"tsc:ntli a slrong musical coocept that i5 and inspiring . As lhe director and animalin do:,dop lhe graJlhks. lhey arc guided but not .ant:tcd by this track . Being tempur ry. the music .. lor changed and new ideas tri~d; the man woo

.on

"."JS

_the

-.bt,,,,

wrole it is Sl~nding by to help <.Iecidc juS! whattOOse c hanges should be and ""heK in (he score they should C<>lnC'. l ie i~ not beat~n dolO'n by whal stems li~c ,Jaily trivia. but is av.i lable when help is needed; and !lav. ing made hi, initial statenlC'nt of how he helievq the mus ic soould be, he exens {l1I}1"C inf1l>C~ than when he tried to tkl instant con'jIOSing in the 100m with lbe director . n.: best mllsic was achie'"ed " 'hen it could 'Pring board from the hours of thought and refinemem that had gone into lhe story dcvclopnlC'nt and arting. If. ""quencc is. well balanced. builds properly. has life . gotxl lc xtun:S. and a flow . lhe musician has a much beuer chance o f " 'riling a wperior M:0Ie than if the picture is dull . lifeless. and spotty . e ",n the grandt$I score w ill stem unimpressivc under those rontIitioos. With a ~nl;llk. crew and n tcnded schedule!; for tho: pictures in the sixties and seventies. it WIS no longer jIOSsible to keep a musicia n on full time. so we shared one with the live action units. (K:orgc Bruns "vrkw equ all y wel l in ei ther med ium. ""iting "Davy Crockett" f.... the I;ve T V show at lhe same time he W2S adaptin, Tchai kovsky 's ~lIet !'COle for S'UJII~S 8~"wry to our animated "en;ion of Illat classic fairy laic. George .... as big and easy-going. but he wortw very hard and produced a """"'ingly e ndless string of fresh melodies and haunting SCore5 . H~ d id Icmp tracks. prescored .some selections . orchestrated sonp. jun,pW o,c. to lhe live artion shows. lhen back to consult on the best mUliical {reMment for the ""xt C<juence in the canoon . When there was mme to tkl than he ~ould handlc. he suggested Ihat we find a piece o f musk fmnl an ~arlier picture ~nd . ' track" our picture with that . 11 (BabIed liS 10 f,nd just the mood ..e ,,anted. the tempos and phrasinl to support our art;on. lU1d ~ept uS from ..."aring him QUI " ';Ih tOO many c hanges . When the lillie ClinIC' 10 write the final score. George was fresh and en thusiastic. suggesting more effccti ve ways to present our coocepl"s. and wriling 10~~ly ne .... ballads in the SlUIlC' tempo and r ding as the """ we .. had ~ for our tracking . All of our feature canoon~ 100/1; anywhere: from t,,"O to fi"e yean; to complele; w no mailer ""hat the invol"ement of the musician during lhe formali "" peri od. there ... as .It ill much to be done in the final days.

In"ariably !here ""ere loan)' .urpn!ieS and ell;on~e. from lhose fim UCI!ed plans. 'n., d,,!or lias gooe !hroo~h lhe =Is wilh lhe nlUskian hour after hour. di~u"mg, planning. changing. humming: bU I he ;, IlCver ,ure that It.. musician understands " ha! is '.'anted. and lhe musiciao lias an c.-en Jl"IOI"l: difr",ull lime ~e!!ln, h" Own ideas ""r()SS si nce !t.. langWlge of m,,'1C I. IlOl IiOme!hing lhe direCI()f unde ... !~nds . SomC!UIIC. the music will lac k Ihe magic an!ic llxllcd. and "hole .....> !;"ns of the film " 'ill seem 10 fall ,har! of "h~! lhe) might haw been: bul just as often. e"ery""" ",II be startled by how nluch n~ po.....erful and Inlcn>t !he ",,!ions ha,c bttome "hen fon,ficd ",Ih!he mu,1C We had worked hard on T/", Rescuas. Irying to make the mice seem "ery .mall a"d inadequale 10!he lask racing them. but the con fidence and sp,rn In the v~s KCnlallo dispel an) C<JIlm " 'c could de,clop for them . Whtn Anie Butler ...toIe lhe mu,,,,. he fclt lhe predicalOCnl of the mice !>Culely and " ... ~c muSIC that immcdi"lely made lhelr IU,k "nOnnuu'. "hlle somehow kee ping lhem vinually helpl6' When lhey tried 10 mo,'c lhe huge d,amond from ilS hIding place. !he score added a good 0..., hundred p<JU",h 10 lhe weighl of!he gem. The animalor exclaimed. "Iuie;j

10 make!he mlCc .!r~ln and hea'. ;~.,::;;,';'::~ the,r strength .. hen lhe) pu>hcd agalA" I hUI !h's--Ih" exhau_l, IlIC"" S""h efkel. ~rc no! e,,,lelll"''' plall<llrack " hen plalcd "'Ih a couple or ""Iru",,,nll 011 tr.w;l It tale.!he full VOICIng of lhe orcheWli the mU'le to hfe. and unulthal II~ I go"" fallh Ihal the ~ore .... ,11 fulfill hl~ dreams Th~rc" no "ay a "n~J~ IlIu"e;." ~1Il.11 p,ano and an enlhu".,lie "uk" c.n f....,hnll or 'pim Ihal ",II Come f""1\ lhe same pI')'e<J {)n allille In"ru ..",nl>. Th"" unfoou ...... t"Cnl) (jvC ",u'Iem", ,uung un the .'!age uNruc"on, h","," :on wK;t>mfonable ~f1ccl on a lur' S judlln>en! of rc""on~ "tlCn !he fiflll ":~:~ ..,,cah a d,fferent f....,hnll III the "'..,,.; than '" antlClp:lled.

"'"1

All !he: Olht'-r funcllon, '" the m.~,"~ of ::~:~l NlIlllhruugh COlls!ant !e,lIng a"d cotrlIn8 ing dlC be" rciall"",hlp!" the "h"Ic . nd In I non, ",u<o<: " 'os done: !he "'Ill" ""} FOI "' .. year$. greal -..con." Il;o'c conhn[l(d I" Iolln, nc:-. the MOOOO' < "",,"I I"'pular fil"". ,., en lhourh tho mlt""< of malchlng "'Ulld 10 r,durc haH dUI!fld

"""""""I}' II

<ocour~~c'

one II. I>cl"" ,c Ihallhcre ,ull

on>[l""'~

"IIWI) """" "'a. cXCllon~ "'ap, 10 meld "111>1" and [lOClUn: 1U~~ll>cr

wa)"

Wnrn Illtre "we >OI'~' in a picl ure in :"lU,uon 10 . . .",col >COre, II.. ) were" rlilen and reconk:d "el')' arI).!iU 11>c)' "",Id "" 'nlc~r~k'<l carefull)' ,nl", lho.: 10') !le"flopn.. nl . Wah Wa' ~d~mam aboul Mlllg' l1li >C<:Ipf1W the flo,, of lhe ."()f~ " 'h ,le ,;on", ,in~er *"",",Ir:lled hi, prowc". ,,,,d he illsi,led 11);11 Ihe

:~):::~:,:~:g " 'O<Ild I>.: !U piel up II>.: a,kllng of le",p<' il in a",~l>cr wa)'. "hile 10
I comen! of I].., ":<I""IIC1:. A good ,;ong nW.e lhe audicnce fl.... 1 ",ore <kepI)' about lhe
oc~n

-~ ""'g had Om

,""eepled fro", the co"'p<,,,,,'r,

~::'::'~'.;;',i":":'n,i.kr.."1. 'I'll.: "(leal mighl lenglh ' ... """Ie ""proximali,,)! Ihc be On
Illal cou ld be used in lhe finall . ....oolol be far beller on a lemp IrdCL, ""h lho.:
t;'<;lIIld

or Ihal :::::::::~:.:"~::.;';finat>ln~1I groupI>",'c oc"<:n bier "he:n all Ik"'''i, .... ,

. ~"''''.

tn III< <o,dong bu,inns. ,,]..,n " ""c"li>l i, the >'M ' g ilsctf a,,<l the: . i"ger, ,lyle will lhe numll<, of dlorusc) aool h< 'ight arr~nge

~".

""' """'<'_In ~ film. II>c _It"",tun: mO>l be ,

by II>c na.'<l, o f the MOl)' . 11.11 I"'el oncc 10 """fIO>oCr '" 1 " 'anted 10 conlrol lhe: pr<:of hI> n",loo),: " You ' re benef off " tilinG to I I in II", piclure. bec:[U,c )'''ur ,on): "ilie",i n~""" "ni~uc . h'>lca,1 of ,,'ri ling "hOi )'W and a,ling f,M' 1 pIClure 10 ad:.pt to il . "'-' 1""1 I"'" carlOt)fl malenal has been ,.'urked O\~r. II ha, more lhoughl . <lcp<h. aoo enlef_ ,n ,It""n )'(111 ",.lofC . You 'd bellcr II"" il!" Ii flO',iblc 10 "m~ ,,,eh 'I"'cial ",;"erial il beenllk!_ lill ie """e than a """cil),. ' II ~'ork' "ell for lOe picI"'" aoo progre,,,",' lhe

I" a ~rickcl ",II>" gt:nllc pen.onahl)' a, " 'cll a. sening a mood f,M' lhe ,,"'hole piclure 10 follow . '!'be .......1"""I. .. Liulc Woudcn Ilead. captun.'<llhe sp,ril of (JeptlCll" and ga"e u' a chance 10 inirodlJC<: the ,"'<>Oden I"'ptlCl in his lifelcss .'13Ie . Wilhoollhal wilh lhe n.. lod~ Ih" ""..,,,11.'<.1 10 iii an ol<l,world lIlu,ie box, lhe "'q"",~ of inu-.Jd"",ing lhe [lU1'P"1 10 lhe olher res idents or lhe 10), """r W'lIIld ha"c IJc.en full of dL"IOIlUC:. comri,"", gag..', and knglhy busi""" , Wilh a WIlg t""t fillhe" walion. il was full of melody and fun, and did mlOCh 10 show lhe au<lience how Ihis " 'oo<karVef livcd . On.:c II .... ")tIg was rcconkd. Ihe slory""tn coul<l s,an I""ci_c ,,'orl on hi, storyboard. adapting II>c gens cr-~I ideas 10 II ..... mood and mcasu ..... of lhe- music. Of ... ue.u~ chan~ lhal mighl help bulh pictu", and ""'g_ Wilh only a ""'nlO lrack. chan~s "",Id be tried and lhe structure ofthe- mu,ic altcred 10 fillhe gfO\\'ing lhe vocal " 'ou ld needs of lhe ,Ioryboard. In rCII",in. h\JI if il has bec" r:urded on a cplmue track. changcs in the resl of the mu,ic " 'oold ha'-e no dft on il an)'''a)' . Now. when lhe- booIrd looks promising. aoo lhe Icnglh of lhe- song fcds ri,hl. the ~letchc:.ciUI be shoi and:.dded 10 the story . ketch red. Once more lhe~ art" changed and shirl~'<l. redr-~wn and reshot. unl il everylhing ha, Ihc proper flow . The'" "ill will he impro"cnlCnls lalcr On. a, ,I\:W i,kas keep coming. bul for the ,no,t l)art. lhey will be ,,"ly loucbe. Ihat add ,..-.iril and ch;w.oclcr to _he: performance . Anim:oling 10 music is <llffIC"h and opensi,~ ~nd il is ""ise _ k"""" o cxactly ",hal" " 'antcd before an),OfIC . Ian .

""'I:

>01," ,'3""'.

Sound Effec ts
Funny suund' ~I""a)', ha,-c been ~n imegral pan of cart"""s . II " alnlO>-l impoiblc 10 thinl of lhe cnl)' films " ,Ihoullhe ,Iide whi~tk:, ratchet. flOP"gun. A)'Jo. phone . nd bell-. Tb".., had all bl~n wrincn in a~ pan of lhe score ~lId were"", rorded until c"c'~lhing 011 lilt: pi<:lote ,"'", co"'pleled . The animal ion had been done 10 ~ ,pi (", be:'l. II>c aclions "~re all marked "" lhc .,,,,'" "",IF. and fou, or fi"e pefCu"ion "'en ""ere no,.' broughl '" ""ilh lhe orcb(~r. 10 record lhe "'hoIe piclU'" in 0'", long. cnmplelC talc of C"cl)'lhin, Ih~1 would be on Ilk: sound m.c k . As lechnica l ~no"'ledgc advKoccd. il became POSSIhie 10 do Ihe differenl pan_ of Ihc .'<>1100 separ~lcly and

"""~."'" n>lill "III h",c g"'''1 value_ A..., I"'" OIlchc:, lhe e~act II .... '" of lho! '""I""!lCC n In I f.-.:;.h ~nd "k!"IOr~blc ""a} "In tIo (or 1"'-' l'U"'p<>SCf. Ino . I.cLgh and Ned I""cl), "When V'III ; 'I dUI)'. introducing us

combine them omo one track at a later date . No ..... if wmeone hit a wrong gong or scraped his s..ndpaper block once too often. the whole seven-minute take did nOi have to be done over. But a larger advantagc was that now the way waS open 10 experimem. The music could be recorded in separate takes called cues. the voices could be done oVer and over umil JUSt lhe right inncction waS captured. and the SOIInd effecls could be recorded individually. speeded up. run backward. Of built out of 1 0 or thT\.""I! separate pans. ..... For Thru Lilllf' W"I,es . in 1936. the sound effects men had to get the juicy impacl ofa ripe tomato hining the big. bad ..olf in lhe face. A ..... et ..... ashcloth had tOO much inlpact. a spoonful of grease waS \00 "et. and a cup of water had too much splaner. The "",und finally was achieved by comhining the three best sounds OVer the blatant wund of the . razlberry .. the impeninent noisemaker made of two loose pieces of rubber. No"," by itself sounded anything like a tomato. but togcther they had the feeling needed to match the action . As Jim Macdonald says. The "",und man must think about what the sound is going to do for the picture-ooljuSt how it ought to sound.' Jim was the most creative and dedicated of all the sound mcn. staying at the studio for SOme forty-two years. then continuing to come in for "",und effects sessions after that well into his sevcntics. Originally brought in as a drummer to handle some of the sounds for those early canoons. he was offered a steady job because of his imaginat ion and <ense of emenainmen!. lie .says that tl!" sound effects man must feer the effect. cIen as he makes lhe sound. and in suppon of this philosophy thre ..... himself violently into e\"Crything he did. from JIOOnding o n a door to choking himself with the hiccups. Being a musician he saw to it that the soulKls always fit properly into the score. and being an entertainer he made sure the sound was the beSt that could be gotten for Ihat spot. Good sound effects will add life alKl excitemcnt to a film. whereas drab. ordi nary sounds will quic kly drain .... h~t life there might be in the action . There ,.cre always changes in the ideas and the material as a picture developed; but ..... hen the studio embarked on the feature cartoon. the period for this uperimentation stretched to three year~ or more This meant that there would be endless changes in the sound

tracks as a good track inspired beller business .... hod!. in tum. built an even beller track . No departm<nt ... free of Waif s constant building and improving. M! new idca had to be tried out before a decision cookl bl made about il' actual value. and this led 10 test tm and leSI recording and test music . No studio could afford to bring in specialists",,,, time there was a new idca to try. ,;0 members of dill staff who ..... ere particularly inventive and creati_ along wilh their other talents-were asked to do dill experimenting. If it had to do with music or $Q\JrvI . waS usually SOmeo"," from the sound effects ~ men!. and most often Jim Macdonald . With consi!lcrdblc in!,,,,nuity and a great dral of~ ing and accompanying dizziness. a track h~ bee. recorded for thc organ that Grumpy played in fie dwarfs" house . It was only a first test. oot it in,"O/etJ everyone in the studio who could read music:. pius. handful of com petent musicians and all the 001IIII effects men. wme thirt y of us in all. blo ..... ing on Ixtties and jugs and strange homemade inSirum<nlS. 1\t most demanding pan waS for the man who blew 0I'III" the giant jug for the lowest bass notes. That gone 10 Jim . Whcn Walt beard the tr""k he e~clai_ "Yeah' Thaf s a happy song. . a happy groop! Somebod) should be )odding: and he turned to loot. Jim . Why dont you get down on the stage and Ir) yodel? As Jim said. 1 had never yodeled in.., ,.hole life. but ..... hen Walt said. Yodel! yoo y~IN" And yodel he did. oWr an<l o'cr. for a coo~" years while Ihey built the track into a happy stqueotlt witb JUSt the right amount of si nging an<l playing'" fun. When everything ..... as finally approved. a proto. sional group of yodelers was called in to gi,c .. ringing. authentic sound. but the structure and .. length had been ""OTkcd out by amaleur y<l<kler Macdonald. He commented. ' 1 was al ..... ays dotIII voices for actions where they didnt ..ant the ""rot" _ hun hi s vo;ce--grums. sirains. screams. gasping.. .~ In Aris/ocm. there was a scene of the alley III OM.lley nearly drowning in the river . Phil II-. playc<J the pan and ..... as not only wilting to thing we """d.,d. but invariably found a ..ay to ...... alJ the morc entenaining. Still. dro ..... ning did...,._ to be a suitable application of his lalents. We had ISeI1 SOmC miscclla","ous gasp' and coughs he had o:.n. for

pan"

J.

do..,.

us a."~ buill our conlinuily and bu,ines_, 10 ilS cli max. ""Ilhe n we called upon Jim. Aflcr lookiog m lhe film r.. .-.eommended Ih~1 be do il all in one lake as be ulchOO the film on (he s.:recn. ralher Ih~ n in separate pieces as he ",ually did. He brought oul a big (ub. filitd i( with waler. and Ihen wilh the mi~c in place Mid his chin half ,ubmerged. fi .,~-d his eye, on the scm:n and gave Ihe order 10 rol l Ihe ti 1m l ie not only matched lhe ""lion preci,"]y. bUI inhaled JI le"'1 a, much w 'aler as Ihe cal in Ihe pielure. and ended up just >bool as rlCarly dro"-ncd. Jim had "'oodworking 'hop in his garage and .""kl spend hours buildin~ ~ad~et ' Ihal mighl make !OI.lods for 'pecial ",cl ions of lhe piclure._ When work :asboginning nn Thr Old Mill he ~aw (hal lhere would be a ~ for many differem kinds of creak< as old. roning pans of Ihe SlroClurc would lum . He corn:cived Ii "" . labornlC commpl ion of drum head,;. siring and bIInons and suppon,. and a wheel for lighlening il all . f".ring thai ",ilh a bi l of ro,;in and a bo w he , hould be able 10 gel w me exceplional groon,. Whal he gOl wa,; I porfcel foghorn! So he recorded Ihal. which is slill the on< used luday. and returned 10 his shop 10 Sian a ne~' idea, II is "cry imponanl (hal (he effecls man hal't enough limc !O Ihink and play "round wilh ideas if the soond is to be al al l unu sual. or jU_'1 righl for the poclure. Man)" l;'l>CS il is necessary 10 run Ihe recorded I!Xk Ihroogh SOmC of Ihc sound ~"<luipmcnl . 10 re'er

berale il . or take oul Ihe lows. or , pee<! il up. or combine il wilh " Iher sou nds. Wl\.:n Ihe day comes Ihal lhe dire""lor is down on Ihe S1agc 10 record. lhe sound effecls man mUSI Dc ready. II is Ihen (00 laiC 10 experiment Every sound Ihal is recorded c"enlually goes 10 lhe Sound Effecls Library for ~ se in olher piclures. Over Ihe years Ihis enormous colleclion has been built inlO a treasure house of ocarly e,"cry sound in (he world---u cepl lhe ooc. special. elusi,'. sound Ihat you wanl, There arC tiny different coughs. whi>lles. footsteps. creaks. and foghorns. and Ihcse are widel y used 10 build Ihe leSI (racks. bUI when the pkwre is finally all PUI IOgelher. Ihere i, al"'ays a long list of needed sounds (hal should be dooc a link differenlly for I h i~ panicular piCI U . re If lhe sound is (!<In of a Slory idea or rela(ed to a chara<;ler. it i, always re<;orded early. so lhe animalOl can work 10 il. ralher Ihan 11)' ing 10 fil il in later, As Ihe idea for Ihe exhau"ted dragonfly in Th Rescuns was developing. Jim was (old uf Ihe problem and immedialely Sianed searching for Ihing. he could use. A power saw wilh ils varied whines and straining noises seemed like an obvious choice because il sounds so determined and despcralc. but il did nul prove as flexible as a liulc creal ion of brass lubing and an air hose combined wilh a rubber mcmbmnc OVer" kind of drom Ihal Jim could play like. musical inSlilImentli was when Jim add~-d (I\.: panting and v.'hcel.ing on lhe end of lhe bu1.zing sounds Ihallhe characler of Evinn"k finally leap( 10 life. Thai sense of cn(cn.imncnl in commonplace .sounds is a vcry .peciallalenl . Ie is lhe aSS;Slant dirCClor"S job 10 bui ld his InlCk$ and keep lhem in syrn: and growing 10 ",aleh Ihe needs of Ihe picture. So il falls 10 him to rummage Ihrough lhe sound CiTL"<:IS library for lhe mosl appropriate >ounds he can find. and. also. 10 dedde juS! how many he should PUI in . Too few can make lhe film sound spot Iy. 100 many can make il sound ridiculoos. AI Ihe Slal1 of lhe war in 1941. Ward Kimball and Fred Moore were animaling a long. involve<! sceoc of a .mall soldier going (hrough all (he Ihings a soldier is lrained 10 do-drilling. manual of arms. salulingcve1)'lhing excepl making hi s l>e<l and KP. There was an eager aSSi~lanl direClor at (he lime ""ho "..as j uSt wailing for hi s big chance 10 show whal he could do.

was made that the scene "'ould gel t in ils rough state if it had a few .ound , Ward lind FrJ cautioned the lIMistant th~t if effeclS "'Cn: lOll n:al lhe scene would be dull, . . . if me,y 'o'en: !OOUOIie il ,,o.lId bome si lly and its ~~nglh. But the right IOlmds. carefully choD. . oold li,'C sprightly character to the " 'hole hour$later IIIe !)earning assislanl returned with t it on the MoviQla wi th the.ound I"",k beside it. On the open ing frame of , then: was a ratchet sou nd as the soldier' S in I sa lule. fo llowed by a " ping!" from .s lhe fingf$ touched the forehead . This "sproings:' wheezes. tllOOs. claj1!i. (llher. acnting every la.'lt linle the animated churacter made . Fn:d and Ward into back to lhe film. ::':~: : : ~::~:'~::'::::~.::,::.:;. convulsi''C laugh_

nr suggeslion

They fell 10 the Iloor and could no longer sec the bill me, p.:nde of unlikely sounds continued on popping .00 bleeping. li ke someilling gone Tho: kIIlger il ,,'enl, the funnier it goI. and once and Ward had sta l1ed to laugh . t he~ wlS no

assistan!"s bu ming look of anli ,ipatioll had . . .,. " """",,,.,, mo: defiant anitude. then 10 a 1(1 of determination . lie sta~d doggedly at lhe through the Moviola , intenl on see ing 10 lhe end 00 matter what. off lhe machi"", look o ff the lhe room with his track under his 'The gales o f laughlCr had allrac:1ed everyone cI~ in Ihal wing of the and now ('Urious heads "''C'" thru'>!ing into ."",1,., lhe WOfCe of lhe humor. lhey paSt lhem. and Ihal very

~~;:::,~;::::::::~ .:';=:';:'"ma n is asked 10 come ,

",''''r

SOlInd for somet hing tllat cannot pos.ibly iOUnd of ils uwn: fur instance. the sound uf a "'eb shimmering witll de w. Wah insisted that should be 5pe<;ial sound. and though he could llescribc it uactly he gave lhe impression lhal knew "hat it should be . Jim Macdonald 1,,'Cn tho ,,"ign_1II al that point and lurned it

over in hi~ mind fur scverJI days. It s!lould be like_ " ';nd chime. he l!lought. soft and delH.:ale, withoullhe impact of glass hilling glllM: it had to be something else . Jim found his an~"'Cr in ~ ~ of duraluminum 1((1 over frum a """. panel inMalied in the sound de~"mcnl. He CUt the material into s.... 11 piccn and suspended them from a plywood frame . and ""hen he sho<H; the whole thing an amazingly light .nd shim. mering IiOUnd Came forth. Walt li ked il so wdllhal he 3 kl Jim to tune it chromatically so that a gli5salldo could be played. or maybe eVen ~ lune . II was neVer enough 10 give Walt wllal he 3ked for. ThaI always .~timulated lIim to even II>OIl' elusive. bul untlcniably beller. ideu , and especially ideas that never would have been t!louglll of in the beginning . One of Jim's gll'aleSt accomplish ments Wl5 the sound for a gianl magnet. This actually was inttndrd for I r10k at Wah Disney World. but Man: Davis. ",'110 had helped develop the ride. k""w from hi$ )'e2l$ of animalion training that the key factor in mating me, whole idea won: was 10 have ju~tthe ri,hl sound. He called Jim OUt of ~ti",ment to find it . The fascinaling thing is tha.t Jim "'enl righl 10 objects Ihal make no .ound! Thai is, no sound the human ear can kl~t . A heavy-du ty soldering iro n operating on 60 cycle~ held close 10 the microphone gave off a very low. rhythm;'; hu m . A demagnetizer u~d for laking sMic elttlrit:ity out of Kissors bef,,", CUlling lape gave oIT another sound that barely could be recorded. and, finally. Jim lUi a large cymbiol and gently brushed a liny piece of COlton against the edge. No sound could be detected on the "~e, but lhe tape machi"" "':as pickinl up ~trange vibrations. These tIu-cc ooullib well' taken to the dubbing panel in the thealer. whell' lhe t"",ks " 'tf'C mi~ed and s wilched and altered. and raised in volume until the sound could be heard by human CaB. II was a sluw. pulsing. indefinable sound. and il started to make everyone lhere sick . As they bolted fur lhe door, lhe ~nnoyed lCchnician! yelled back al Jim. "You can't pul that in Disney World! " RUI Jim CQntinucd to play wilh his sounds. r~ling like a mad inventor, until he had lhem at the provoca tive " age ju'>! short of producing ill",," and ju'>! pa'>I n:eognition o f it as wond al all . It was mtII'C of feeling, and il fcll like a magnet should souoo!

71rt- ",."KIP!.. cf IIw ",~/,, pia," """"ro " .Irot.n IH ,Irt-... ""'/oIk~,,,. IIrt- " ....

cf "'' * '"
I~,'..il'

r/~ m .. ",n' hm .. 1M<lm~

rlrt-/ar",/row) ..
WI!,t

III

Ih .. dr.<la"u is (lCI""/h'

"ur<it' "I' 'if fi"" riiff,,'rrll

of uri

12. The
SIC!')'

Follow-up Functions

"No (1/1( f't'WII CUll /akr cud;rfo, rhr Juct'rlS of" mor;on pirmrt . I,'s strklly" tram ,!forI. From thr iiiitt' I~ is ... ,ilun 10 rhr limr rhr finui ul~uu prim cornu off thr ",inuT. hlmdrrds of fW"l'if (trr ;n,'()h'r~(Jrh (It!<' tloing " job-""'h job ("omribll(ing 10 rhr fi"I'/l'roduo. ,. Wal! Disney

'-"1Ih lilt ...riling of the mllsic. the 1$ ' Nly creali"" funclion has been completed . Some membcn; of the lUff tlrudy ha,.., new a.signmenl$ and are excitedly f~pIoring the rlCXI rrojeCI. bul the.., ~!i1J 8' &Cvcral crucial;oos 10 be done and deci.ions 10 be m;,de Ihm

dud. qunlioncd. and senl to lake care of mings. IIis job was easy when the picture slo .... ly ,,u!alt ing shape in the Story DepartllM:nl. the dirtCtOr was
Ics!ing vokes. and lhe experimental aninlation was being done. Not much money was being spen t. bu!!he crealive pnxcss is impossible 10 coo!roI anyway. How ever. ~ the "'ork h",~ been p;tssnl by lhe animalOn 10 their assiSlanlS. dra" 'ings Can be counted. deadlines impo:sed. $("hedul~ arnngcd. and ",ork organiud . "The: pic!ull' ill in full produclion at this point. and .'iUddenly e"erything i. going a! 001'( and in all dire<: lions . Theil' is I'lOl enough !illM: in any dlIy 10 check even half of il . especia!!y if lhe CrtW is behind sched ule and working oveni me to meet I deadlinc-whi<:h. somehow. nearly always happens . NOIhing seems to be wming OUt quite lhe way it was planned. and 1>0 one: really knows ,,hy. Everylhinll conceivable for keeping prodUCI;"'" moving has been trio:<! .... one tirrc or al'lOlher. but a sense of de"OIion 10 the produc1 brings the beSI results. Ne,'(nheless . the Production Manager will tell you Ihat!OO much devotion can COS! too much money. too!

""'11)' .ffecl the final appnflmcc of the picture.

UlUllly an rile money budgeted for the film has been

IJI<III. m.llht big push is 10 "get il out" in lhe '1uickesl

Q)' pouibk; )"CI

100 many oompromiKs al Ihis stage

could desuoy much o f [he ... alue of rile work already door. FonuILlIldy. there are still dedicated propIe kfl who ... ill 5 lhal this doc:. 1101 happen . ~ncS muSt be chec ked OVer and Ovcr 10 be MIlt thaI all paIlS worl ro~!ly. The ~nwork must be

n.:

phoI~raphe<.l

by lhe Camera

Dt:panl1~nl.

alilhe dif

Imll! _nd tracks must be combined onto one: track.

-.I then !be lab must face lhe impossible lask of gel . . the colors on tho: film !O look !he same as tho:y -m painted. While these jobs are noI glamorous.
!ky are "i!al in a~ing tho: seemingly endless string r;I. one process or anolocr always going WTOni . Fran!i all)" b)'ing !O control these proccs~s and keep the pic!Urt movin~ i$ the Production Munager . Someone has to assume!he responsibili!y for seeing _!htre are no boctleneds. that ~ne:s move through OfJlIlizalion smoothly. !1Ia! dire.:!ives are being caned 0lIl. that COSIS are held 10 a minimum. andliul prod~r understands why the projec! is I'lOl be:ing wopktal on schedule . II does I'lOl have to fall to one ..tividual. It tan be: shared by a small group of over .m.cd artists with a special loyally to the whole pro-durtiQn. However. it is the one person wi!h!he official til:k Produclion Manager " '00 can be: blallM:d. criti-

Checking
One of lhe beSt ways 10 keep "oR flowinll smoothly i~ to have each $("CDC checked c_fully befOK it IDOVeS

on 10 the ne: ~1 dcpanment Once!he animation is com pletcd. il should be: chec ked for tcchni<:al problems . l1Ie d ...... ings may ha,l' worked well in te~1 camera but sumrene has to adapt them 10 ~heir fin~1 fonn on the cels . Are the c haracter. on!he right le,'cls to ma!<:h the other $("Cne:s in the SC(juen<.:c? Should ~ of the

Icvels be comhined? will 1he pan moves and lrocks

woO; Sn1OOIhly? 15 the aclion ,onlplclCd 001 10 1he

bonkrs? Will il worl under the camel'll? Befon: we had cheelers il was up 10 the cameraman 10 lttp a close ...aleh 00 lhe drawings on hi. stand as he was shooting, bul1hal usua lly wl,IOO laiC. Typical of lhis situalion was an incidenl on Mkkty's Kanga roo. After shooting nearly ha lf thc .<ccne. lhe came ra man noticed thaI Pluto w~s snarling as if he we re g\lUding his dish. 001 in a peculiar w~y he was stand illJ! in ii- though not quite in il. Ili. fOOl covered pan of the did!. bui il did 001 match lhe ",urYe (W lhe sha]IC of il. The deanup man was ",alled over 10 explain ...hat was intended. and he immediately cried. ".someone has moved the d ish! h 's iUpposed 10 he over hell: righl under l' lulu'sleelh , not back where hi. fOOl is!" A call to lhe hac kground man p",. lu,cd his copy uf the laywI s.k.elch and his notes on the 5CCnc . Ic was blan",'

r~1d

m~ke W~ cv~rything was on tho.: eels .nd follow,.. through perfeclly _ Some of lhe arna7.ingly cornpIin"" Kenes from f'<Jnlwi<J even required a specialw cheeking. 51""" the (1)fIlponents were iI<I involvul" intemoliled thaI hardly anyone evcn knew ..1Iat .... supposed to haPl"'n . On ly ccnain individuals should be checkers. Tht jo C~ 1I 5 for a special persona lity ma keup more than an Ittistic ta lent . and not everyone tan ~dapt ,he domand5 . Complete concentral ion 300 an "cagle eyc" are needed hour after hour to ferrel out the ~, ... ellon btll in lhe process a huge one 5h00.1d no! by un"",iced! 'l'1Y cheeler mU$! be a dctcCIi,"t.

'0

....

AOOIher call; Ihis lime 10 the layout man . ...ho can'" with all his dn winp \Q prove lhat the dish always had been in the same place. Now lhe ~nin'~lor joined the as5Cmbled group. and after mon: di.<cussion he <ailed moving the di)h .<0 there would be room for Pluto to run in and lup inlu Ihis defensive posi tion. He had made I lrac ing of the locatio n of lhe dish and marked it on his copy of the laywl. h was surpris ing 10 him IMI lhe la)'OOl man did not lnow aboul il . aoo he wonden:d ...hy the final animation had not been ched ctl before going ahead. They all WlJ"ed bleakly at the compl~ct1 ..,1 Up on the elmol'll Mind . The eels then "" cnl back to the prod\lCtion rooms whe", adj us,"", ntS were made unt il lhe SCene ...otked properl y. bul muc h time wao lost in all dcpanmenlS through mi slake, that somehow s lipped past everybOOy. Ralher than u tablish blame it "", med more imporlant 10 prevcnl it from happening. so the pll6ition of Chl e r W3S created . Very soon it was d~red that one: cheek ~r ....1Ii IlQt enou,h . In addition 1o the eheek f(W mechanics and technical problem~. lhere had to be & cheel for mi~sing delail. for clear inMroclions 10 the inkers. f (W mini n, 1i nc ~ around color arc~s. for r~gislry of one eh",.-.cter to another or 10 an objec t on thl:: bac kground . In Ink and I'lti nt (hey needed addition~1 chec king before a scene was painted. a nd 51ill aOOlher afterward to

pletely dedicated and above penona] ;";:"::::~ S"" h ind ividuals scarcely can be blamed ing. ah.H AA.:aa .a.~tl! .... hen they d iscover a . i ll lake. but 1 pcrwn who made the error. No onc ~s on purpose. and somehow a diSlll:ssing .ir ination 'lttm. to bon, arouoo I visit to lhe Cheda'l roolll . For IiOIIloC reilSOlt. the feeling ;s "'";"""~ ,. being called 10 the principal's ofrlCC .

Blue Sketch
New procedu~s wcre .uggested con,lantly .." ... . make thl:: checker's job simple' and eliminale $OInt of the npensc treated by needless cffi)f"$. The " 8. Sketch" ""1$ one of the mosl praclical . One lime a backgrouoo painler was given a Laylllll showing an ominous evening s.k.y with the vquc ~ of tree branches i ilhouelled againSI the clouds. nc color key that styled this sequence ~ho ...'ed a grctlOlllt sky with an ev il louk . "The bac kground man was .. trigucd . Here was a good louking de~ign. i dramalie. and an impressive painting could be lhis. l ie ca.dull y worlcd 001 lhe la.cy I branches. the contra.uing dl~""" and colors. tie shading in the clouds . The whole thing and would make anyone: look I.... ice . The I was thlt .he background paintcr had not "'" what action touk pla.cc: in the a do!'C up of a large and formidable character blotted out ali lhe lrees and 11I05t of lhe I of painting around the edges showed . d iu-ppointmcnt for the painter as ,,"til as a ,,__

...... and time. Something had!O be done: 10 keep Ihis

from Igppening Jg:.oin_ n..ol WIOS when 5O'''0:0'''e (hough( ofJJlJking a "bloc .~kc( c h" of (he so,.'coc , Wlltn lhe xlion of (he rtlugb animalioo has been IpprOYtd I".- h.a( we called " OKed for Ckan Up"), the 1.. il picketl op by the t.ay()U1 Dcp'II1menl Jnd checked for all lhe U(remCi of movemcnl , A c"",pos. .. lnI:in~ iJ nJade in colomJ I"'ocils (predorninarllly bkltl lhal. ~i (he size of the characlcr, how mucb of him is showing. how hig h he goes on the paper, hi . Jo.,.'e:!.I point. his maximom move 10 the k:ft or righi , MY conl<lCl he makes ,.-;Ib p3.u of (he Nckground, lOS .-dlas lhe fi~ and laS! d",w ings in lhe IiCene. ~1iC e$$t.lIi.1 lnoveme nl.' of Ihe c haracter are recorded So 1haI cvtl')'One will know j ust whe", he g"'" and wh.:ll .., 000$ in th:ll OIW:' Kene , II ",\'(Cals cbanges lhe ani _ may have ma<lc in lhe ... hole ~t . up tbat the b)'OOl man possibly does no! know ~boo' y<:l. ~n,l il DlDin!O the background nUln lhe: nUlin .",as of ac Imf)' and !hose places lhat should be painled s imply .

E ven so. lhe clemen! of buman CIT()f will not be shol out. TIle", was a Kenc in Th .. 1Iml(It Hook Ih.1 is s lill a myslery 10 all involved , The boy, Mowgli. was 10 be w"'n running through the j ungk: af."" he thought he had been double...,ros~ by B.loo , "The feeling needed 10 be one of dcspcf:lliun, wilh more ahandon and dering (ban speed . The animator who Wa!!O do lhe 5Ccnc: ren ~mbcred a pic of live aclion film showing a boy pusb asitle some ""'oche, IlJi he I11n inlo {hkket. II sccn~d li ke a good aClion Iha. would r,( both Mo wgli 's allilude and lhe: silualion, 50 the film was broughl op and.he anim,"or ~tudicd . made nokS, and ~kCIChcd unlil he cou ld adaJII lhe acliun 10 lhe .",Irkl iono of hi s $CCI>C , The boy threw op a prOlCC1ive arm, ducked his head, \wislC:d his body , then 1cantcl back . ~II givin, him more thrust .. hen lhe branches were pushed u illc and he hurst Ihrough. C<lIIlinu;ng hi~ forward progress. It was a good acliun and difrlCoJI 10 <:3p1u"" hut wonh it for lhe cxtn Ijual ity if would gi\'(C lhe picture .

no....

, ,

, , , , , ,

This type of aclion would t10I show up on the blue sketcll, and """" of the peoplc who " 'Of ked on the ~nc toot OOIe of anything special about it, The effens animator ..'ho did the final drawin, on the branches ....,-m as dose as he could to lhe action the animator had defined, bul he fell the leavcs needed to he bigger 1 malclllhe new model and evcn:sddc:d a few more to 0 increase lhe overall masS. l1te layou l Illan , thinking more aboul dense jungle thall the boy's problem. also incre~sed the s izt and number of lhe luvtS . Finally , the backlfOOnd man. looting at the la)'oot and the cff"" u animation . addc:d a bit of lush g"",th of hi. OVo'n that was .ppropriate to the jungle. bol by then the Xlion " 1IS co",pleted covered! 1'he boy s imply JaJ1 behind """ W: de""" boshe~ and canw: ntll on the OIher side: till running . Mon~y and tim" and "fforl hall !I"'I!! into ~hOO1;n!l the live action, animating Ihc $<;cI\C. cleaning il up and inbetwffnin; it , making the 1~)'QlIt. and painting the bacqround . Al Ihi. poinl in the production. whkll ani5t should change what he Ilad done? A confc..,ncc " 'as he ld and the decision was haloed on c~pedieney: 1e.,'C it lhe way it is: the audicOC'C w ill ",,"cr know ..'lull lhey a.., ",i~.illg . The beSt pl"OttdUIl'S always have I way of bll'aking down. and on ly dose contact betwff n the individual artisu can keep cveryone working toward a common goal.

Camera
The first animat ion camera was , uspc""'" f.... wooden frllme so it " 'ould poim SlrlIight 00..'0 111
and most on drllwings filmmakers boilt ;ngs had to he I in lhe ,\.lI me place. various nW:llIods Were tried. oole. punched in lhe papcr Ihat matched little pegs boecominll the most successful. ings absQluttly nat whi le photOj:rlIpilinC. a I of heavy ,lass. c alled a pI~tcn . placed Thi$ waS c,'cn more imporlant ...'hen Ccli '"'(ft voh~. sincc they IIad a tcnde...:y to Nrl and lighl bac k up into the eamerll knl. lIefo!'e lhe hullon is pushetl to shoot J ,i ngk of film , the woolc se l-u p of atld mU~1 be cheded visua lly to see I ~'Ontple'd y f"", of foreign matter. A speck curious fly can ruin ~n expens ive k cM, is kept handy to blow off anyth ing thai

a:;':'~b:':;.:Th<~~":':'~U~ ::~i:~::~~~
"';I;li

thc~ .

In lhe t ..'cmies. t,,o CamerlllllC1l "'Cre . . . . shoot K'C"" s ince the Clmcrll had be t hand . One man stayed up on lop and carefu lly tilt (!'link one lum. trying 10 keep. consistent and m ythm throughout: the OIher lmlngod ings o n lhe pegs. At Disney s. i, was lhe

'0

Ub I ...'erks who rigged up an :::::~;'~'::'::': thin, could be done by ooc man lable , As fi lmmaker'S' ideas upandc:d, to move I"" camera up and do .... n so in closer on l sec"" or pull action . A calib!'llted post repl.,.;cd lhe A short !inw: later, lhey wanted to the cither to ooc side Of the OIher .nd then

,f"W.

to twist !he camera "m OC~:h~~::~::,:: : for special shots. and 10 lIlO'Ie , right a",l~ to their oonnal "",ition. This "erl Kal pan even lhough t"" an " 'M foxily flat . The pegs at both top and placed on bars Ihat cou ld slide, we!'e intrOOuced. and then a contrafllion thlll IItOve lhe: pegs in any dirt;on . AttOfding to Bill Cottrell. "ho . " '" . : :

needed

as

i ilit . li is ideas <<In illiClf and cfft<'ls wen: Bill said, " He asked me 10 experimcnt filltl-to put 5i1ver nilMe on lhe film . Tile pielun: Night waS prinled srock, and we had fin: sctIucncc Ihal was 01'1 red ." tho ~ixlkl;, the came .... and animation slands 0.10 aimosl mon: Ihan moSI animalors knew how ..... of. These giants wcn: expensive, and few . . . . , . , , " ' , . , . WffC uSt<! very oflen, b,,, " 'hen wen: wonderful 10 hlvc . II was always I . .,~, ,.".. it was (lleaper to have the can~r

II

r,I"J'UI'l', Ind different material , until a very effeel Wli achieved) or hi.ve un enlerprisinl: artist draw it ~II by hand . Sometimes lhen: was sioo:: !he cffC'Cl could be obtained only by 1OUIt, but oow and lhen an enthusiastic and cameraman cwld tal k the producer into lhan really wa~ necessary . Tkrt ...... a in the mid-th inies when every the cn:ative fields had tn wort. in the six weeks to learn how the pic pIIllOj;C!her physic:aJ ly. It $OUnded like a .sea because il educaled everyone in the major would be using in pulling lheir ideas on tile I in truth it was a fiasco, The need for an eye and complete concentration , com a l _ unlimited polenlial for error
than mOSI anislie lemperaments . E>:JIC'nIiCS soared and the produclivity itself dropped to an all'lime low . idea ~ abandoned, but for yean camcran~ n IOCI~ a baleful eye at any animalOr who eal11e . It was unfortunate, because animators must _ Itthnk_1 knowledg<' just to animate ,,'(11 ...... ',oo"" "t assi~ance the camera Can live in achkving their n:sults . lied inevitably 10 the huge. shiny, m)'Steri hidden behind signs saying, Admittance" " the multiplane Solidlyenginccn:d, it was built 10 withstnnd

~:~~:~more

.,",d ,r;""""'~'''t . bul il was a"'k"'ard 10 ~I

around and unbe lievably hea"}' . The li&ht ~ight met als ....~ hanlly known at that lime, and foor strong men were needed just 1 lift the frame (hat held I 0 single animalion level. As many as ei,hl .'iOO Will bulbs ...~ in a bank of light~ for one level, and when all levels "'ere lit the helt wu oppressive . Somehow this Camera Captu~ the im~ginations of both anisls and the public , either because of its over whelming s in or its imJ)C'netrable workings or the possibilities of what it could do. The prirociple its operal ion is simple and easy to uplain. but maki", it work is quile another matter. The COllIplieations an: suggested by lhe (act that less than IWO years aller its initial use. a manual had 10 he pI'l'p3rcd that began: "The Multiplanc Planning Board is I body headed by the Direction Unit and CanJCr.l CoordinllO' and. representative of the Enginccring Departrnent. lltc fullC' tion of this bo.1rd is 10 work nUl the ways and means of accomplishing Multiplanc shots .. ," Baskally, the multiplanc aPJlllratus makes Woe of several layers of glass . each with some jUnk malerial on il and placed at a varying dislance from the camera. For an average shot . !he background itself would be eight f t away , the fin! level ~ix ft.the IiCcond live feet. then another al rwr feel . and maybe a founh level at only two-anda-half feet . As many as si~ levelS have bn used and 5hot from a distance of 14 (<<I. bul thll is not an average SCI Up. Assume !he scene called for the ca n~ra to move in through the anworlt and progress 10 the righl ~ Iowly , The amount of the move on each part woold luve been vcry carefully calculated by an eng inccr. and alilhat is !cfl would be 10 run Ihrough the SCene to o:c:e if everything worts as planned . On (he regularcamcra , there is no run Ihrough, If a scene has been c hecked and approved, it will ... Oft. 00 the carnera. and it docs . The cameraman sllools il just as the exposure sheet is marked . On the l11ulliplane camera, ;\ is OCttSSllry to lest lhe mark ings. The lights arc turMd OIl , the first eels an: placed in position. and the Ic<:hnicians take !heir places beside each of the level S, Up 011 top the carneraman is peeri", through the lens , but lhen: is no Iilm in the camera. First, lhe level wilh the fealured an .... ork is lit with the proper intensity, then the OIher level s arc lit oeparatdy, SO that each give s the besl anistic appearance 10 the .... hoIe scene . T,,'O big problems plague the Crew end

or

lessly: (irsl. rdleclions Ihal bounce off lhe ,;hiny Is

imo ~ eamen klli . and . KCOnd. lighl from a

Io"~r

level lhal occasionall y shows Ihrough lhe ~inl on lhe back of lhe Is. 'The refleclions look all kinds of ingenuilY 10 conquer. from adding neu lllli densily gla",,, undet lhe talTlCl'lI lens al a fan y-five degree angle (10 " reflecI ~ refleclion away") 10 leaving the offending level darlt for one diooIing. lhen ligNing il by ilsel f for a second runlhrough . E:.pcnsive and ledious. bon as lhe crew uid, " We ~re shooting ~I of III<: .Ituff wilh mul liple exposure anyway ." Conquering lhe lighllcaks was nsi<:r-for the cam I.'r.llTlCn . This involvoo scnding all III<: Is in lilal kvel back to !he painters for another coal of~inl. Ihis lime in heavy black . (Laler " 'h;te painl was used for this

backing.) The p;linlers " 'ere annoyed al !Ia"in, kI do this utra ",ork . because ooly ooe fl3ffiC had 11l1li leak . and a pic ofblack paper ~I id underneath Iht cd would have Stopped Ihal in a hurry . Aft~ }"zs(lf protest from the paimers il finall y was agreed Ihll IluI waS a good idea . Won: in U ITlC .... completely Stopped while 11'c paIIII' ers fumed and ~imcd the: back o f every last ttl .. that kvel. ~n......n resumed late. that day . .... l1li). evcn lhe neXI . lhe camera c re .... started \)'o'Cf 1pUI male sure everything "'001(1 work smoothly "'Ith dMt new correction , They could 001 check cvery frame (If I scene bul did have 10 run do,,'o to all die crilicalpoUIIl. checki ng lhe umera moves . lhe appc ..... nce of !iii SCcne al thaI poinl in the camera findt. , ~ Ii&hl; Ink! on ocher k,ds, and IIw: ro<Istaoc rcfk<:t1ons . In 11*

of Ilr mosl ca",ful planning . ...,nlClinlC~ lhe~ ,,'ould find thai lhe~ were o"crshooling a painll ."'. or _ing I Ie,..-I ""f~ all o f ilS pans were 001 of lhe QIIImI forld. A! !he tamtfll WlIS Io".-erw closer to lhe al1"'oo. ..... problems Ippuml bause of lhe chan~ of angle r..... camera 10 lighlS. Alleralions Ihal COlTttIW a rondoIoon alone poim . Iway~ ..,."med 10 'rl:ale a second probItm al arlOlhe:r. So hour after hour Ihe canlCTa m" Nckl up. cbanged lhe: equipnlClu . ~la"W for .ad. bided up. ~ over. chllnged iOmClhing elsc. .;[_11 pIIl1S or lhe scene " -ere working Oawlessly. nos literally lOOIt daY" . eVl:n with a full Crl:w of ro'"C or !-lIlIItn. bul evenlually lhey wcre ready 10 ~hooIlhe

-.

II is u .sy 1<:1..,." why of'CMing lhe muhiplane Cam

era was SO upcn~i"c and why il WlIi used Ie" in laltT years . Just 10 SCI up for a held p<!$ilion wilh lhe background 0\11 <:If focus look Ion&<,' Ihan on lhe regular camera. bul lhe resulls were ull$UrpasKd . n.cre "'as also I li_ faclor in just shoolinC lhe: film: 10 ~ tho depth <:If fltld in the focus for ~UC:h diSlarw:c time exposurt: of SOme: eighl or nine sonds was required for every frame: uf film . In addilion . IlICre we", 22 possible adjuil ments Ihal cou ld be made before each funIC was shot: not all wert: used on CVl:ry f~. bul all had 10 be caleulall and wnnen up and tlotckl for ~iJClo Ir~ . The upostlrl: sheets were so compIicaled that only highly trained tethnical me:n cwld write the:m-or rl:ad them . In spitC o f the complications. there _re thrtt K'p<I' rdtc muh iplane earneras working around the clock for

many motIlhs . One cameraman .a id .. [ wor1<ed almOSI a year on FumM;u. 12 hours a day. I had Ihe night shift. I" d come in aboUI 6 o'clod: and I"d never gel home tillS Of 9 in the morning ." He remembered the special problems of shooting a lillie scene Ihal would be on the screen for a mere Ihree seconds. yet it had 10 be shot [2 ~parate limes 10 gel the sublle effecls that came only from mulliple exposure. "You'd do one

and lhen you'd do anocher. Ihen a distonion: )'cMid do a diffu sion . you'd do mist; if you'd make one mislake afler you SIan . ." He shook his head al tho painful memory . "You had IU absolutely duplbil: every move Wilh four or five guys-yoo've gOl a guy Ihere. arKl a guy lhere-and a- yw'd never make Ilia film looay. I guess. ' " Few invenlions ha"e made such a difference in tho appearance of lhe prodUCI as lhe old mulliplanc CUI> era. When il was firsl used il was very special. aoothr public heard enough aboul il 10 know Ihal il ...... qualily in produclion and vi~ual e~c ilcmenl. II ..... good publicily. a grea l adveni sing ilem. and the NIDI appeared prominenlly in our ads. We well: amazal one day lu sa an ad fur a Warner Bros. liv.-ac~ fealure, laid in lhe wooded hills of magniflCenllllOllalain<. Ihal claimed the woole piclure had ~n s/IOI wilh the "Glorious Mulliplane Cameu!" A goodpobIicisl cannOC sum 10 pass up anYlhing Ihal is hoi al thr lime! [n laler years. when lhe mosl oflen heard quwx. is. " How can we gellhe same effecl for less ..;~,ff ' layoul men increasingly have gone 10 lhe optical for lheir answers. them Ihis device: among of film Ihal in many ways duplicales I anliqualed muhiplane camera. long si""" priced exislence. In Ihis process, called bi -pac k. lhe ler is shol o n o ne piece of film and lhe background ' shot on anocher. In lhe primer. I,~",,,pi'";"f'" are combined-somclimes revealing a i rim-ligh1ing. buc usually producing a , ",,,,i,i,,. ,r. ing of dep1h 10 lhe scene. For a charolCler racing lOward lhe camera. Of going away, Of for lhe 10 pan wilh Ihe character Ihrough ce nain r ,,od",,,, bi-pack gives Ihe besl illusion . and il is nul over wilhoul asking questions. Don Griffilh wenl Over 10 ask aboul the beSI plan a scene he had for bi _pack. he was lold. you wanl bi-pack? Why don'l you use Iwo-slripr' Don asked. " What" s Iwo-slrip?"

Asson;"~':O:";:d:"~";::~~:~;~~,?:

Themeni~:::f::::;:;:~::':'~;::~::~;::::~:
"m".

He is nul sun: Ihal h:i:;~:7;,:::~r~,:~::;:;: he says , "The main Ihing is Ihal masICr peg Ihal used 1 slip and cause lhe 0

The Mu ltiplane Camera

CAII(U CARRIAGE

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rim. lighting has been eliminated. and thrre a nd foor wips can be wmbined silTMJltaneously. mel a soft focus cln be achie~ on one level (as in the old multiplane). mel ev~n a see through effect for an overlay is possible . While Don Griffith is udtw a!xxll these accom_ plishments. An Cruicksh~nk. v~teran of the Special Effect:;; Departn~nt since the thin;~s, $Iill likes the multipla ne camcrJ best. He wishes it could be used again. because I>OIhing can tate its place in achieving ~a1 effects . " 1lle bi-pack is okay for I C'1)lIpk of Ie~b. moving in .nd around, but for a full . six-level scene. it can't do the san~ thing al all." Sc:v~r31 uceedingly alert minds around the world ha,-c come: up with a OlIUPUleriud mulliplarM: camera thai make:;; all the moVes of lhe separale level, aUIO' ,natically. ~nd Ihi ~ eliminalC~ loooe four or five Ih nidans who stood around wailing 10 make I sma ll move on t"'ir level hanlly often enough to ~member if lhey had done it in (he fi~ place . NQW . when !hey aulomate lhe: position of lhe: l ighl~. their relalion 10 lhe c.n~ .. and to lhe ee ls. and figure how instanlly to effect changes in the cels lhemselv~s as neuary. it rn.>y be economically possible to $Iart planning those: in voh'cd SttrM:S again. l1w:rc lfC n"my wlys today to make the old device less cumbersome: fot in'tance. the use of sorullier lighls thai throw out as much actual CantlkpoWCf as lhe old bank of 500 wan bul~ but wilh vinually no heat . More likely. how-cver. new U",iii will be found for the aslonishing eleclronic invenlions that berome a'ail able to lhe imaginatiV<' prod~r and director almoM daily . 1ben. the venerable old liant thai stimulated 50 nuony ~rful concept:;; and made w many visual d~ams cOme lrue. can be retired 10 Ihe mu",um. 11 p<O\l:d th;!t creative men with detennination eventually can find a way and Ihat !he anist who is alcn to mechanical aids Cln find the assistance he need:;; to put his ideas on lhe screen .

ues that each has brought 10 the pieture . Proper hoianee bet"'een these .ounds Can giyc lhe film more life and sparkle. while a lesser job will leave il muddy'" undistinguished . Since the process actually call s ror~,:::,::~:.::~ thing a second time. it al,;o has been c; or rere. ' This presents 31\01her octa~ion for onacy and compromi",. The wond ",,,~" ". h;~~. . dards for what corn.lilute:;; good sound. and he;' awan: of whal other sound men will y about " on(. Most potential conflict here comes from sound man' S very best effOrt 10 gel clear. pu~ on lhe tr..cks " 'hen Ihal mighl 1>01 he the &OiI1 of dir1or . He may he after lhe reality of voices "';:::: in a cro,,d. lhe confu~ion of noi~ in ~rong ao lhe impact on I'" liSlener if he were the re ! The man want., to hear every JOUnd clearly ~nd the direclor " 'anIS emotion and invo lvement. There are 00 ab'iOIutcS in sound ; it is all ., ships . You c~ n havc more highs. or 1llOIl: lows. this. or a touch of thai. or a bit of ~,crb. It is plex. and it is all conlrolled by a sy~lem regUlators and buttons that only the " miAt, " t<".lOCh. Through this system go alilhe ~,"",""', lhe same time . and there probably witl be as

dI,,,",,,"

,r".".O

tracts as there are sound he:ads on ,,'hich to;~:::: even whenlhe music has been rercc-onkd mel is now on one: track . If the music track

Dubbing
This is the: original name for lhe process of combining all lhe: sou nd tracts onto a si ngle track that wilt be prinled on lhe film along with the picture . Some:ho.... the dialogue. sound e ffts. and music all have to he dubbed togelher without losing any of the ~peciat val -

lhe dialogue Cln~ he heard . If the dialogue is up. lhe music can~ be "'anI. And i;r "", ~,.'<r.. are gi,-cn a .. ~. .~ apt to Wa!>! you 011 your seat. 11 iii a Ii 'il s ion of whal shou ld be done . Very rarely ill any agreemenl . 1lle assistant directors and tbe cutters spend hours pre-puing for dubbing sessions. because:all trach must he in order. with no din old duplicales from the work tracks mUSI be Th is is lhe tin~ they discov~r lhat the piece of film lhey thoughl had been 1 ally 10M' This is also a tin~ of hope thai the Conlaining the bar ,111, has been ac<:uralety 10 date. because this is the supreme aUlhority stalus of !xxh the picture and the sound uxb. (I()W on lhe", .wo " 'ilI be " 'orl::cd on scpar3lely.

II hipJy advisable mat they fit together perfectly ...hen "'"'tuaJly they an: printed silk by sid< <m roll of

Answer Print
Anyone ...ho has shot color pictures of a vacation trip knows WIthe slides or print$ ne""r corne bad looking e~actl y the w.y the scene I PPU..w 10 the eye . The pictu~$ all' a little bluer , or maybe redder, or in 5O<IIC sU'aIlgC """y not in the same baJantt It all. "The wne thing happens when film is shot o f the compleled artwork and Sl:nt to the lab to be developed . nac ~nes come back as " dailies and :eeagerly 51udied by a oonmed 51aff. 1'hc ~presentative of tho lab uplains that "dailies" all' never true in color s ince theyall' printcd in whatever bath is available at. the: time . He IS$llres everyone !hat the: ne"ti." is good . nd thaI .11 Ihis will be ~Ied when the lab makes the Ans wer Print. 1'hc big trouble is that tile lab cannot a lways do it . 1.$ }oM HellCh grumbled after hours and houn of experimentation. " film j ust won't <10 what you think it should!' The result. improve each year with new chemical. and proc:esscs , btn for four decades il ...... I Ihomy problem that took much energy and many meetings. Walt even hi..w two key men from Technicolor to advise 011 what could be done to irn;\I~' cenain reiUlt in the final printing, and magnifLCCnt ~sults wue often obtained one w.y or another . !fa certain visual dTt ~al1y is nttdcd in lhe film it is wise 10 experiment early to see if a ooopenli"" lab can help in any way, for after the print has bn made the:re is ~ery little that can be done . II CIn be dafter. Of redder 111' lighter 111' bluer , which might m.ake Lhc: over all scene read more clearly, but il cannot achie"" a whole new color baJantt. That only can be done by dllltging the original anwork IQ mate list: of 50ch capabilities as are available at the lab. It is often I disappoim ing compromise .

r...
Oflen, additional rcds containing the sound will be -.Ie up jUlt for the dubbing scuion so that one take 01 dialogue can be moved off the reel that contains pWMeS too close together or too different in \l()lume . Thm must be enough time for dubber or mixer to Ir1I his dials when he blliances everything . A low ~ cannot be righl next tQ yell <m the same: ntt; it muM be II100VW to another rttl wheR it can be -.>lled better. After the s.ound has been checked MII.shihed . nd mea5ured and repl..:ed , cue sheets all' ~ up tIIat show the sound men just ...hat is on each ntt, ho;tw long it runs , and what come s up ,",Xl. 'Ibrse become the guide as reheal"SlLls bring out sug . ~. . . aai notations of what to uy on the neAt rull . tile mUiic down jUi t a bit and bring up that "~'.'kI'~W' in there ."' TheIC ~Iic:e runs can take .11 day on a compli and in lhe carly days there was no a mistake . Whatever happened, the to the end, then be taken off, wound i on t!'le sound heads. ()flIC , With ten =1 and a CQIlfused s.ound I spewy projectiQlIL st CQIlld not make up . One assistant diRCt1l1' says h is bl""kest !hose rehearsals, for afteT the proper had been detennined for all the in tile whole rcc:1 the diRCI01" would be called . . _'"." for the first lime. While he frowned with appnisal. the film might roll by for 700 feet perfect balan<:e; then , for no . pparent reason , woold not be heard . or. sound be . 1'hc diRClOr's comment woold when you've got the bugs worked out: ' woold return to his room while the rttls ...-ere re threaded, . nd nwJe ready 10 Sian Over ,.., lrom tile beginning . ""' cqII;pm.llt and inventions have greatly simpli "'hole procedure now. but there an: still deci be made:, 10m film. pal'1 S that sound thin no dials an: lurned . heavy . tubby sound! be made: IQ match. f~t ic trips bt to the shift or replace a tiny piece of sound . over again . . . .

",,,,,,1,,, ,

_t.

Foreign Versions
Ordinarily one does not th ink of the special problems of making . foreign version of a film until after Lhc: initial release. when the box oWl rc<;eipu indicate whether the venture is j ustified 111' not . At Disney 's Lhc: foreign man.ct always has made up a large percentage: of OUr revenue , stal'1ing wilh that first =ordinl of Snow Whir.. in another langu.ge .

--

$i.:t!he shorts were Da$ed on sight gqs. the sound Iud bttn mainly sound effects and ITMJsic. llIe "H i. Minnie!" and "Yoo-hoo!" were enough t(> he translated in to Freoch. Ii Spanish. and Ponuguese , But wilh of !be fUlures. new considc:radons had 10 man Wah cho5r: for this diplomatic and _ .. ,., was lack Culling. who had staned as an lIIilIked hi s way up to animalor. then swilChe<I be the first assistant director. In thaI job he evtrything about puning a piclure together. pII~sically and aniSlically. bul his talents lay thai . It was hi$ fccl for the chanelers them . . . ". "'haI made lhem wort; in tile picmrc that his vtrsions in Mher languages so unique. He to malch a deep voice. or a whiny voice. or but wenl instead for an actor lllhocouid regardless r understood lIIe n:laliorl$hi~ and 110111 they should play agairLSI and he sea~he<J umil he found actors in ",110 could capture the $ame feeling version we had mad<:. Jklnlveled Orlen. lived in Europe: for much of each IS be lumro lhe hlnguages. and be<:ame at i' in Ihe studios and performers and in the films. He worked with the ",Ti1cn and inlerprclers in rinding the best keq') the spiril of a line rather Ihan just the . Ind used his lraining and his judgmenl in the vo~ ta!cm during tile recording sessions. in lhe native country i I because of the availabilily lCIon and pilnly for the ....tur,r,1 feeling th;u the phrasing and expressions. M the popularity of the piclures grew in Europe and . II'IOre and I110fC languages were dubbed in with

As animators we WOI'Idcr about this popularity of our work in Olher lands , When we have ~ so hard 10 gel good syno--the very best acting 10 maleh lhe voice lrack and to convince audiences IIIlI the voice is ",.Uy coming OUI of thi5 cartoon ch.aracler-we are puzzled that lhe figure still CUi corne alive when hi$ voice is chan~. Do we worry 100 much about making lhe li~ and the moulh and the whole fltt speak the lines. or is il this very concern thai mnes lhe character convincing even wilh another voice11s II lhe care lhal Jack Cuning used in choosi ng a ptl'$OlUll. ity!hal would match what we already ha"" animated. or ;s !here more magic in this medium than we llave su~pected7 However ;t happens , il ;s extremely graI;' fyinglo know Ihat our lIIork and our vicws on enter tainmenl are bringing h.ppi~ss to peoples of all races all around the world .

That's My Character!
Everyone who has wo rked on a picture will feel thaI he made the personal contribution Ihal caused the car loon cllaneler \0 come alive on the !Creen. The SIOr)" man ... uraJly will feel that the charaCIc:r is his. because. after all. it was lhe Slory work thaI determine4 wbat kind of an individual this figure would be: and the story sketch man smiles because he dre ... the new character. made the CIprr:Mions. showtd how he would look: and lhe director knows that il was he who pulled all these lalents logether and kept insisting llIal the figure lOCI a cenain way: and all the time lIIe actor who did lhe voice is $.I,yi ng. "Well. I know he's my char aclt r because he ', me; I did him!" And the animator nods knowingly. because 00 one can deny that he 5C1 the final nKXkl and broughl him 10 life . and lhe _islanl knows Ihal wilhoul hi s work lhe chanocler would never have relOChcd the """",n, llIe person who sekctcd lhe colors. IllcoK lllho pilinled the eels. even those who carefully checked 10 ..,. if Ih;s d ....lOCte\' had .11 his bul1on5; the cameraman wOO she!; the scenes; the _nd miler who gave the spec ial sound 1 the yoice--(o all 0 of them . he is/hei, cl>aracler! This is as it should be. Unless everyone feels thi s closeness 10 the end prod. uct. the dedication will not be there and the nrttSSary care will not be laken 10 inwre lhal lhe end ruuh will be the finesl anyone can do.

k~~~~~m;,"~':ic and sound effects: all of the Scan

~

w.

""ere reprncnled. as "'-ere the Mid lapan. Korea. Thailand. and even India in I version of Bambi . If . piclure WaS popular in II popular around Ihe world.

"
II time in that country.

HOW MANY DRAWINGS DOES IT TAKE?

T_yfour frames of film ... projected every-'. .,111 ",vnaj d rawin" 011 each fra"", .

The LaYOUI mandoes abouI halflhat many: Ibm: Layouc men: 22.SOO drawillp. The animalor makes .. Ita$! fi ve drawinp for cYC"f)'

Then: i he background drawi", .hroughoul. plus .. _y '" four 1e...,ls of drawing' laid over il. For ,MWICe:
A. Midcyo

one Ioc keep'. bu! Ioc does ooly aboul founh of lhe:
atlUal <In. ... i"" in lloc IKe... . lbo. would he: 11 '.200 .ime$ , S76 .000 dra .... in" from IU .Ioc Inimalr$ combined .

It,.

and feci ( ...hich cIo 001 ........ c).

B.
C.

Mick.y , head I nd body ( ..hich do """v.) . Plu,o .

Thc inl:>c:."ee ..... do .1oc 34S.6OO leA in .I:>c: ~ ..... QlK"e in ruff. <>n in (:QrI'iooo. and aKlin in flnal:
pornops 1.036.800.

D. Plu"''lli l (,,hich ....,' i.terminen.ly).

--

1'roNblc: ...raK' of 4 d"''''inl'' por frame lim.. 24 fl"lOn01 96 drawio, .

va - '

The clean.up men mj,aw all.1IO animo.on d",win, . keepin, ""ly aboo. 0fIC of e~ery .hm: .hO! lIIc:y draw . 11~.200 'i ..... 3 - 343.600 .
o..."" np by all per>OMCl of gap. carieM"'", .... of how 10 ,.. 10 _ _ ., hou~. capLan ion. I .... suW'-'ions for new >lagi,, would c.,.ly IOUI 2000 d ra .....

!16 draw,"IS I seawl Ii ...... 60 - '760 d ra ..inp I

Tho: pietu .. i, 80 minu,,,, long.

Then:..., 460.Il00 1OIa1 drawin" for film.

Bu! thoH are;"~ .i>e finished dra ... io,. (which will be pu. 00'0 ""II and pain,ed. for .noll,ct 460.IIOO!) .

n".

This mokes.he follo wing va<td lotal : In.pira.ion.l

,h.""

I. be,1O ... i,h .he: inspira'ionll . kcloh mu. Ik u. (\Oo,j t.l.dly did 1000 d",wio,o. coon.ing , ke.che . do<>d~ . ....,In:h. Ind fi nll.
No he <101)' , k.teh "",n . Each man doc , Ie... 2(] drawings IdlY. 100 ,,eek. SOOO. year. IS.OOO dwi", .he .hm: y.at$ i ake. make the pO<:.u ... . five ... n WOUld .asily do 7'.!XXl d",winp on cath fc""", f,lm.

S'orr Iokc:h uY{)U

Anint ....... In])e,w...... A"i$lanlS !-ni.hed I. ' MiKeU.....,... . ke ...... T",al drawinp

,"000 75.000

22.000
576.000

1.036.800
34S.600
460,80(1

'0

1.517.200

2,000
2.S I9.200

WHY DOES IT TAKE SO LONG?

A f........ film ""' ,. be nne hou, n minu.cs min,mum . A. nine. y f.... of film proj.ed .very minUIt. Ibt:.. are 6300 fee 0 be animo'cd. Ilowev.r. ..,., OJ .... y filOl' " ..... obou' .en minu.e. longer. 'Olilini 7200 f . Ten fee. a ,,eek was .he avcrag. OUlf>ll1 of an lOin,."", 00 ,hi ypo or OClion: 5Q01O did more. $Ome ku . ..". ....'" usually had 'cn men ..110 coold do ,hil. Ten men do;na ten fee ,,ee k " ..,.,]d 'ake 12 .. <d. '0 do 7200 f.... . Add 10 IhM boIidays. ~aca iano ... in"" roId~ . 1OlIc:h of flu. sl~ml'S. miSlat .. . ..h scmc or I...., .hM has to be done ~r. 78 ...... h

Ion,.

100al.

""'Y.

The ....'" .i . moo .... of ~""h bef~.he film ,nc5 iOlo pnxhlC.ion . The ... i. 0fIC year of WO<t on planning . .,yling. uponnlOnting. Ind "",ard ina bef~ .nint ioo i. begun. Anlmo,i"" ,ak y.ar.nd half. Si. moo.hs followup .ime tlCeded for cltln up. color. OIu.k. c ........ '""'_ erand 100aI: .hree ~ars Ii. moou.s, If ,!locI!..., "" . ..... rophes. (fwcnty ... imacon do;n8 fiflccn f.... ...... k could do it in .i. montll$--Ou !Ioc....... not . wen.y ani_.on ,,ho can do even len f 'lllk!)

13. The

Uses of Live Action in Drawing Humans and Animals

hoI<' I<J u:;<> this Ii". aerioll in anima/illg,"

"Tllis i, " I'ery impo,wm IhinK. Thue (,r~ so In""), I"'''I'/e 5Wrling in "" Ihis . ,,,,d Ihey mig/" go hay .... ire

if''''Y don-, kilO'"

Walt Disney

ICI\lI) for

Our ((rm "Ii,'t: ;I<:(ion" refers here to (he filming of animals) performing scenes planned for car-

toon charoclcn. before animal ion begin" ., comparcd

to "re&ular animalion, .. which develop, emirely rm",

III 3Iti~fs imagination. The direct usc of li"e anion mmhas bn of the ani,,,.lion inJu'I'), for yc.~ >i ." .id 10 animation. a companion to animal ion. anJ (,"cn as a replace",,,,,t for animation. From lime to lime. almos, ~,'cry ,(udiu has fa llen back on a ,(rip of li.'t fi lm 10 pcrfecl a specific aClion animalors wen: t;)[ able 10 carlon;. AI the Dj,ncy studio. filmed "",ion \lfh.mans and ~nimals was u,ed in many ways (0 do

P""

many job" and i( led to !lome imp<>11ant di,coveries. Livc adion could dominalc lhe animalor. or il could (each him . It could ,tine imagination, Of in'pire gr<:al 'ICW ide~s. It ali depended on how Ihe li\'c aClion waS concei"cd and ,hoI and used. In Ihe early 1930s, animalors drew from ltoe "mel regularly. bul a, the necessily grew for more intricate movement and conv;n<:ing acl;on ;n our film" lhis type of ,talic study quickly became inadequate . We had 10 know more, and we had to draw bettcr 10 3cromplish whal Wall Disney wanlcd. SonIC IICw wayl\ad 10 be found for an ani,t to sludy form, in movemcnt, ~nd

o.

C .....II.......

oc

for this to be useful it had to n:late (0 the ";Ofl:. on OUr drawing boards . Running film at halfspeed in OUr action :malysis classes wa~ helpful fur ~ gencr.11 under !>landing of ..... igh. and thmslS and coun.n thrus.s. bu. Ihe principles wen: not difttlly applicable to anima tion . Our instructor Don GrJham had chosen c~ nain fitm ~gnw:nlS as dear. isolatn! examples of move ments he could U.<C in hi~ lectures. bill. " 'hile ,hey gave uS insight into an iculation. they were slill eSSCn,ially classroom uerci"!' . One day. during a discussion of how the Snow Wlti,.. dwarf Dopey should ItCI in a panicular silUalion, 5Omeone suggested tll:lt his oction~ might be similar to those of burlaque comedian Eddie Collins. This led 1O~~ery one'slloing down to Ihe theater 10 _ the exceptional Mr. Collins perform. We inviled him 10 the studio. and a film was shot of his innovative interpretalions of DopeY'I n:actions--a completely ~w COftpt thai began to breathe li fe in10 the linle canoon cha rac,er. Dopey had been the "leftover" dwarf. with 1M) p,an icular per'$Oftalily and not even a voicc:; so, now. 10 sa: he possibility of his becoming somc:one speci al. and. panicularly. someone entenailling. was 311 uti. ing moment! And best of all. ev~thin, Collins had iIlggested Wali on film. Then: was nUlhing in the film th~. could be copied or used iUSl. the way it wali. bul as 5ClUrce material it

was a gold mine. Fn:ddie

M~

had the

i 1 Ii ran the Collins film over an<! over on ~arc hing not so much for Specl rlCS as for !be
CCIlttpt

o f a chanK:ter. 1lM:n he sal down ;. ~:.:~ and animatn! a couple o f snes that fairly with frnh ideas. Wail I Urned 10 the men gIIhtmt the s ...ea'b<u and .aid. " Why don'l .... e do 0I0fl: this?"

ImlMdia.ely other comics ...en: "".!"i.~" , ainers from vaudeville. men "'00 had done voira lhe OIher dwarfs; all .... ere put before lhe: roulines were filmed. jusl i II expressions that mighl help doh""ale a o ...n storynw:n who had 3 spec Ial I <.Iragged tu ttoe sound stage. I grJIphed each Olhcr. As Bill COll...,1l .uill ~ellfS .. .. all _nl> 50 am~'curi~h _ b u t ;t ""as r... ' "'<OJ fun!" And thai spirit of fun and <ii, probably ttoe most important dement of tNt No .... ,,~ had fi lm 111:1. had been shot directl y related to lhe ch"r~ctcfl,", W," d'. . '. even though ttoe ItCllnB was crudo. we ~Il p;cked

"m,.of

itkas 10 enrich .... r Sttnes. We ;:~~~"r;:;~ there wen: 1WO distin<.:tly different" be used. As resoun:e material. It gave" ~n overall' or a chanc.er . .... ith gcslUre~ and an itudos. an

ooald be Cariooluml. Ai a I1l<XIrI for the figu<c in .m'lIItnl. it could be studied fr~me by frame \0 I'\: veal W ~.d" of a living (,mn' s actions . "'1 ilia! time. tile only .... ay of studying live action fnmo by frame was to trace the film on our 1'OI0SCQPe llldulle. This was i imply a projector co.wcned to b.:us one image al a time. from belo w. onlO a square " ..""." mpullled in a dra".-ing boord . When draw. III paper "1\5 placed ("~ till' glass. tracing after Ira';ng could be made . each sheet kept in register by pegs al toe IJQaom fA Ihr &las" It ,,-as lCdious " m and timeCWIIUrnins. but Ihis was the way il had been done for
...tnl)'
~ars .

'-'1I;III1II'y, Wall changed that s ituation in a hurT)' . II< had lbe fil m processing lab .... ork OUt a ~yslem of ,n.tins f<l<: h frame of 3 film onto pholOgraphic paper

* same

~~~::~:~~::~':~",:'~"~;' :h< punched 10 fit ~n

SiK a~

our

dr~wing

papu. l1Ic"" 'ihIS.

animalor could the :.cllon by flipping "frames of mm " IIdward anoJ f.,.,..-ard. just as he did his dra"-ings . Hrtt ooukl be ~n c'"CT)' tiny deuil o f changing sha~, -.I reiatioonships in the muvcmems. Al last. lhe anicwld $tudy a ll of tM n'ystencs th~t had inthem so Ionl .

;~:,;'~'=~:<:d:.;';what tnOfI! o~~nJl ""ti,ity form far we saw . The human th.an
II was not jusl the chest work_ agairu.l hips. or tM backbone bending around. it ~ bulk of the body pulli ng in . puShing out . Here ""Cre Hving eumples of . principles th~t only had Ixc:n And he~ WlIS the follow throogh i action: tM Changing shapes. theCOOntef tcMioos. the ,.cight sho,.n timing: and the '"exaggeratiun -unbelic v.
:::::-:'::;; Wc thought had IKen urawing but heu= "c~ examples surpassing anywe h.d done . Our eyes simply are no1 quick

-,,-

w~

~~ ;,::""~ " 'hoIe aamut o f mo\'CrtlCnt in the

Somt lClioos wcU= so cumplicau:d they ,.'ere impos

"" ~k"'/
""j'

/-\

: -.", .,,'<.

~:~~,::~::~::r';:';:~:too of the: mcwes that ny subtle to capture

tlte ' it tumW. [he changina the slight s" ",,n ina of a cheek in a

}\ \

\ - '
I

g :C-'
1~

~--~
I\
I

A~

>~

fl "

'.

.0,
0

t\a:lins smile . 1M raisi ng of a ~kler as the body IIIntd fo.....n -thc.'sc wen: the precious elements of 1m ~~lICd by 11M: camera. But .... her.eve. we SIK)"'d 100 ~ 105C 10 tile pllQlOS la lS. 1)1 directly copied even a liny piece of human action. IIr InIIIIS looted vcry mange . TIle lTIO\'es appe~ InI enough. 001 tM figufT lost the i llu~ion of life . Wti a cenain authority in lhe movement and a

:~~;:;:::~~: wholei"'-ol'lC'd but it waS become: cmoIionaJly action. wilh this

creature who was
IlCVff

a l1:al inhabi-

flnUlSy world .
No! until we r.!al i~.ed Ihat photOgr-dphs mu St be in Inimitable SMp."S (our pro.-cn loois of Ii "'en: ...c able 10 lransfer Ihl ~ kno,,I animation. II was not the photographed ao actor 's swelling clM:e k Ihm mancred . il !be animated c""," k in oor drawings thai had IQ

-::::=;;:.~ .~:~~::::~ to m. kl' (he canoon figu...,

~

.~~, ,.'" in lhe ...orld of ourdesigM and

SlIme nlO"cmc: nlS U tile li,-., 3oC'''f. wilh WIlt timing and the 1HImc: stag ing. bul. because , hapes calle.J for a diffcre oce in proporthe figu", and ils modd could not do Ihinp in !be Nlme ... ~y . 1lIc actor's mo~emen t~ had to

.h~""s

As long as ,,-e remembered to use the phoIoslals

as

",fnell in making our o,,'n Slate"",m of be in the Sttl"le. oor animation " 'as ne,'er Our drawi ng ability had 10 inlprove. of anatomy and ao.: t;og had to iocrease. had 10 de,,,,lop. but ..... ith an aWret Di.l1Cy .... ~tcf1ing e"el)' line .... e made. ...as IUlomatic-difficull, bul expecled . Our

:~~.~~~~::::::;study andand a richness befon: . This look a force. analys is and

. but
0I'Itt

mo"co~nt

" 'as undcrMood it

('QUid be i!lC'Ol"Jl'O<"ated into cartoon tern's . We

break with rOloscope . ~ure ...hy a peociltracing of a live should look so stiff and unnalurnl on the ~i",ply is no realily in a ropy . 111e ~ learned this in art classes, bu t . . <omefilm of a moving model made lhem " 'as different . 1lIc ca"",,,, ~r ...hat i, there, but it records r ... f'y'lring

that is there . with an impartial lao.:k of emplLal;is_ On lhe other hand . an artist sho .... s ...hat he sees is there , especially thaI .... hich might n<)l be percei ved byothers . His dr-dwings can be closer to the true realism of an object because he can be 50Clectiye and personal in wlLal hc c ltooosC's to sho.... . From the phoIo5uu, the animator chooses only those actions that relate 10 the flQint o f hi s particular scene: then he strengthens t~ until the y become the dominant action. with everything else either eliminated or subordinated . Whit a~ars on the Kreen is a simple , strong, dirt ! 1aICmen t that has clarity and vitality . TIle spirit and life ha ve be..n g.i ned by adapt ing the human form to an art is!"s own designs, thc shapes and fonns that be ~s in reaching an audience . This is no m< than ,,-hat art ists al ways have done . M ichel~ngelo 's magnifICent statue of David . for all of its power and beauty. has soch liistoncd normal proportions that Dayid would be a strange looking apparition ,,'cn: he to be met .... a1kin' down the greet. 1lIe COi:lebnted Venus de Milo could not even fil into modem clothes, and most of the other classic be~utic s of art, who have enthralled men for ~enlUrics. would_tInCt only SlUQ of ama:ment at_ social fuoction . 1lIe point is: a woe"\; o f art is never a copy; for ill0 hJ.ve meaning to people of many generations and numerous c ultu res. it must be the personal s tate ment of an artist. 1lIc firsl li~e,ac:t ion films " -e had ~ ,,"'re for ",fe",occ only. and il was pure chance that 500lCthing fit ei the r Our story continuit y or Our sound tracks. /lut il was n<)l long before one of uS had pic~ed 00\ an action be liked on a piece of film . synced it up with his sound track . made a couple o f adjuSlment~ in liming ~n" then incorpora ted thaI action imo his ~ nimat ion . Soon " 'e were s hooting film for spir~ ~CIICS or iipecial actions. so that an animator would not ~~e 10 spend too much time searching for "'lennt material . A~ a dirtttor shot more and more of his cartoon continuity in sequcrn:e .... ith live acton . he began to "'31;,.( that this was a ...ondcrful opportunity 10 check planned busint$s and staging befon: it ,,'as animated. This was alw an c ~ccllcnt way of cSlabl i~h ing catly communication .... ith tm: anim ator himself. for bere was something tangible to diKU~S . l11c Klion was on filn . and thc director and animalor could build from tm:re , adding or cun ing, doing more or doing less.

snn,thrn ing or modifying: but . ~l lust. lho:y \" cn: 1IIrIlllJ: from 1M ~ poinl. All of Ibft demanded Il"IOR' 0In: in tho: pbnnin~ and lIoooI,,'1 of li~f ""lion film . If the Ima~e on tho: film _'1\ righl. a "~ak animal"'" tou lll ,~l by '""ilh it and;l

:~::':':lII:Inntf.

il wQUk! ~au~ (\'(1)" dir1Or ,,-oold do bene. \0 lhro,, the film "'If and.un .frel'h with tho: ... im'".... and hi. )turr' 111. Es!oCnlially. the film .hoold be considered a ilCp in 1m, v;syal <kI'clupnl\:nI of the StU!'}' _ m,Ll. like . n . d".",.,(1 s lory s kct,h . and i, . hOllld ..'ilh that purpose in mind . Hefon: going Ol" cr

Ih" c

"",ion

\'

it evell belter. Howe"cr. if ,,-as poorly plan... d, or staged in ~

"" 'cal what is I\;af>Pl!ning. or il i~ lighled so Ih31 " '1Ia1 you " 'lim 10 _ i) in sh3dov." (}tt..,iorAlI), lilt fOOUlJ(' " 'iII ~ho,,' o nl y ronllnuil)' of an actor lt1QVing from one pl ace 10 allOlhc:r. or jl,lSI ...ai,ing. til' gelling ;nlo posl' lion 10 do sOIll"lhing ime"" , ing lal~f on . Tnc aclion muSI be "at:cd wilh enough delin;ti"" and emphasis 1 0

trouble f or

bould late. is pbnninllO ::~ ::~"=.gc.lhc di=tor .shooc and ask

h;InJ look
him~1r:

b llIis m.lcri~l really r(lIdy 10 go inlo animation?

~

lilt t..Jli",,~s fi t It.,, , tory'! The Char.lClcr'.' Is it TM ..'look pt'tI'dwriM """ "'",. p<I"...."..rNl i~ IN ""';"1 ,1tI. SUM J Slftpinllkauty. f __ F.".,SI N""dl, . 1)0" G'iffin.. (Ut;/ T_ Codrirl< ,Mrt 'M;' 1".,_, rl""'"s fA Krill_ ..... , (",J II.I.M S'anlr,' di,... ,h." "II.. ~ i,h ,h. di'ff' 10f", CI,yl, "a,rry" G",",omi: S"I,,,,'i.in8 Im;"""01' ""J

""" rOf the mood. the tempo. the 01" .,,,,11 idea'!
Is ~ fIIltNininl~ I, it jllSt SQmd:>od)' ""ying _
~ d~Ioj;\Ie. or is
1(101, ch~~

,,,., '4'. Itl,_, .....,.

.~~ .... ~

of lnKiaJ anioN, /11

it I s ituation thaI gj"e> tl!(,

"",r1,,,,,,,.

'0 build

and C(m lribu le?

Un h:ipptn to lie! Some: funn), action...- "" ... bu,i"ill;1 rot? Can thi~ be I,IS/:d casi l)' and cff bdi! Oats ;t animate as it is? Will it m:I~e: a good _ ? WOlild I Ix" ucitw if I had 10 animale it"!
ml.

Ji ,""'" f :,", I ..""", n'";"" $ ,,,., sc'ipt ~,ltil~ pro. J""rioto <k ..gM.,\I.... Sl~ ~"''' _k, ~.. IN .........'" _ ,.
""~II

110.1 """dr. IN r-o, ,'''', Nu

plallMd.

Am I ~tping the ani mator by ~ho<)ling Ihi ~. or will i: be l(lUih 1 handle once: ;1 is on his boo,d '~ 0
on the ,.,age .... ith tbe ....;en.: and lilt X t...- ...:::od). be ,lIould n"",mb... ,
film director Stank)' Kuhrlc l ' , t,nal " Is anything happ.:n"'~ .... >nh put1in~ un

":::,;.',:;::::~'~e" ~plion:Iny i,.., _or an ~n'ma

~,

a,k the man" ho ultimalely "ill tbt 1nes to belp plan lbe on the AI"""" aJ",,)'S " 'hen >ou1>IK: eI", ~> fitm . . ."maIQf lhe ~amc"''' ;1 I"" far back . ur I"" . ..., I~ a.;tion is s iaged al the ... fon~ an~ k Itl

..

00""""

" ~_IIOIUC-Wpurfr"",Copf. IIO<II;tMdonis'~

Dt>tr BoI"C"'y rI'~s"'",,, ;-tl_i.~ pr~ <II M, . SIItN III ,lti. SUM f'- PcICf Pan . TN FOP _ Tb Ih~ 1>00,. ~"DI;n,,,~ ",Ii"" ,'''', .. _Id"" diJfint/l to Q~;' mUl, ronl'ir/Ci"gly, Khilr an ""iJ,n,if/rd rhlltl tJ<:IQI' pl"1'
'N .'okallttd,,," /Hi1f(',,' TiV' UI)' .

Human

M ulremely dear. but neither over.t<:ted nor so sublle

p/tlrGlralt(!.
au pu.,toI,J

roecessarily make il right for that place in the piocIu~ is very difr",uh to jud~ "~::~::,:,:~~;~':::: doing something is wonh the e~ lra il Can b( shortened in ao;",atioo w;thoul Io!.i"l value. Conw;:dy roul ines and pr.:r~rit)'-""ildift, lake tilTlC': they clnnor be IUshcd . 'n.e animalor mliSt decide ...lIt:ther I tant devdopment with t i or just ,t",' ching oot the Usually we did IlOl USl' 11 ocling and the charactcr"~ voice 011 lilt: sour>d since we found thaI actors had a ICndcllCy :~;~: Ume interpretation '0 both performances. .... ant(d w~s somrone who coord add to the performance . come up ...ith a new dimension .

".. rAlq IIUUI "..

<IS "JlrQ il~'"

r~I}"l",d

.,IIU wi/rA";,,,
iam .

10,,0 IMaM' ;0 IAil IUM uf

8,(Jl~.q"' dt .d 1M slap,rid oJ " ..i"';OI'I llot" 1ON!

il f. ils to communicate. On:at can: in the IDoocing prodUd :K"enes on film 11111 W~n: iO lUttiOC1. $0 rich. and $0 ... ell ~Iaged lh~ 1 lbey could be CUI illlo lhe cominuil),..,.,1 almOSI like a rlRl rough leit of animation . U"",c 'er. they ...-en: nor lbe W"li",t pieces of Kling onc might u~t in a li~ action film, bause Ihese imaginalive scenes had been c&n:fully planned for lhc medium of ,,"';';awn: . Usual l)' we use.:! attors whose talents included comedy. inventivcne~$, and e,""aliv;ty--as wdl II-!l CQIlsid.:rable ,hoatrica l nperience . As the ",suit of building scenes wilh ~uch people, incorporating TlC'W ideas. searching for a way tha, communicates be,rc. or offers n>OIl: en' er_ tainmenl. lhe live action film gave the animator a springboard '0 go beyond ",hat ho could II.3ve imagined himself. helpWe photographed anything that might ful . nd soon we disc...,..,,,,,,, thai the limin, of a clever actor could make I mild gag hiluioos. tllltt an e"perieneed siage comedian ...oold offer SlI'" ways of 5talinl ' 5C"CTIe's business. th<ll another talent miJht suggest ways to put life into actions that had been conceived simply as continuil),. Some actors ga.,." back only what was asked of them: o thers ....ere uger to lake O'o'er ~nd tell us how 10 do our whole production . In bet .... n. tllt:re was a group who enjoyed workin, on a role. buildin, character. and finding ....ays to make it mem
111.31

pro''''

of doing itli1lU no one else had s ugges ted. T~::::: ....e needed an ;nventi v( :.tClOr fl"Csh 10 lhe ... .... ith no precoocqMions 10 limit his imaginal .....

OCiIble .
Many times a performer ..."OUld devise a piece of business $0 funny. so unusual and appealing, lllat (~ry. one ..."OUld b( sold on il immWialely---tllindni 10 the faet that iu length would ~Iow down the pact: of lhc itOI)'. Just beeaU5C some: business is funny dou nor

11Ie sound track was 00 a record. ,,hich. ~:::~ played OVer and OVer while the ac,or wlS n and trying out ideas for timing and clw"acler. when the scene: actually ...as shot. a recot"dUlJ mad<: of lIN: sound as heard on tilt: stage" ,,,;~ After a "tak(" .... as ,hosen ",'..,1111 days latet. ",cording waS replaced by tOO original track. m',,"' in sync .... hat had been r~ded on ,"" stage . I actions had been devised that r((juin:d mort I b(t .....,.,n lines of dialog"". the", was no "","_ ing the lrack al that point: ,;0. the needle ..-as I from the m:ord and the scene .... as shot ",ild. the film carne. back from lhe lab. the animalor juUIed the pktu,"" and the sound and forth unl;1 lhe y had lhe b(St sync athie~. Sometimes a new ;nlerpreutioo

Have Been Successfull y Animated

... ne:5Sit~ted doing the ..1i~I<>g"" over with a differ COl or e~pn:S5ion; tlLlII se<juence ...'oold he lhe nUl lime lhe "voiu lilen!" ' reason for 001 m.'<.roing all at CJIIe session , It became increasi ngly imlX,rUnl In ~hoose jll fl lhe ~wr (or Ihis Iyl''' or he ;l<; lion, since il ...ou ld SIKh an inn""nce un the <kvclopmenl of I char IIZ'I p:rsonalilY. and eVen on Ille entertainmenl val .... comc:diaOls ";ere versalile enough anllcs for charactCI'li in one piclure aller bul (or IIle nJO:<il fill" "''C wanted a differe nt Obviou~ly. the li untsman in S"" ... never be portrayed hy lhe same man who Mr. SIner in Pn", P",. ~lIy. lhere will be a cartoon character K 5Ubd~ role. or such careful planning. is vinual1y no roOm for ""w conee",s from IIle role romes 10 life with lhe proper llIe visual image Should maleh. and nOlhing The Huntsma n needed no more (X'rsorullity. no had been .."II loot to hif :~.;:::';':';iStosc:e"". convinci ng so "makeconeci"ed
s;ni~.
bdic,.,,~_

Of roursc. 1M", is alw.y~ I !.il: problem in making

"rul" or "straighl" charoclel'li in our pictures
-;,::!~ :~:rwn~lilY In carry Ih.!ir pan of IIkl sto~
_ 10

dirttlor Woolie Rcilhemliln has id.

a'! of aniJIIJlioo lends ilself least 1 reil people. 0

.-:oric3lures and illusioos o f a pc,,-."

.....,,'"'w,'"

: ::.:": is misintcrpreled by many 10 mean ",Ito h.." 10 be represented as real bo: ~(1 oul of fealure r'hns. lhal lhe Morics broad ~ h~r.lclers who ca n be han.

died more easi ly. This would be a mislake. for spl.a lors ""rd It) ha~e .... meone or somelhing lhey un belie,'c in . 01' lhe piclure faUs apans . In TM RrKWrI. lhe )'OUn~ lirl Prnny "'"as .... rrounded by a ""hok (.lSi of broad characlers; bul .... hile lhey enriclled the MOf)'. they did noI carry it As W"olie s~ld afterward. N,w. the liulc gid was !ii' behev~hle ! Alilhose things ~nlUnd her wen: gKal. bul you ""edcd Ihal si ncerily . n.: s,ncerity in lhat case came from careful planning 0( lhe Ke""" to make use 0( Ihc most appealing ~ of Ihis lillie characlCf. Some miSttllanoous scenes had been mmed o( lwodifferenl fivc ynr-old girl s . .... lh.1 lhe animator could slUdy Itow a child of that agc mo>'ed. bUI lhere was '''' alternpl 1 ",cord special mOVelj or 0 aclual SCeneS after lhal. Inslead. ,he effort had gone into findinl lhe righl Ihings for her 10 do and lhe bc$I. for IlcT to do lhen, . II is .~iom~l it lhat boy or girl characlers can be done more easi ly in live IClion Ihan in cartoon. and Ih.l One ,~hou ld no! do lhings in ~an(Jf)n beue. done in live acl ion, I~owever. if Ihat philosophy had been (ollowc4 O,'er lhe years. the", ...-oold have been no S...... Whitr. roo Cindrrrila. no PtlU Pan . nor most of lhe f(.al"'rcs lhal Ihc Disney studio produced . To make a ",Inighl" Chancier con vincing and inleresling ""Iuircs llreal c"'3live effon . h may lake imallinalion and a kn<, ... ledgc of Mh "Of)' and animal ion. but lhere is ~Iway, a way- if lhe sl~ff is sman enough 10 find il and willing 10 WOf~ hard enough to accomplish il. <knenlly s peaking, if lhere is . human <:hano<;1(' in a Siory . il is wise 10 draw lhe pc"- wilh as mIlCh caricalu", as the role will pennil. Early in lhe -sIOf)' developme nl, Ihcse qucsl ion~ should be "'ked : "0nc5 this Char,ICler have 10 he Slrai ghl'"' "Whal is lhe rok

"''''y

or a hero or a sympafrom lhe audicnu >lory ..."Oft. . It..:n It..: chl""'ler mU>I be f but noc necessarily in a re~tricted In 101 Dalm(llians. Roger and Anita had to trt~o:d ... ~al people because o f tt..: genuine ron their pets: yel they _re drawn w ilh lhan tho: pri nu in either Sow'" Wltif~ ... design o f the " 'hoIe piClure . ~ well as ~lory. pennincd the: .nimalor more in ~prc"'ntation . ~ Badu ns ~nd Cruella ~ broa!I.r roles and cou ld be drawn wilh more them more inter>lronger. In the lillie girl had ~he wa~ the hean of tile alld Snoop~ L"UU ld be wild . romic fig _ they w~re no! sinister. "bmevcr t,,'O or more ani maled characters arc in SttIlC:. illlemlat ing in ...ay. lhat ~'" lrue to

hu~?"

If il is

~ prioc~

~~~~~~:;'i:':i :':':'i~: il is difficultca n be par tion st~ging to

anil11al~

;~j:[~~:~~~~~~~~~j ~
~

>hannl a space. moving them aboul thtir Mtpping QIl eaeh ~her. " 'hiie kttping a

.::,~~:~~::~ " 'ilh Snow Whilc-l he: on ly long

if some crit ical ""ling is the sceneinislhe: scrnc . s hot "'ith IIle actors mOve around in a "'~y Ihat 110 the animalors. e' cry..... will be""fit. C1art W2S li~n the Stt"" to animale o f lhe

dimensions of Ihe dwarfs' room tilt \Cate of the char~ctel"l' Ihrough their moveAnimating the decrease in the lirr s size as she

;:~~::'''~'':'~'':'''~:'''but the matchingby,,or\;wasronlrollcd perspecLcs animated from imaginat ion scene amazin gly convincing and added crethe "hole sequence . dancing ~nes in I slOry should he . hot e arly

'~:~ :_:ghoul the: musical number. ",iller picmeal ...hen an animator nttds . Obviously lhe chorwgraphy will be richer if a it all. inslead o f leavi ng it up to the ,~, o f some SlOf)man. In the !iCtne there waS a special problem w ith Snow hand positions. Ju~t how high can a dwarf

.. f,,,,"

re""h up comfor1abl~ 1 danu ",ith a young gil l? The 0 heighl of each dwarf had 10 he planned. not in relation to lhe girl doing lhe Ii,.., action bul to her canoon propor1ion~. derived from the photoslats of her dancing . For the scene to be eff~tivc. il ",as important Ihal lhe dwarfs should no! str~ in or he awkward as they reached to take her hand . Fortunatcty. with Ham Lu, kc shooo:ing the li~ action. a ll such details were c"", fully covered It is not worth the trouble of filming simply 1 0=001 a change in ,i1.t as a c haracler co"",. d()!;Cr (0 lhe camera. but if a nlajar pan o f lhe design o r a sec"" i. ~ on Sianling perspccli"e or the "'Ialionship of several character,; working in penpecli"". then ~ g~at deal of Ihe unimalor 's time may be saved by first proving out the effecli veness of lhe: scene on (,1m . The same ~I Megy applies to the action o f the inaninl~le objects lhal might be in ~ scene . Ro ll ing bamls. falling trees. avalanehe:s. maving car.; . wagons. and tllin. are all tirtle o(on,umi"g and tc<.lious for an ani_ malor 10 maSlcr. and Ihey are ques ti onable c ' penses In the ani"",tion IJudget " 'hen traci ng sue h things from photOStats will gi~ jusl as good result,. if not hellel . In l'i1loh;o. Siromboli locked lhe: linie fellow in a large bird cage made of ben! Stick s. which boonc-ed and swung as his wagon bumped along Ihe cobblestone streel s. The cage e>"cn had a s mall peICh insi<lc that was s" 'ing ing in a scparale aclion . This iMriule objccl "'"QUld have been almasl impossible to d"'... in the fil'!ol place . let alone 1 cap'urc the .... dght and 0 C(lnv incing mavenw: nt of its action. However . the poinl of the scene "'~' not the cage but I'ioocchio's ",action .... hile inside. calling r... help. Thai in itsc:l fwas difflC\lll enough f... any animalor. and rOllun,"c1Y lherc " 'as no need 10 add more expense to (he ~ne by havi ng wnlCOne work o~r and o~r on the dr."'ings of til<: ., winging cage. A model cage was built at half size. and il ",as fIlmed so il appc.'ared to be the lighl scale and ...cighl for both the little puppc1 and the: ,,agoo . The a nimal'" lhen ...oritc<.l .... ith uxinp from photOStats of the s",inging cage llemp'ing to match the act ing he " 'a nted with the cha"~ing pcrsptive~ of the bouneing cage . It was a nightm are to animate. bul a spectacu lar Il\ealrical dev M;e . In 1948. Wall Oisney had money problen'" (agam). P;'wahiv (which had been finished in 1940) had not

"",ion

Tior mool'l ofCra,l/a', en, wm;"",nud ...il h b/arl< /in" ,hal malil' i, look Uk, a <I''''''i''g ...hen rrpr;>duc.d

"" ,b, PM/OJ'UII. TIw'"

aS' "'0' c ui oWl and p;ustd on a e.l. Ib,,, r"Pi,d Xuru 1"0""" /il, ".,

"'!itt

'/"'''';ng, O'IC' il ""'p<l"'"

ed in filii color. IU ..... ber. illook.d J"" liuw Qlher ....1' in ,he PIC'''''

"101 Dalma 'aeolli<i"" M'Jdri'wtbyl/t~

>lingllor sa", ",,/tn'ars "'~ f, I">",,,' man , Do"iJQvil("h,

j

tff",.

nw(M "",ker
Mi"",

ell')' aNi, <:dCooI:. Sw:h J ,ak, howrsw 'hi' Idnd

0'

w..,

Tl'(I("in~1

fr"'" pharoslats of I~ bird ("ag' Ihol i"'l"iJOI1ed

P,fW("chio go,... Ihe uali>Ik aClion Ibal ''''IS nenled K'hile ....",ing Ihe time Ihol ...ould b"," />een " 'quj,.,lro on,muu

swcb a difficult assignmenl. E"'n more ,im, "'.", , ,,,',d b)' droK'ing Ihe back <>flh. cog, on Gne and Ih, fronl on a"",h., 10 Ihal Pinoahio ,,,,,,Id I>e ,andK'khed "' ...."Nn Ibe .....0 K ilhou, In/,,,,,, r.giS!roti"" to ,b, bars "" dro"'in 8.

I.;,,,

""'T)'

yel paid for ilself. Fm''''.,illlo"ked a, if il Wal' a!~1)1 10 be in lhe red. Bambi . Wall's favorlle pK:tu",ofall, was slil1l1l)/ ill lhe de"r. The solUlion 10 IIw studio', financial bind se('lncd 10 be al>Olher carlOOO ftal .... along It., lin~s o( the successful S"" ..' whi,e-1>IIhet lhan anYlhing cxP<'rimcnial. Ahhoogh "padage roc lures." like Mi,,,. MUJ'i,'. did not h.,"~ lhe f"'" duel ion difficuhies of 3 "ol)'lclling cartoon feOlUlt, lhey had nol been ,"ery profilah!c eilher. A '"'w..... expensive way 10 make the pmjcclc;l Clndfl~/lu lSi full ncxiglxi animallxi (ealure had 10 be found. R<aso:Ding Ihal animalion was Ihe mool rosUy pan of ~ business. Wah felt Ihal everylhing possible slIouJd Ire do"" 10 save lhe anim~lor" s lime. 10 help hIm m3I.l Ihal firsl le>1 "OK for cleanup" wilhoot (~ He IIlmed to live ac1ion 10 solV<' h, s problem. All of Cinder.lla was Shol very carefully "'11tt lilt actOr<. leSling lhe CUlling. the conlinuil)'. IIw >lagmr. tile charac1cri1.aliuns, and the play between lhe ctt:n". lers. Only the animals were le(I as drJwings. and It<l) reels were ma(\c of lhose SkCIChcs 1 find lhe ~ 0 wilh the reSI of lhe picture, Economically. ~'e rotIIiI nol experimem: we had 10 know . and il had KI be good. When all of Ihe live film was spliced IOg(Ihn this was undeniably a sirong basc for proving the ~ttI.. abilily of .he SCeneS before lhey were animaled. III lhe in"cmivcneSl! and sl'e<:ial louches in the aclin! tIul had made our animaliun so popular were lacklllJ, TIt film had a distinclly live aclion feci. bul it ~'JS '" beaUlifuHy S!ruclured and played so well 111:11 no .. could argue wilh .... hal had 10 be do"" . AS ani",..

/If"."

~c

fell

r~'lri,l"cI .

Ih tllmin~

.... ~n thou~h we had done "',," "t (\ur<ttws . hUI the pi<:ll"~ had to tJ,., m~t!~

f""rri<;~.

,,,>.1 tlus

"~'. undeniahty.

a",,) "r d<ling

By the time w" were stanin g l'<"Ie' ".~ had inn",d to get further away frum "n)" actual usc of the ;octi<>n ,""en",. r"'taging them ~n~r >ecing w~ak !ll:S!its. "'ing the tilm as a 'tarling point from which to "' ild.oJ inv.nt ;ln,1 eori~h . We hat! been ,h,,""n the ~..)to go. hul we had [(> do the going <lu[';elves. III<Ithr pICture was bellCf fnr il. We recaptured much o(thr fanta,y an<I magic in lhe feature, befo", tho """",I World War IInlma1<>r, alway, h;ld lhe feeling Ih~y were ""ikd 10 thr flOOf "h"n their whole 'I!'lucn"e, w~re shnt ahead o[til1l" in li\"~ ~~ti[J1) . E'eryone~ imaginali"n 1I ro!tow ~ ,,",c no might be ~laged was limitetl hy lh~ ~nl of the camera. for once a SCene had he~n I!Iot ~ was very hard to s ..... itch to a "h<)le !le .... poinl of ,Ir-<.--<e'cn though in anillla1ion i1 is qui1c easy to !lane the came", from a Slar. or a "".rh". eI"ud. or let it drifl with tn" hr<~,o wh~rever it is needed.

1'"".

h,,

Srldi,,,
Th<~,

In"""

M,IS/"', acr., hi!. cl Ii<

pi"",,.

".1

Tilt .ni" tht ,/""

"."""t" rodtaw

mall ,. """~Iri

K~AnJ,

tMU d<l It.I a,d th. Robin H,

,,,,td

Animals
If .. animal in a f' iln is ,,"~"r;n g any kind of costume. hr(ln oc hand led with human allrihmcs and the .udi . tIC. ",ill ""c.rt him . In '<lnlra't. if~" aTlllmd ;n hi, IIiIIIlal fur ,hoo ld suddenly 'l,md "I' and ,tart g~'li, ". btin~. tho.' \'irwe" will feci uno",,,. Put" (;"P on him. "'. tio:. and he can ,,,"agg~r ",,,undo g",lllrin): and JIOinling like any ham a, lor. Stnngrrthan that. if the story parooics human activ . ito . ;Il in SO/,t of 1111' S{!wh and Ro/)in Homl . lh"r" i, 110 IIC(J to restrict a character", movemenlS by lhe limilation> of ii , a"imal txxly The ~hara~t~r can have hit""" hall<is. fingers human pelvis. and fect w;lh shoes. Of ml",. nalUral animal drawing or realistic xrion will always add ~incerity and inter~.t 1<l lhis ~.pt 0( film. oot it is not tru Iy needed t<) tell the ,to') 0. tht !litle, hand. if lhe 'tofY is man, vicw of whal Ihnn imai ",,,, Id i, like. a., io /.iuly WId Ihp Tmml'. IQlllIllm""lins. and TI,~ lImgle Rook. In" animal. rwst be mmp lctel) bclie,ahle or the ..... hole premi,e oill collar'" Tkre "a, a un'4uc situmion in The Sword ill I","

I. T"h< 51

tilt ..I,., /mit hi""

,,"OJ

,hk' i.l<

IIaJ '0 hi

Ii",

,It.

,har

"ill br "

akJI"":r
Mthkf fo

clpproaci

\"OU"~ f~

f'

.,),

~.
v'

["

?-I(

.J
f'"Y

.)

-r,

'J:( "\\\

~,

'.' ~.

'---"
,

<..""'"

$rOM that called for special ded~ion~ , The young A"hur had ~n rumed imo a $Quirrel by Merlin, the magician, so that the boy cou ld gain a bener underst.iUldillj of the world of natu~ , While in this guise, Anhur met IiO!I"Ie ~al $Quirrels who ac<:cpted him all one of !heir kind, even though he could IlOl speak their language , The probkm was to animate !he boy so that he would he believable both to the audience and 10 the squirrels , If he Well' just .. boy running around in a squirrel suit the audience would have no trutlble =<>gni .. ing him, btl! wou ld people believe that real squirrels could be fooled SO easily? If the ooy were animaled as ~ genuine $Quirrel, it would be impossible 10 p""serve his characler--<lr !he humor in a situ.lion based on Anhur', beillj' ml$fit in a foreign land. The compro-

mise was to have the boy limited in his ~""" I squirrel's body and appearana: . yet retaining bi$ "'" rhoughu and mannerisms. lic IIad to move like a 5qIW' rd. but .. rather ine~perienccd one. When we Soay " real. " "-': mean only whIt tho ...... enee ac<:epts as being re~l. for obviously a real anillllll can1lQl aCt or emote as hmadly ~ s animators I'eljUII'C, The more an animator goes toward cariealuring the ~nimal, lhe I1'IOR: he SCems to be eapluring tho es!nCI of that animal, and !he I1'IOR: he is creating poss.ibiliul:l for leling . For e~amplc. if we IIad drawn real <Im'. Bambi there would have bn iiO linle acling poI(ItbII tlw 00 one would ha'-.: believed the decr really c, iSlal as characters . But because we drew what people i.... ine a deer looh like. with a IJCrsonalily 10 mat~h," audicocc ,rcccpted our drawinlls a' bcing compleldy real , or course. style ~nd design aIT pan of thi!. cari.... ture canllOl r.. m;odoe without them. But lht puint is that characters on the screen appear real ...hen lhey c an be ani",at~'d and thi ~ only can be <Joo>c, .... hen there is movcment in ~ll parts of the body . In Olller more realistically animal s an: drawn. the I will appear on the SCreen . T he ~nimals in Sno ... Whitt Were c rudely compared to those in Bambi. YCt they all r..ha,'Cd w~y they should to work with lhe girt in And sume people e"en thought the animals Since it cenainty ....as 1101 the d ....... ing creatures so convincing. it must ha,-.: been in the animatiCKI . When learning to draw anything. it ;',::~: ': the aniSt go to the source . Afte ..... ard he can usc: of his lrno"'lcdge tllat he choo6es. but in tho ning he muSt Study u.., real object. whether It zcbrula or an aardvart . If Di sney ani~ .~, . . . aninllile I fOK. they ....ould try 10 aet a rell fox and phoIograph. and. ifpossiOle, f(el. N:~~~::: the learning that comes fTOOl feelinK In and mUKlcs and joinlS. 10 discover how together and how far they tan move in any d:::~ is always surpris ing . The llI1ists ....ould Bet ill of fox s keletons to help in understanding ... hy looks like. fox . How is he different from .... . mals? Then !hey would get film of foxes ill

".

fwlt'lild' , UIII~ birdfrin"b ""~ J.r,p'i\'tIHimpl~. Th,,' ,."...IIMIIIow. of srwJ. Q..n Q full ",w"na",I"., of .~

...... ,...,.".......-""II>.
"'" -.I lilt Hound .

DIr ....... 11'00/"

R",huma~

Juul" pt. fM ,111 ".~ ("fflll.i QJ >owl "',.. ..a"'~1 (HI TIw::

.-w
'

-'!lhti:

film was a'ailable on ,,"uall)" any . ~ ofllie sludK)". greal hveacl,OOl sene,. r",l.ij. "',A.nmr~s. The an;malOf> dre,,' from 'h" CQadQffbtlH.facuon and tim'n~ !o~ludy. 1I.no XIIOI1S m soe,,",'e dra"mg,. and Ihen wcnl Iod '" ..c!.dy some ""'"". "fhc: y f ....nd !hal !he am.]~y ~"")"s.

1IIO\~nlC'nts
I fox~

and their lim ing . What make. Whal all,ludcs or aclioru; are unique

"iw

mg phocographs made by l-.:adweard MuybrMlrc ' nearly hulldretl run ago were good for ren"nd,ng lhem of .... ha' ,he animal doc~. bu, his callie,.,.,. did OOI.lwars calch lhe e\l",mes or Ikla,ls of ",Iall\" IInU"g. Ind ,lie p,cture' could be m"leadmg ,f the anllna't)I"\ .... ere unfamilar .... 'It. ,lie animal oc- IIie :KIlOO Smce 1\ 'i al" a)'$ hard 10 figure 0111 lhe bun,p' and ,haVC', ,n 1>1,11 phOlograph~. I;\'e aClion fi lm i, "'<Ire u:.cful : )'10 can s a rolt de,-dopmg . .". pull ..., <lUI ~mllghl. or a

.........
Wltol -.ttl

s...riuh,o.

fa """"'"

""'

..... nul"',.,

.....

b\llgc coming

~p.

or a JOInl

mo"in~ ~mk:r

11M: , kin

much It1OIl:

tlc~rly .

Many ~ ~I 1 idea Ih.aI produclion $lopped 1M: for wx or (C"cn " 'ttks " 'hile C'"Cf)'I)M learned 1 draw 0 I ne ... CIlarxICr. ThaI ...-ould Iu,c bn I 100'c!Y " 'ay
10 lain kno .... ledgc. bul il ....u
II(lI

e<.:Qnomkally feasi-

bit . OtlM:r Ihan a special cla.~ Ihal mighl .Iart 314:.10 ... and go ~nt il 6:00 (one hour of OUr lime a!IInSl I half hour of Wahs ). atl of tho. Il:>can;h ""as doD: .... hile kttpn, up our footage on lhe CUnni! ~ aflcrlloun ....ttkcnoh. noon houn . "'hcne'"Cf"'f ~ sqU1e in somo: exira lime: . 80th man "'"lImed 10 do

and when he saw OIlIers draw ing bener he qldly tried to learn what they knew .
_~.

the hilld end comes up fiDl . Tben I put OUt his front
kgs . . . . I think that's right. but what hal'l"'''SIQ ~ he~d at Ihal poin"!" Garbutt would prrch on tho: edge of the table. ~ like a bird than a draftsman (he neVff sceme<110 sit in a chair). and Slal1 nptain;ng. ~nd white he 1~lked his pencil wou ld art making a thin line Ihal _med to

Thil .haring of koo ... lcdgc speeded up the whole

ming process and kept a st imulating almosphc:A.'

"'c. If one of U~ Slarted to fall bdlind. Walt migtM !If. "We can do bener than lhal!" as if lhe individual - . JIOI as important 8" the whole lc~n1 efron. How1Mf. lie' was more apt to :Illy ... Why <Jon'1 you go see Marc [}avis1 Hc', go! some nicc drawings of lhooe e .... know. he ~sn'l get all lie<! up in lheanalomy: }til look 11:11, ar.J they've gOi an aJlP"al and a ..

meander aimJc:5>'ly across the p;1per. We would lum

OUr heads first one way. then the OIlM:r . trying to see what he was drawing, bullhe fe2nll,led a tangled cobweb as much a.~ anylhing else . Then . suddenly, ~ saw a deer in the precise phase of the mo~rnenl we had \k:;crib<:d; only GarbuU was drawing il upside down so it faced us. While"", wen:: blinking and trying to a.bsi.:dI thai combination of rc:ndition and cxplarulion. be would continue: "Now wilh a camel. he'll put Ihi. leg OUI first and keep hLt head down .. ," When he had finished dra"";ng a camel getling up, he ",wid go on 1 the buffalo. juM "" _ would ha~ a tlKwough 0

Ii"".

~:d~:~~;~:,Y.'~ &0Mon: would. and so would look al them: Marc might . And

and any of the sketCh ,"",n working of the animau,.,., <kvcloping idc~s . or~ m.n.Bernard Garbutt had ~ """" pr<TIb. He knew animals ~nd how lhey nlOV<:d 100 Ihing~. but he ""vcr d",,,, from an ItClio"
There were 00 Ihru.'I$, no mU<eIcl< . ,.., a clear simple oudine of the aninlill _me'l! . would go 10 him with a """"if..:

""m, ''I've

,01 Ihis dcer gcu ing up. and I know

,

undeManding of whal was unique abou t decr in Ihi. par1 icul ar action. In ten minutes we had a whole

t""

"

-I' ~. ,.

I
\' ,

"- 'J L ,J ,,

"'"\ ,

'q

/
\

, ,

, ,

'j'J
/

"' , V '~

/ ..... i '

f,
,I

I " I ,J \ ,

,I

1/

course in comparalive analomy. iliumalcd v,ilh cmle li!!lc conlour drawing~ Ihal had no bohJno:ss or ViOT.
jom surprising accuracy . We IIad alIOIller unique laknl in Rena Scot!. lIIe rlfS! ...oman a. our slIMiio 10 ha,-c an ;merest in ammation. She had an aslOllnding abilily 10 draw powCrfli1. virile animals from almoSl any perspe<:li,'c and in any action . Alone poim in Bambi. '.ie nttded $Om<' convincing and (righlening hounds 10 cha( our heroine F.line. bill none of. he anima.ors ,,-as advanced enough in his UndcrsllJl(\mS of hound. to !.:Kkk the i1.<liign~nt . ke!!a cuuld dr~w th" dogs in any posilion. an-d she kJlew the Mliludes and Ihe mood. but ~hc wa; i,ICxpc: ' ril:llI:l'<l in It", ~" ul' relating nne d,awing 10 lhe nex!. So the $upervisill{; animalor. tori<: UtrJiIIIl. sct lhe: ":elleS lip fllr Mr.nd shn,,'w her whal needed 10 be don.: . Wilh lypocallllOde,ty. Eric says. "I " 'orked " ',Ih her on !he timiJ\i. bul iho:: d,d II all; sht: worked and ,,'med on it. " Ilowever it was done. bcN"ttn lhe \ ...'0 uf lhem there _ppe.red on lhe ~1l.'C1I one o( the: rrKbI chI lling and uci. in, pit-~ o( aclion c,-", In he animated .

anlic rs. To follow Ihrough the perspec.;'-c ;;,~:~:=: prong as the head O"IU"w _buul was just I, caled (or ,,'-en the and the fif'Sl filn>ed tests of the revealed robbery. ofmajesly; glory . So. a miniature plasler model was maok staB's head v,ilh the fun complen ... n. of anden

Another imaginati," bil of prubknH'olving for in Bambi was lhe drawing of lhe majtS1C

scope machi,IC. Up un the d

and

Ihis

was placed bclICath

"~"~'.;':':'b:':~::::'::~

had the first drJwing of & scene with juS! the head of the stag carefully drawn in . He slowly turned and tilte<l the model undernealh umil the head liMd up exaclly wilh his drawing. This done. he simply lraced the horns. That drawing compleled. he muv,,<.i on to Ihe next; with a slight change in Ihe model. more horns Were ready to trace. The result waS perfect_ a bit tedious. but not nearly so demanding as the aUemp! to draw it all in perspective from imagination . Rico Lebrun had been hired as "'-,:: began to work on Bambi because of his knowledge of animals and his ability to leach. He fdt slTongly that the only way 10 learn all about an animal was to gel your hands on it and move it about and feci how the pa"s worked. He started a search for a young fawn. but since none WaS then available we conlemed oun;elves with studying what film We had and observing older decr at the 7.00. One.- day. Ri~o gO! a call from a ranger in Ihe FOTCstry Service who had come upon thc Carea" of a very young fawn. no mon: than two days old. It was st ill in good condition. and he could have it' Rico was ecswic . That nighl in class. we cru",dcd in close 10 watch the 1lK>,emcnts of the legs and the back and the head as Rico turned Ihe txxly roun<.i and round. lesling Ihe aniculalion of each join!. He was enrap1ured wilh his model: we were a bil moTC TCsc ...e<J-.aflcr all. il had be<:n dead for three or four days. Excitedly. he announced his plan to remo'c the OUler layers. a linle each nighl. so we could learn alilhe intricale workings righl down to lhe skeleton. The whole procedure mighl lake Icn cvenings in all. The nexi nighl. we stood fa" her bac k as Rico
AN""A7'/)It D(m Lust-

Th, fa ..n had bUn1h. mod.! fIN So man)" i"'pi"' tional skneh had sr"""

,ha,

up

1>, ,h. lim, ,M oni"",

",,, "Orlro On

H.,.. Rico ILbeun SM"" Frank Tho",,,, how ,h, htad fi's om" ,h, n.d. Also ...arrMng art Rma S~o" and B YOltngt{uiJl. oo 1M"" In f"NgrOltNI i, *p. n fIN ,b. de".)
Th, dur slom.oro mort in ,,,,,, in Olli. JoJu,."o,, s draMing ,luIn In h" job of fh'.ing for ,b, dass . In backg round. Mil, Kahl. I'fl. alU! Bill Shull.

,h. pie,.r,.

Bombi.
Drawing
peol>l~ms

mt)l". of a ,heM' '0 ma j.srk SlOK in Bombi 'han

,h.wu.

,M bullns of ,h. hunufj. No on. rou/d draw ,h. im (X)sing anll." So 'hat ,h. colum. and pu.pu,'w ...,.,. ~onsron' from. draw ing ,,, drawi"g. Th. ac eurary sun hut ~am' from 'rodng a plasru mod.1
bt ,umro in on>" di r'~"o" '0 "",'eh ,h. ani """ors dro"'"g .
~ould

,ha,

339

tt" motkl''''''*''1 N/II -

""ltdGjgi"uJ...-~"

Tails and Ears Are Important Too

JI<"UI6 J." "" ..........,wIIJ".... . . . . B"

J ""

,/w~,"

"" BMnIIi.

'" tnn...., .I",...",.

7)lIIi.ot~(t}ffmly.

"' ....".., 1M IOn.

(I! ,/II impo""n' pari of./w w./.ud. ,,~ any

1:."<". ""

""Imm .

/uls , S,ruU/' /Wlr ,i...., "" wM,''''pl. Irri.ub/. Iaot. S-lItmJ '/"./"" j. soft WIll /m.;";", .

(2) H ,,;' .... n bt- " t , y ,,, ~""mality. "",I ""'"Y .jmu " 'iII ......... II" ... " ,/wroc",

(1) Tail, ...." rJD ", ....11 '0

, ........./w - ' "

/.,11"". '" Jtow" *'jH.lott .

Tlrq ."""Id IlOl "II 'HI .11, ~ro,,1Id "'j,lI "", a ' nmlll, 1'h,y,"".l I
lIa.', lif' ,"'-'. Wm, 1I ou'/'"

mm. TIorJ ...." ,,,... ,, fNdy

of "" (I"j.
......
~ .......

'" uf/rw...

'",~~1,~,

"d",,"- WI/i.

--.

($) R,m.mbrr . i. mu. JqWl.Jlt WIll s/r.ull ,'~ """....

/~I T/w ...... t is if"" (>'U" ,.I "" .... "'/w" ptUf. of ,/w ..""""'" ,Irm ""'" IwIp Jtow" "" ""'".,". It "'" /It' ..rrlINI'" /It'1Ii~ ~"II. ,I0000' alrrMn /It'

IO """""t

CD<"ly " 11

ell,., ""'. or j lt

dk"tt

,mt'"

CQUld ~xamine tl>< musel~~ and the le ndon ~ and the remarkable engineering principles n:vealed in thi. w<>n<.k. of n.atu~ . Unfonun.atety. uth ti mo: hi: contracted or extended l ny pan of tbe cadaver a rich aroma wa. pumped into thl: air. He called to us. Hey. fdlu.gel in hen: dose. ""hen:)'QU ~.n sec what this Ihing i. doing ." We answered warmly. " Oh . ~ un ~~ juSt fine from back hen:!" In spile of this uniq"" opportunity to gain vast kno ...lcdge. ~lIendance al thos<: evening cias5CS began to fall off. Ilowe,'c" Rico's enmusiasm sa:me!I 10 i llC~JS<: in dirttl proportion to the odor ..... hich no k>nger could be described as moeI'd ), pungenl . Our noses finally lurned us all away. but not his. He su yed wim his prize until it was only OOIlCS . In the end, Rico furnished us with a ....o"""rful 5Ct of dr~wing~ that ...c studied ...ith consitkrably more rcli. h , WI;i\c il is extremety hl:lpfulto understand the anal omy o f an animal. its movement and timing and bal11K" and rh)-' mm an: just as imporumt from an aninution standpoinl. and probably Il>< y all should be learn.d together. This is ~ comfoning lhoughl if the subject is ~ lion. or liger . or rhi....,.,rtl5 . or any large. wild crca the

~111O\'ed

~k in---50 w~

,...~ (1 """ 't~

,hi.

rNu-lNln. Stnrlt ..., dirtly from ,,,,. Jil... of 1'<ltel ,Itt ' pi,;, of an a~i_1 anJ tltt uu ..u of hi. "'o<'r"'t~'. f")T 10 I I)alm .. ians " ... u.d "'" Jilmtd aNion ""Y - 'I oflt .. /"" .. "" pItcloJ/(JI,.

Ex"" ...,;... '''I(1f'('/t "'<I' al....", dt>M aI''''' a~ilft(l/(N, ~

Sm'(" k,,,1 M lllp ;s>Ma,~ D;m._

!Ure. We had link de~ire to probe: with our fingers the inncr .... orking~ of the orangutan while animating King Lou~ for Tht Junglt 8oo1e . A few th~rts of comp"r ati"e analOmy and some rttl! of film told us as moch as ...-e .... anted to know . Long before Our artists encountered Rico'~ fawn cadaver. lhey had been ~tudying the JlcnUBI behavior of real dec, at close range . "The sWdio had been sent a pair of fa .... n~ from Mame that ...ere kept in an arc.a alongside the animal ion building. and the arti~ts had only to glance out the ...indow for stimulat ion and ref~reRf;"e 10 the real thing . Despite the great vaJ~ to the artist in dirtttly observing an animal in iu daily activities ..... hen story called for a rare or unfamiliar action from a deer it was still a major problem for lhe animator . In lhe first sequence of 811mbi ...c needed 10 portray thoso: initial fcw minutes in a fawn' S exist~ncc. " 'hen it is ..."Obbly and "ulnerablc and plI17.lcd by the world. and dependent on ils mother . I-loweve . nature endows fawns with a sirength and ,,)ordination that develops ~ quicldy that " 'ilhin only a couple of hours they all: "ery different n~atures . Wb<:n the San Dkgo Zoo phom:d 10 say they had a doc ready to foal any day. the sludio s hipped a film Cre ... down lhere inllne diatdy . l1Io:y sct up their C<Juipment j ust outside the dec,'s cm:~ure. at a Spollhat ga"c lhem full to,cr age of every part of lhe pen . There ,,'as no place the doe could have privacy if she desired il . Although .I he

had liven .11 signs uf being ready In deliver. night 's "igil produced nothing . Nor the nUl either . "The " 'elf}' crew prepared for tile second under the ...atchful gn.c o f laT~e. doe C)"CS. '' ' ' ' ' Ca rne and the prospect ive mother ...'as calm ml _'II:rvcd . The crew .... as ex hau't~d . When ..... hing happened during the sign~. no indications of any kind. lhe cn:w g~t IIOme ~Icel' and corne bock aboul been a~. urcd by the ,-"okeeper thaI "'OSI during the small hoof'll of the morning . gone for barely fi>'c hours and n:turned and be .... ildered from too lillie slccl'. 001 e,'en more bewildered 10 ga~e Ul"'"";': :::,:~~~ fivehoorold fawn I'r~"cing aboul It ere .......ent back tl) bed . animal action 10 th'e can be sphced i In contrast seldom helpful continuil Y. Then: mighl be l shon action !<Cem:s in ~ run Of a fight Ihat could be t~her from !<Craps. but more often the 10 be in"cnti'-e. to find a specirot place use a particular acl;on. Hopefully. he CIII film of an animal flopping Of <>roe 8ett ing to it~ fttt .... ith a Ii mUloCles, Of a spirited, uciled run-all I1K1VCI1\CnIS place thi s. IhI: animator can that .. Ii
j

'."":1 .

.iI""

::~~;':":i~:::'~~~:;~;

';"~:~";"~"j:':'':':;:'""~;':::

""IV, TOft
T"".

lIuXh F''''N_

'['he Adventure" or Mr.

TM ..w",rl MJ" ""'~ body, "sIn/Ilk,. ''1'1'~''m''c~, Imd il"""'""J 10 W >NUJ.ywoJ

"p 10 ",,~, A s 0 " ' ' ' ' ' _ dl/lnxftr. "..

"'''''ing hoo.llu",_

M'"'''''''i'''''

w"...m",.. of feeling, and wilh a little adjust

"""' ilIId there
(to improve the sync and m:llch

il .

. scenes were shot of a dog and luming, coming down . Mraining on a leash-a ll of which were lids in liming scenes for lhe piclure and ......'" ~ 10 achie"" nDmrar' appearinll K lion . ~~IIC'S Ihal broughl Ihe charaClers 10 life were

lhe one ~ imagined by lhe animalor. showing whal lhe dog c<.>\lld have dollC'. in ways lhe dog would havc done il . In addilion 10 mo'~mcnts nttdc<l for KCIIC'S and continuily, many miscellaneous ac1 ions wcre fil~ in Ir)"ing to capture $OIIICthing of the individu.tl animal' , o,,'n pcl'SOflalily. These nalural movemenl~ proved 10 be 1he mosl helpful. since special meaning cou ld be gi""n them by adding dialogue. or music, or sound cffe.:ts, lhereby inlerjecling an eX ira qu~lily lmo lhe behavior . Probably the most important ",Ic for any kind of animal phOiography is . " l)Qn ' l be afraid 10 waSle film!" To gCI lhe nalural , lhe unexpecled. the rare ~nIS, there musl be unlimited plItience and a rvnning camera. Thc director who is detennincd to gel only what i. called for in hi. $l.:ript. and gel it righl . will miss the wonderful Ihings that make an animal whal he really is. Thc animalor who leaves the whole ted ious bIJj~ to(llhcn will mi~ the firsthand knowl. edge 111:11 only c ln rome fllJm being with lhe animal while Dllempts are made: 10 capture ils unique auri . bllle . The besl ;o<;t1om are invariably unplanned . When lhe caSling ....as sel for us 10 animate lhe Seese in IlriJIIK"uts, we borrowed a camera fllJm lhe smdio and vi~ il(d a friend' , ranch . He h:od . wo gcese. some assorted c hic-kens. and J decrepil. 1allerW while lur key who had an amazing desire 10 slar in a scree n leSI . The whir of film running Ihrough lhe camera caus.ed him,o ~rvt ~boul " 'ilh his three or four ~maining tail feathe,.,. ukew. bUI il made: Ihe g(cse run away _ As the ~ ran."~ were amaled 10 s ho>oo closely lhey SID)'ed together, with their ....ds almost inler,wined. We had Upecletl lhe roll of lhe body as .hey paddled abou. c lumsily , bul the way lhe two geese wor\;ed logelher "'a~ Slal1linll. AI once a kind of charDCter emerged for .he 1"'0 . which ,,'enl heyon<! lhe dialogue ,,"<' were conlempl3ling (or a p;lir of silly spinsters on a walking tour of France. Thc film we look sct:mw 10 have an ~Imosl ronStanl o"erlay of lhe JnPOStcroos lurtcy. bul behind him "flC al,,-ays the$e two heads flCC'ring aroond , keeping lheir e)~s on lhe camcru and the highly SUSI1I man behind il. We skctched from the film and from our n",mary. for ono;c ".., had seen lhese girl s in action . nOIhing rould crase: Ihe realily of Iheir inlense s keplicism . The nicel y

Ktn Ilndu'(NI_

"ood

designed dra"'ings of geese lhal ,,'e had seen on lhe SlorybQards we~ ~uddenly lWO vel)' ~al perwnalilies ooMling about with lheir O\O'n poi"ate dignity-/"laugmy. appnising . critical. and funny . "They were ~al gttse. with all the mo,'emenls of rcal OOt they IIad ~"ealed lhe pe""",alit;"$ lhal could be understood and shared by all humans . Finding emenainmem in a per$Ofllllity does not mean making a clown 0111 of Illal e haracter . h means o nl y lhal one is ~la1ing 10 qualilies common 10 all individual s. and lhere is no loss of dignily inherent in thaI process. The personality lrails can be heroic. allruislic. or noble; il is the uSC made of them in the Story sil ualion lhal delermines whelher lhey ~rc comic. or cute . or stu pid . or mean . Therc Irt many "'ay~ of being tnlenaining . and the ch:.olkng.: is It> lile slOl"}'man 10 erealC s ieual ions where these individual lrail~ can be brougllt OUI in an emen .ining way . Many animals h" 'e !heir attribules al~ady defined by the legends and sU}lies o r various culeurcs . " coyOle is. cunning and wisc hero tu the American Indian. and I villainous predator 10 the Sheepm. n. To mosl people. a rabbil is nervous and almosl completely helpless: I wolf is all villain. whether he i, slavering or deceilful: and the beaver is liard-workinG with no sense o f hu mor. When casling a pic ture with "I\ood guys" and " bad guys:' llleSC are imponanl consideralions. "The "good guys"lIavc 10 be small . ineffectual. CUle. and associated with OOIlviolcnce . II doesn'l maner if !he rcal animal is thaI .... y or not . You are playing off images in lhe vie,,"CT$' subconscious. and if people

aeesc.

grew up thinking a ecru in " 'ay that is where you IlII.III SIan . To hl\'e a mean and cruel kinen tcrrorizi", I family of nervous . nigilly bear.; is an uphill fight (0:.e ' "CI)"body . Still. lhere IS considerable room for van.llons. I. Robin Hood. some: of u i thougllllile Shmff of~ lingllam " 'oold be nlOll' inlc~~l ing if lie "'m: I ~ As the story wu structured . lhere ,,'a, no oem fo:.-'to be ~ crafty villain: he " . ~ only slUpid. bossy. and u!\Concerned wilh the peuple he mlghl be hurti", A goal Wilh a lh,c k skull ,ould do lhi.' milch and gi,'c lilt animalors ~ neW animal to dr~ w lhal could open op fresh idt~s . The director of [hal film fc!l jU~1 as Mrongly !hit tbr Sheriff shoold be a wol f. becaUK tile I lile " 'olf 10 be villain . The facl lhal ~ shown him 1 be good famIly =n and I 0 fellow " 'ill do louie to cllang.: ideas lhal ~ . " , _ old . In aojdiloon. lile goal has no established 10k legend. and .. e ,,"OOld lIa"e the burden of,~;. . . he " 'as good or bad or indifferent . De"clopin, image coold w~~le precious footage lhat mighl be bIl ler used to .how entertai nment in lhe .pecifoc kind villain he was. The mUSI provocalive discussiuns come when tbr story calls for a mythical crealure. or one """ 'd appurcd in tale or legend . A dragOll is kOO\lll ill-tempered and s ullen . so Ihal is not too much

m.

~m. BUI OIherWhen Wool", no connotations . picture, ~:.:,:~.:"~~~~~

mating lile dillO$3l1l"S in F,mt"siIJ . Walt

~"TtMII

~;;;.;'".;

""/"''1 SlnpI"1

~wa",

of an)' human personalit y tr..il$, " 000', m3k~ tllem cUle animal personaliti"" They ' "c gOI small bnoins, y' koow ; make them ",al!" II was a disanning m:juest .i nce ther~ was little ",sc~fCh pos~ihl~ on "'hal a real dioosaur mighl hase bc:t'n like , but WooIlC "'3li 1\01 bothered. He dipped inlO his imaginal ion, com binc<J lita. wjth a few raw animal things he rutd ~n. and, ,,'orking closely ,,jth Bill Roben s, who wa s directing Ihal St:<iuence, Came up wilh scenes of dinosaurs thai St'Cmed 10 ~ ju.' the way people always im .. gined these gianls should be . jf ever lhey had thought aboul;1 bef<;! Fooifled by Slra~m>ty's magnificent S<;OfC. Ihey crealed , togelher. a Slirring flhn . ha. ne'~r can be forgotten

""",."""

H,,,~,,,,,, ~ _

w""u~

" RII,o{Sp"ng," hnta...

"8"'"

II,,,,, Th, ''''''",,'''' ,Iu~'. nJrT,nJ, <UId.w..,

,~,

",,Il,d ",ill,,,,,, '1 'Y'<l"

W/wi k_'. ""'" ~ ,1"'O5<'~'

lHfou tm,"t ,hi. <v""'"";"t ~"n (III Ih, T.

' ..n""5<l~'~' R,~

" 16 pound bo,,'Ii~g bo/J i$ rolling da....n Ihr a/Jry. II ha$ a snu>olh , ron1;~uaus, ~venly sp<lcrd pN)gr~.._ II is n(){ uralic; il d""s ~()/ s[Jrtd up ond s/o'" tkJk'n, then spud up ogo;n. II d""s nat chong, dira:_ lion obrl<ptly (I<n/~ .. it mt." somnhing strongu). Ho", muchonobj1 wrighs is shOM'n by how much effort is ff(juiud 10 mo .... it. '0 "OP ii, 10 dltJngr ilS di"c,ion. Th ... orr show" Ih'""gh Timing , Ara. ond SqUOJh and Str~l<h.

-o-. -e -

e.

.- ... ., .

II,h, obj1 is 0 eHoraclrr.

(J

les i$ pu, OI<l I(J '''~ Ih, _iRht, sqlklShing and ab_ .orbing 1M lorer 01 the

ma .....

In 1928. Mkkqhadcharm bullIO w~iJlht as m IUrned a romer wilh""l regardlor 'I<Pf'O'I or gr(Jviry .

:-'----.;c
The Rhythm Walk

This spirlud "<I/k k'iln 1m Munc. in Ihe middl. ,,""s ">id by au)'on' in thr .ar/y lkirtin. II "'as 01"o)" don. 10 II mu.kol btal. g;";ns a happ)' .nu_ gtlie luling 10 Iht aclion and ojounryolliludrlor Ih. eN".,uttr, Combin<'<i ...i,h SOmt cartlret .. -his/ling. ;t did much to "lab/ish M ir-

key's I""mwlily.
(U6) Mickry .111"$ ailOr_ mal . 'p. lilting hi_< ",,,1.." high. (USl ln Ih, miMI. of Ihr sr'I', h' dips do,,n. ( I j I) Then "P ,,~uin '" " high pmition an h,ad WId
1>0<1.'"_ (/54J n""I/I', the 10"'. ",q""sh'" /Wsilio" ," hr "'acrs his fOO( to romplerr Ih' st,p.

iii

/
THE IMPORTANCE OF WEIGHT
Wall.
~1I"ay,

have becomc lrouhle""ne and O)tn -

.nim"I~ .

The >ell"n Can o..X<>Il'"

0.1'

,n -

:~: 'il::~";.:"':'~'hl Ihal ncr)' 'ingle dr~"' in~ heCOlnc, di,lribulion a balance ami ,"",c nd
lbey can do ><l much", "" 'c311"'''-'MId allliludc 'hal lbey arc UI>( of lhe anilnlllor .

in everyday a.cl,,"lIles. Once lhe character ,,-ent into ""lion. il was lhe U me old business of moving lhe body ,,-here lhe animalor ",ante.! il 10 he. lhen adding legs al\d feCi undernealh moving up and do",n .

::~:;~::::;;~.:;:'?' aMany aclOrs;,fcd 3",l y1.e in gcuing hold of char.K"ler 10 Ihallbe

I . Even the nlO,1 c:,wa l study uf pe"a b\J~y . lreel ,,ill "" 'ca l dr;11""li, diff.rence, in lhey achieve i mplc locomOlion: long ,Irilk,_ Ii I bouncin~. minelng. ,;""Iing: lhere i~ no end 10 lhe ,ar..,I). IJi the cady can()(}n~ sound c."", along . wm few attem pts lu makc walking anYlhing Ihln a means of mO"inli Ihe "bara'I.' 10 a ne w on lhe: .<C!"ttn. Tko: "'a~ pacing b;>ck and ,I I

l/
~A >

<.l'

bcfo,""

._ / /

" -

-,-

'F

.;;:,~~;':~~:~;::~ off.....1 io SOITO'" or despair.

~1rid,"g

"'. ""oJ.
OJ"

be ... r""ghl back . bul no lritd 10 O:lahl i"h characler by lhe " '3)' lhe Wilh lbe ,",roduclion of sound lhe", " rhY lhm walk." ",ilh il s C.<Ir" bounce in Ihe ",,' ga,'C lif. and 'piri l 10 n mundane "haracler

as

- ./

......t~

A ....".~i~, ""~ >lwJq> 9t1'

IItU",,,".

~ will widt. anlllt"ni,., i.1O 1M I() kttp hi, btJJa/Oa .

~i~,

1("'.

'Ill i/N

JJippi,.,_,

'"
1.3

Walks
ANI"ATOII, Frank Th(Jntas-

THE IMPORTANCE OF WEIGHT

Robin Hood,
Rabin Hood rwns ;n 1 pick 0 up Ih~ lasl sack of gold. H~ placu h;sjOOI "'~II i~fronr of his body and tlidu ;nl() p<>Silirm, "ll;ltg th~ olh~T Itg and planting il I() help Supporl Ih~ ...~ighl of Ihr ,Iold'1$ ... rll at I() Sian his chang. of direction.

h was the realization that the canoon figure could nOi be believable without convincing ..... eighl Ihat really changed tbe animalors' thinking. Tbe principles of squash and Slf<'tch were beginning to be understood and provided lbe procedUf<'S and thc tools for display ing lbe "",W discoverie s. Basically Ihe principle waS that a moving body could not be shifted in direction wilhout encountering resistance from ""mething in its pf<'SCn l path of movement. causing il to tum

TIIr ,",,", of ~I

ing thr/XIgh Ih, Moose lIu", .

"''-I''.r()// F,,,,,k

Th(Jntas-

T1It Re""uers.
Luk., Ih. m~.kral. is Tun ning with his j~~ "'Mn h.

roUts a crocoojk nwku a ...ild. s<:rambling tak TtI'"SU diTUli<m and l ips
""" Through Ihis impossi. bit action, Ih. jug is limrd u,,'itljca" y. ",ilh a full a'cand convincing ,,'righi, ... hich mak.s ,,,,,ylhing .1 sum /Hli,''(J/)/r lao. If Ih. jug IuuJ flipprd aOOUI likt a pira of da/h Iht ...holt scene ...ould ha., lH~n j"" ano/hu franlic roT/ocn wke.

(I J ObjlJ/J7ma'~rial"M'

.....iSh

diff~r..

n' amoun'S.

~~(j ,'2~~
~~., ,

Moid Maria,,' , .mrfbi"",. in 'N brt,,:t in Rooin Hood.

""'''.roo Fud Moort'Plum , Judgment Day. E""1t in mnoo"laM, Plu,a ... dSIlS as mud. 011 a bowl i"S ball. H.. ,,, h" skids "NUM ,h.. car"", umil 'N fore .. of his ori,inal dirt'(: 'irm has bun ilbJorlHd aM a ....... di,,,,,,/rm is
lisW.

."ab

3<,

A............ Olli~

)olm_ LOL DfJnwOano_

12J Tn, '/,mm/Hon l,.pu . ,"", IA. f"/i~1 of ...,I,M.

A.., .......

F-rd Sptwn,
Iryj~1 M

Mo.-jill! o.oy
buoo~

o -/d i.

pI "fi.A

off /til

,ro, Iw 1 )"ln,

'~J"''''''''' a'tHlull "rid allacA,nl 'h, 01"', ,nd 10 a P'' off~'nilw' . H", h, i , ,unninl and ,lippmg as h. '~",:M.

1M fw/llfmi""

of Ih.

,".'~nd.".

ROV' ,,/til AnilO..fr_ LOI DalmariAns. io<"~f,,/I", 1111(} Ih~ pond. n~ " 'Dln hal mod. all aj Ih,i, dOlh., 1oH", and Ii..." aM ""Ii",.

n~

...,j,N of I~ ,,,,jn~ i,

""" 1M odthd WlK"h

of Ihr rooJp,"i", _",,,riIY;'l/o Ih. ,,/, h~lps Ih~

sloDw.n DIll ' l ids '0 a IIOf'.

'If'''',

A/o"MAm. F"d MoorrSIIOW W hile .

Dopry ,ips Ift'o 1M ,Uftr 1Iop1"I/lJr " loM i lll /,.,.,. S_ WIII,r. I" ordrr 10 I:Hp A lit bo/<Ut I" ..... ,N. "b<"PI SlCp. 1M 1IOQJ0<'ldrd" ....,_,Iidr " 'ilil ,lit! /UI ...rll ""I I~ / ,0ItI. /oJ/_tid by" ri,IJ
,> "/>r"li"" "" ,lIr Tills ro,iro''''r "/0 "''' .
~ /w."i("{J1

".n_

,ow,.,.

10;"""",

s.op addtld 'M,r. "';,/ro", d,,/,oy.

Ing lh, .....;ghl or brU,,'nlH/.

lry ~ /h' dklraclrr.

(JI

1V""~lIt i. ,,,,'ralrd b,' hOM' Ju,rd " ch<!'~rttlr h,,,

10 push", ""II "guin., "n obj'ct.

,,-"/MAm. FrankT"'-TIlt Sword in ! .... SI<"' .

Thr ITrat M 'i,,,,d M"li" ha. cJu,"Krd himsrlf inlO 0 .qu;" ,,/ OM mn a /at aM '"1''''roy/"""'/r. SN i._II 'ITo1ll " ,h<!" M OM filld. II,., ""fty 10 Jloow NT .......,. Ail ~ly ..",...;",.

4/'"''

.... Mill Kalrl_

:llio

." ,,,ugh., .f l'i~'K"' appily ,i.i(>pi"! of} 10 Ih. mnDIilll of lIS. Illar i. p'm;b/,

\p"".,

.. boy.

I"':''mllnr oJ ".," ~

Walk s

FO UR-FOOT ED FRIENDS

By tM time "'e had finished our .... ork 1)1'1 Pi/Wt'('hio in 1939. lhe animalors h~d done skip.s and fUns. clsual ilroli. walks wilh emhusiasm. " 'ilh liud f l , " 'ilh appuhension. and ...ilh he~v). f~w rage , In one ",,"ene . Jiminy Cricket e'"en dusscd himself " 'hile fUo' ning full s peed; and in anQIher. Pinooxh io ~ a I"'P" ~t, waf made 10 simulate a " 'Il k " 'ith minliS. Tllcn Wah Disney decided 10 make 8ambi. This WII 10 br: a picln'" of buuly and mood. of philowphy and poelry. contraslinllthe inlimacy of I dewdrop on a bl~de of grass wilh Ihe excilement o f young bucb leaping aboul o n a meaoo",. 8<1mbi had Ius Slory. by flf. Ihan Ihe OIher fUlures . being olOre like lhe: picloriai Silly Symphooies. bul il had SlronS charac~r ",Ia_ lionships. neitM.cartoon n:1~lionships 00f caricalU~. bUI ",aI . believable ulalionshi~. Was Ihis askinlllOO much of personal ily animalion? Wah ...u not sun: wc " 'en: up;lbk of aniltlillng Ihis fi lm quile yct. SO " 'hile lhe: "'51 of lhe: slaff rtIO"w

on 10 F"IO/M/", IWO unimalors: wen: a,signed 10 zle o,'er Ille n>o,'emem$ and dra"'inll pn>blem, of ~ and rabbits, anoJ to I><'an:h for a ".. ay of i"",OfJ"nI" our lenelS of cOll\munk~lIon il>to tlll".\.C forei~n ~ We kne,, ...e cook! make Ihem n:al--th31 i<. look lilt ",aI deer-bul ....e .'so bll"" Ihal without ~bI~ perwrulity " 'e could ne'w m~~ ... Ih~1 Iyl'" of 11m ~ aJTy ~ ,,ho~ feallll\' . We >tOOied film of deer. looted at pictures. taIted to the: sketch men who had been drawing ~r for ""* of 3 yur (while tM Slory h3d bn shaped arid &vtIoped), arod w~lched deer at the loo. The t,,"O f."1\1 kepi at tM sludio had long since grown up arid dtl*\i cd. so we gOl 00 Ilelp from lhe:on. bul we did ha.t film taken ",'hilt they ..'C~ )'oong arod frisky . Howevct. no"'""u cou k! " 'c ~ the leg !;<lUll'" as il 1M tilt weighl of Ole body. and 00 checks fallCoW as lilt mouth closed . No eyes chanted ihapc . .., ja"" ~ il> a big )'a,,n . 00 bud~' bulged or MmCbMt *'( " 'en: a/l1"IO)'il>gly IiI"" ynd :iUpplc and Slrong and_ cullf. What ""en: "~aning 10 draw. animatc .

p.zf

......J

IlJt >lttIh,~. "4{,.M",. "' m~,,..d .... '~JI' hun"" ~()"'''''I!

.."'. I.
g ,.,"

Ii,,, ", """

.p/"","

"'"' _ _ .. _",lid /rt>,'" ...""",. I" if " ... " ~ ...II Md IooJ "~".,"al /,j_ " p... .,..Ira .., rMrt " . .... 1Iw< all Mimi III! In ........ />vJ, J,'""Pf't""ru

_,1M ....,,,,.. w".

... "I"" ,"''''''.... .... .V ......., IN """" cr

.'hilt ,h"I'" .., ~ ..d ,ud/,vll." <>n

"'*" ""., "

""II""
"",_~""

tri?-rflltr/ilm Each ....... <)Ith /i ... I .......... . . lri/r "" d,,<,<:/,,,,, .of

....,,-

,,,,,,,ruU.", In.

milt. ar/i"" rr

It wa. in the t,acing of the film th"t we found our anS ..... cr, W~ did nO! have photostat, on this footage. and the images ..... ere small and difficuh to SCe. bUI once we discovered Ihe se>:ret of the animar~ con struction ali lhe pieces fell into place. There waS actu ally more squash and stretch than " 'c could use. but it was not occurring "'here we had been look ing . In,{ead

of being oUl in th,' open, a"'ay from In. bod)'. the acti\";!y w ~s a! both end, of the Ie);,. In the sllouJdm and haunchc,. and. again. in Ihe tinge" and 100 Il ere the action ..... as as hroad "' any cartoon dra" iog. with greal nc xibilily and ,pring in the tips. alld fl'W. si"e swelling and IhrusHng up in tk bod~'. h took WOlle time to understand Ihc dcers an.lom).

,8~si,'

,-

...-:. ... -

' - ' .... ...,

f?~ '\. .. ,,- ,.. -.:::-> ...... .. -_._-

-- . .,.. &
~

..."..-

-.r.

sho~'n

'mimal ~'"Ik on /Qs, an" P"I'P), b~co"s~

il is "",'i" '" su M 'hm i,

happening in his loou "nd

}/"I'I'.'" (I"ion. The wind pl~s "" Ih~ ."me ~'h",e"'r 1M anim"l, Animals ult/"m walt '~r."

fa,;n II" ,,,,,,,. 11(111 TM,

sP<'rd "". slm" ,10k'!!,
II,~ le~ /,,""',,", m,,;II'Y ("(m' <'~nlral"'~ on ~'herr Ihel'

I''''''

I'I'(1Jf1:

TIw"",s ,lid the 1I",,1Id.

rn'on<fap"f'P)' run I/O,

10 rnlin Ihal (he ~houldel'!; an: ne~rly in front of lhe

iii ~ and ihal lhe n:ar end is pl'aClically all leg and 1IIImclI. ""I ~ Ihis " -as under$lood OUr <Ira" inllS o f lilt ammals btgl/l 10 have lhe fluid. loose fuling. rombllled ..'uh mUieular power. Ihal w.s so Iypical of dm, Qnc, day "'e "'ere Si udying a Strip of film show> iq; an adull dur bounding across a smal! ravine . A~

lhe from legs look up lhe "c'llhl of lhe body and guided il inlo alum. lhe clbov.' Klually pushed up abo.-, {he line of lhe bac:k . After Ihal. ,,~ bool;",'w an)'lhing " l i pos.iblc . Our o.hcr big ,urpri~ came in lhe amount of mo"e men! in 'he deer' s spine and pel .. i~, The ,wiSIS and lills and lurns ~nd ne~ibilily wen: II"O(lfT Ihan " -c knew how

Sr'''/gh,

~ ~~
Squosh N''''II(II

T."dwono/ "w,h on Q
Ihln;,,_

Sr"'ln
0..

-,-'" -.
~

.... .,u

".t:~~

....

,..." .... '

I ---

? ~~~

..-

E !ft)_
("(1M

1M lilt rira,U<"u, of 1M

""")"" .<idIhr<10M ,''',r t. lorooouItop

d,...~';n!l.

o~'_I.

rh<'~

aJ<I

rlu hMd ""'1 M ""d ~illh .

orl..

Ihr ~'sQn~/jr)' ,'om '0 Ih. ~''',* : J~'''gg'', p'~na. ""'''/''''. M'orf)' , ofljid.nrr.

n .

,n'lu, ",ay d'''11-

$,,"J,' Ih. all;"",I_ _ ,h<'

("(lTlQ()ft

""Itt ....,Il .
lo,mula,

rlumgu "r Rlr/lud. lind li",ing "'ill rhans. In. rha,

r <tY

""I, ,"''' OIli.Jm.n"tm_ The Fox."" {he 1100"". W

Cyrlt ..,.,;""

of iMlwll dOli 'Imning ""

9 .

,4 _'U(~"'P"'fMCO''t''

"'W" ,...,,, ,,.,,,, I() /<>11 /,..

JlMJ of

"""01' (tJ~8hl
....".", of"

",lIop "ad (dnOOll '.", 1M a"i

,fill _ u ,

.""1"

or"

,h~ IIU\""";

~~~~'Ibc
III

ohw, but (hey helpnl us Un<\ersland how fBwn~

frolicking look ",he" playing. Thb also lurn the ba$ic p;!llem$ of all fourlegged In .... alh. troiS. gallops. and TUns. II cmffc. for example. has 10 move his from fOOl !he ...1) of the back fOOl. IS il swi ngs fOf'o"aro long legs ,,,ver so much di~tan<:e in a
....,".TOII Mill Kahl_

f1 on QlK:e. and in :;ense fur a :::;:;~;::~ the illusinna of bolt.they dumovingfew

The Jungle Book

TA~ '''i~~ ,,~ ,A, li,~ . "'hie/! ordi/Ul.;ly WQl<ld I>t

,.w ","""' '"

. 8ul. os""ntially all animals mo"( their legs in right fore followed by left rear. We

doll'" 00 oor lland. and knees and t";"d it our-

,iNw"''''"SI.MiJo,dNomIiM.
..y,r ..w IInr ,,, d~rnil>t IIut!u,m ofSIut,~ Klwlt. Brro~sr of JPrlt' <twdyi~1 d~imal _ .... _111. ,lui

~~::, immo:Jialely disco>"ci'W th., it wlS the

way to progress and stay in balaIKe. To lep in any other panem ,ives an i"'kward
is pussiblc [0 lrain IIorses and some circus gaits. these are b.uically unnatural
of 100000molion. By studying the I"<'al animal iii ."'rting o'~r a cartOOn formula . we had
Ihrough 10 new level of understanding thaI

,.ro,.

_,,.;, and a poor base for lIny kind or stability.

scr,...

anilfJl1lor "'Ill ohlr '0 do Ihil hrlp{rotIt

Mli,,,,,,,,,

""1

Ii..., <><:/iM /il....

oIher SIOrits .boU! ..,al .. Inimals possible for

than that. OOC\' the ptoy~ka! rdalion~hara<,:ter of any animal are understood. the altitudes: belligerent. ~od')' . rw:rvOll$. worried. or timid . And if thert: is a I (Of a hick of coordination. 1M anima10 break the: animal' s natural rhythm of . 10 mix up the: leg pattern . Il is dw.r1lClCr

Walks

ACfING AND AlTITUDES

Once the walks of the Canoon chardCters began 10 look ~at. the animators CO\lld experiment with charac terization and atlitudes . While pure inyemiveness and imagination were still ,"eating funny scrambles and

se midog actions for Pluto. acting and emolioos capturing audiences in a new ..... ay . As the watched Grumpy pull oUi of Snow White's and Stomp away defiantly. they were more with hi s feelings than they we", " 'ith his walk, Figaro. thc cat in Pi1lOcchio. "'a5

"8ill Tyrla'bi~. '~i"

lri., 10 K;"~

"fJdrling tits as .for ""ri ,

UOSStl

mforr~r o~

lit, so/'. his way

--. ~

!,Erk CI""""I>81< Book.

,/w drtlwing.
i",iniJIt~d

It WI2$ animsJltd as
WO' ....

in siu

II", so l/w ~1~pIumJ "",,,It tIw persp' l/w 10Y'J"1 as ht

..".

,,,,,, I, "pl"'~lm~~' he w~l~ ed aero" t h~ !>cd. 'inking dp ,"h) the hut II w~, I,,, ~"n";.an,~ .i,n Ine ,",',,<lant mtcnllptions from (jeprel1" th~t nude tho: ,(ene come ~hve. ..,,' matter "f f"c1. the animal"" found il e,,,ier 10 ~, ~ "Jlki,,~ ,,':c"c if the character had ~ strong a11i-

."n c'''''''''.

lOJ, dun if fie ".~, i",t m"\' in~ from \lnc place to anothe r, There wa, nnthing t<1 caricature when nothing wa, h"ppenin~; !h(1\: shoulJ be ml<: 1\:",,->n why ttlc "hara{ter is walking . and that i, .... hal )'0\1 animal~_ The ~"!ing pussibihlics in an 3",ion enable the "nimator to go beyond a mechanical perfonnance .

.."'.e,,. om,
Aft"
0

TO. Rr>1CU<".
~(f1km

,,,,,It)

btl"

P~n"yandIM

M , hi", oj 'M /cI'iu~ wi

.'",un~

".tI

a"d

i",p' ""
{MOP/'

pm. Ir ""-' j' "",ch /Of ,~;,

rlw film_

""" I"ATO* W.. ,d Klmboll--Cinderella.

l"",gi~~II ... ~J~pl,,'ion 0{ "/"" ..... ~ll>y" ......""""" .."/00 IIDJ obunnl ....,...,.J ~""Id ~"rirolU'~ Iitt" .. " i-

Iud" .

,
K~" ANkr_ $l,IC~ tI,

pIwUoI$ "" " /rip

lOW"

It>

_i.. g wrMof'~~t>(:. /i" ... 0{ olh~r ".,,,.M,, of ~is ",'".

Ajri...

th.nliciry 10 his ideo

p<JmpDIU "'jlldb<q HGI/oi i~ ~ J.......

K... sl:no ..1rJg' 8"'" auof a

/<N CDt.

Tw ..."",;0. of per_aliry lInd allilud, Id ", S(.MS wil~ 8"a/ ~c'ing

DppD"un,lie$ .

Book.

... ,.... It'II. Fr~M.

T/JoIIuu-

The Rescue ..
II"

8~rll(JtJ Iri~. '0 be It(tCM.

r .... ,...

"R 'H~_

I -

~ . #,-"~-

~~ -

:r. _ WQ ,,~OIfT ....... ..,.... .AU "-I~_

...tNl.i). _

I~II' a.1ot relfffJI,frcm ,lot

C"M,,,, '" I~e /n"",h"', . TIt<: 1Kt;"" .....

i" Ih~1s U> ...udI IN Ju.Io,_ ,e1llUt. U> ,he _"'" 0/ Itis 1UpI.

"""UJ_

""",Iot

The fiNd Jr.....,.,. sJtow

" - """"I IW scIwd flv "",,,,,,IDt'. "'"

i..,

pItuuIi,.,

probI~lIU .

Walks that Show Character Personality

:1, Kahl-

""'''Am.,Milt Kahl"P,cas Bill," Melody Ti .....

Thi a"y walk wilh Ike , winging hips has I><en copied widely Ihrougl>ool 11>< animalion ir.dusuy. II was C""led origin.lly ror SluerOQl Sue, lhe ,itt who cap<ured Pecos Bill' , beatI.

ng in Ihis ..'all

IN pnson~liry 'us SMdf! af A. modd shu,

,,"lhrSctn~m

' ~'lJlkcauldM

_It/w p;r,uff.

olin LounsMry-

,/w H""rs."

'" r/rona for a "ra",,~ for B~n

,,,<>/th~alliga .

:hl.

litrl~ Ih~

co-ciry
""I"~_
~!Cr

,dIG rMk~him

'om

olhus.

Erk LorSortar.d lhe Wolr.

Many dud "'<fddles haw

M~n a"lmald. and II Is a cltall~np 10 find a pall'Tn of "'oY ,m~n' Ihar Is just

rig'" for (/ ""... chartJC/~r. marching boIh Ih, peTSOIIaUry and 'h~ d~si8n.

Group Movement
When rnon: than OM animal is walking or running in a sane. there is alwa),s a temptation to animate the U~ action for each figure . Once all the problems have been solved and lep an in the righl placc. the idea of doing a ~ SCI o f dnwinp onl)' slightl),

different Jm~ like needless .... ork . SI special opporIunil)' in the handling of '" make scenes of greal impact . Then: is cltilicil), 1$ OM figure pulh; away from cI<*s in again. or passes_ up ... lhal livu the charm and feding of life

........... 1':-" 1_ _" 0tt U_"

Wi~urti_

...

Melody 111M.
IU<J , , _ "'"

uiJ. ' TM ptU'~'1t af "",....-Itl yoor ,n "'" af "Iw<oy, /r1Ic/""ud _ ." nm. M d,_ 'M uNnJI fi, ..,r,. IMIt .I<ITltd filliltlt ;It ";111 ",M,s. "I......)".

~ Lm_

_lOtI

Snow While An)"

"ro

utU'Clri", 1M ,"", fI- "ltd frudom ,/sar IlIr It,.",." llIiw. TM _ 1o<Id " w_,t.J/Jir lui af ,lIr JH111mu af """"',....'" r ' Nlu b)" (J ''')liP of , ka,erl . E'i~ altd Rrll" Srolilollo ...d 1M , ..,.... p'Mrduu ....MIt alti"""iltlllhr M,' """'ilt, "llIi~ lit (lamb; . The I,ad dog wa, do~ firl/. IMIt 'M OIM" .....TO fill,d ilt /Hhiltd him .../r,ffW' l/r~y """W /Hit.

uP'

J"""ldlw>~c ,iwm 10 IIrr

J"'''P

mo,', 10,,,11.
pl,IU;It,.

all;,,,d,,. ,

1Ul11y. "mll mDd, rItrttt i,

_ _ Bill TylIa-

SOlOW While .

,I, IU IMy ",i, a l u,/OII,

G",'"PJ' "....., "' III, '~b 1<> IH WOIMd aM ,wblmJ.
Bill T)"I/"', """h, , Ira ... lIis IlIilllilt, (}It Ihl, IUII'It.
"...1\1 oM

F"", of 1M dk"aif, ",,,,.

iri'luli", of/row

1M ,'''''''' and MI ...... of ON! dkvuf "II 1M ",M,. . H, ""<Id _ /JIll. IfIIUr ""Y """ of 1M'" silt ,/y. "", Io<Id 1<1 COftIitk. lItr ..ttak ....tion of 1M It'_ '" rJw nu,rfll;1tIIVIII ill rJw

"""",d

~M .

..." ... _

f'ro~k

'TItomtu-

Robin llood.

a"_.""
.0

.-a,""'.

r~ui.yJ

TIIi$ *YN e{hJs roi~,_ .1000< .10, ....... bo>w tMd ON e{ .1tntI1otoJ
..... a

/tom .....

S"'("~ .10, HqW<tU

'mmnlit,,~1y FlUr/'IIl IotoJ

e'IMd "" a wry 'l"~' <Utd

JOfrIINr""'t. i,

'" starr .hrl I~,,'i/)ft "'i,h a Imrsl of lawghur tJnd mk.k and rUn"inx I.,r/. cami"t 0 .... a hill. Th~ a~i"""or
r/r ..... a "'/llt a IITr" comIng "raithl IIu.............. TArn 10, """"""",,a ,impl. ~i''''0II. '" _~A IN tpim 10, "'o"uJ Lok' lit ...~~, bod Dlld dru,.

.r".,"" /IotJl

,tI.""

in,,,

mi...-d .. J'id'JHI" ~/Iot

lOIIWbodv. arm aM ....... ale,. "'DNad. auitt. or

a ,ibl>r>n lIftu,/o, ini.U1i ~ ..... " 'QJ ",,,,. I/o, (",.",. a(:I." 1IJ.,ntr/<Utd ",n.so.."11 ,h. '''ttl 011 a sM. pmt.

,,..in, Ih. aw,/;u(", a

("/oanu {" lu fflt"h

jndil"idktll/y .

of IN'"

...,.,.... ,"" Frank T"'-'_

Snow While
'n S....... Whlle,/o, rJ....t/, SN<Jk ''''''IM~..,.A 'Q,Mtl pidJu.,. 'rOJY '" bll ,A. mo,..". I" ~ds. It ..... ""1'01'1_ Nrt I/oa, att 1M IOtnlrrr. took IO,,,A,,.

'N"

rl/a"""", .........

",N . '" ,hty "-rr. ani. maud 01 /)ft. la". ""'IS

d"in8 lit, a(I00ll .
~"<Ird.

Slop '''t"h ... '"uit '0.

,hisshapt ..,ubrok," do ...n .n'o rnd,,ld.. ai dll""t/I. trrprn, all pam ... "lrin 'M _omwl ....".

.v",.

.It,

....'1M ,/0, I.ad. Iv ...., "" mor, 'mponD.n',""" illiTe{ .M ",,,,,$. TN o..JiAt:t
,ftJ('I,", ,Ir_1t ,"1/ "",illl /n hi, ","'n -..
QJ OM ....

shop'

E,,,. ./oott,1r D

..... lMlri,wJ ","",yn_"

.."hu.

,A, pol"'"

Story
his .."'n mimi /WW f"~f)' pi~c~ of bU"intss in " Story .... iII lH put "'-.. ....."')' <' Klio". H.. sm,..ld 11<" fur OMYl)' f rom /tis SIQt')' 10 l(1k.. /.I sUon " ... 10 JU wMIMr 1M,.. is lin)' drod phtlst' . . . /0 srt " 'MIlt" 1M /HrSl)NJluits ou goi"l 10 IN ~,,"",<l1Id "PP"(l/'''tl /0 ,Ir.. olMli.."u . H .. ,,,,,,"Id al.<O try ro su ,'''', 1M II.;IIIIJ t/tal Itis clwraclns art' ort of on i1!lurm'''11 nalur..... Wall Disney
man muSI JU

c/""rI,. in

""''''lilt

For Animalion

~~~~~~;I glUI characters. i:ooo.J as k "",hal " filmma ker wrOle U~ to good
g~g,.

Unfoounarely. there IS no closely nor any slm~ ans ..-er. Qlhcr tl'lan judg. . ~nd taknl. It ~gin~. Qr course. with KIn for the whole pklUre. One .(oryman COUn . " Film. to me. i, no diffcrcnl from crear ing a ...., . paiMing. !>Illig, play, or whalcver. If you

;:,~::"::P~;:'''~/p<I'mbru'h it
I I
~'onh

posit;'c Malcmcm 10

ma ~e.

Of pencil , '" than. mUSt have enough Importance to cummunkating- lo t>c ..... orth lhe ,,'ork and thaI ,,-,II be ~u,re<lto PU' it on tbe cl'ttn. II spellbmdlng; il mllSl

M"""

)..... should

be a story . And. ~f(:l'lIbly. ,Ilohould be a llooo.l one. One artisl 5umlTOl:d il up. A ,ood Slory ~anOO1 be ruined by JXXH" animal ion. bul neither can a JXXH" story be s.a~cd by lbe very beSl animation .. , lie could ~ve gone 00 to say lhal a JOOd Story ,,150 ean be ruined by poor de"doplTOl:nl in the S.ory Department. JuSt bcc:;ouse lhe Slory is g~"I. lhe~ 's 00 a5sura""" thaI il ..... ilI ~main &~al aner il has ~n worked over and over on lhe Sloryboard s. Nothing is automat ic ;n lhe ,n;mltion busincu ucepl the negati'l'dc""RtS . 110.... good a picture can bc<:omc is much kiiS certain . First. the~ muSl be the big. simple idea : the story you can tell in two iiCnlences . As you ..... ork On a pictu~ il seems so compl icated thaI even two paragraphs ,,-ill 001 tell i. a ll . but if it started OUt as" good Idea.

,~hQ..

Lady'nd 'beT.....

and you have been fl ilhfullO that COIIttpt, one: day '1 will end up very s imple Ipin . Alfred Hitchcock ha$ recommended I similar approach .

acters and pu. in lovable KqlM:0ce5 and eIua . . )'(III know will be gn:at . but hodgccpodgc can lUll! unless the~ has been ~ clcat. Slrong dri,,~ to tilt JIOI)' from the v~ry sta",

I always ful comfonab le aboul ~ proje<:t when I can ~ II the 5101)' in a very simple way .. . I likelo imagine a )'OIIng WORWI who ha$ been 10 S liM: movie and gon home very P lisroW wilh what she

Sequences
Our featu~ films always sccmcd to ~nd up ""itll'" 14 KqutnCc$. No m.1tt~r how ~ach JUne(! OIlt ....1tnIft wilh high advenlt>re or C'OO,pl i<:a.~d slories, by lim. we devcluped and NlftllCCd and SI",amlintd 1IId edited we eooed w ith li ll ie more thnn a dozen. Allcatt twoKquencn would ha"c~n cul ool.f"'r .... suna:I production , and something else would have yow~ III $(j1lO:1ICC !cnlth and been insc"ed e,'Cn la!C1" . SIlII. roever had more than 15 nor f.....r rhan IOKqIltlKU This facl becomes quite in!portan! .... hen I .,;c.. mjuiring many incidentS in diff.","t locaks is brtIt oonsidert'd . Constant ac1ion s;w arions give no dwa for lhe quiet Kquences lO'iM:re audiences can fall. 1 ..... ith lhe c""'""lCTli . In our experiotncc. a pK\III 0" that allempied COIlIinoous excilement and dronaroc lISsion Mver held rhe attention o f the andicncc . It sm.II

hu_.
Her mother asks hcr. " What wu it ahout1" And the girl replies. We ll . it was aboU I a yU\lng wom.n who so lUll! so ;ond SUo . . " I fccl that befon: ullde"aking to shoot movie. OIW! J huuld be able to do jLl$! that. to S.II isfy oneself that it can be namtiW ju~t as clearly. the whok
cycle . ~

We have fou nd Ihal the siory idea for an film must be e ven 111011: direct

~nimate(!

Jealousy leads a vain queen 10 tbrealen the life of a young pri0ce5S. who nU5 into the woods where she is befrknded by seven dwark When lhe queen. in disguise, tncts her into eating a poison<:d apple . the girl is thought dead and preserved in a glass w ffin until a prince awakens her with love's rUlt kiss. A b.obyelephanl iJ C'OOsidered a freat because of his enormoos cars. unlil an enterprising moose discov ers I wJy to tum Ihi' liability into a sta"ling asset. An orphan girl is held captive by an centric: WOUlan who i, using the chi ld 10 retrieve a large: diamond held in I lIeacherous cave . Two mice from the Res cue Aid Sodety help the girl find the diamond ; liM:n, with liM: aid of some local animals. effcc. iM:r e$Cape . Such a synopsis givC$ none of tiM: navor o f the pKtUre or the rich c~rers that motivate it . but it dou renccl the basic drives that hold the piclure together and make it ""00. If your idea is complicated in the beginning. there sllQuld be much more thought and discussion before cven sta"ing the picture . There arc many ~mptalions to overdevelop wond<:rful c har.

'0dull their senses.Slory had to bebetold'~::".~:: I "There could a ing tilemc. the wilh
bUI

of rempos and

f~lh

ideas .

lntnxluction; Quun White in Queen orders i . White and Huntsman . Panic in lhe woods ; SOOVo' Whi", animals; they tak. her to d ....arfs and help clean housc .

2.
3.

':;:i::,:~::~'~~;::~~

,.

$Onlething in .heir house, Discover Snow White; .gree ro .... Slay .

6.
7.

9.

Queen turns Dwarh ente"ain for them; dwarfs give Witch prepares poisoned cottage .

J)"a.h lu'( 10' ""'k. 31kr "Ilminj: Sno,, Whil( . I I. &:. 12. BOlh ~u~ru;~~ d'opl'<'d. I). Sn,,,, While making ri~.,: "lid, arm~> 3nd cnl~ " h,,,,se. Animab ""am dwarf<: Ilk) r~lnm 1O~' I:ot~: Snow Wh;l~ f'I"""O<'d: "i1<h fall, "n cl iff. l~ . (),,arf> cry a1 Sno" \\"hil(' bicr. 16 . G lass rofr.n: I'lintt rol1"\eS; SrIO" While awakened "nil gOl:' J",a), " ;tll Prine",.
](I.

vr I h~ 1I1~leri~l . 1110. ... ,h'Klld b< ~ <ORioi dc,;:lopmcnl of lho: dru'rn1 ,"herem in c3iC"h 'M..... A ~ilual"'" Ihal i. c""ntri,oo ,impl)" "ilt ....,. hI.rJ "1''' Ihe ,.:,..,n Similady. a 'iluaUon III;" j, ...d,ru} (f prcdkl., bk 'Ini.kl) " ilt ~c,'''''" dult 10 >()Ur aW~"'1:. It " vita l d,al ).,'" ha,," the '"",rs wil h ),,,,.r
~ ardutl) I~"J

Jlf~""nt~U<ll'

Boule found with call for help: KellCutc A.d Socict~ ...,nds I) ianca and Btmani. 2. ), Iict learn aboul !'cnn~ rrom old C.l aI o'1'h~nag( . ). At P<'wn shop. lhey learn wocre she b be ing held ; Meduu Ioea,el.; mice left behind. 4. D, opped. 3. Albalross Air Ser,:itt: mice lake ofr'. fly Ihrough clouds. 3.2 Dc"il~ Bayou: P~nn)" lri~. 10 escape. caugh! b~ crocodi les: mice lIrrivc. m~c l Swamp Volun1eers. ride .... ilh E,i nrude. 6. Medusa and S!tOOJ:IS plotting: mice chased by cnx.:! inlO organ. s1loi 81 by),ledosa. 7. Medu l-iI "Ih 10 Penny; sad ."",,: mitt lIrrhe: escape pl.n. 8. F.,;mu<le ~m f()r help. ~ha.\td imo bOlll~ b~ bat . 9. & 10. Dropped. I I. Penny in Pu'I1CS C.vc. find~ di.n>Ofkl. I.
bard ~ ~t$ OUt .

them Ih"",~h tile . 1''''y .itl"'t~_. ""'. i. aimOSI ~~ ,mportant Ihal Iht:) ,1Ot).'fi ahe:ad 0( )"l1li. Tho:) c~n k.sc inl~rC.1 in e,,,,n .'"'Klt 11.:", d""~. 'rnl e'~f)ooc L""w. ,,hat 10 ':"[,1. or. """'""'. if ltullp just seem 10 happen" ;thoul re~ard (<X ,,110 the dtn:. lcrs arc or "h ~t i5 moti'alin; 11k:n1. Often Ihi~ ~ilualion cannot bf: unctem;i u.ntil fIIO<IIII ,,ork has bn compielrd 10 run lite rou~h redl. k' not 100 lale to COITttI. ddelc. or fortify. but it r eruciallh~1 the ,,cab\Css be rtCOllni!ed and idoMifi al this point. A eritici~m writ len aboul Tht fQt. Iht lloomd after an early ~ n,,"ing of 8wroximllll:1 half the footage ,,ill illu$lr1lte the probiem' "'e~. me balit SIO' )" is lhal a )"oung hun1ing dvs pII) hal'Pil~ " i1h a kil fo., ,,hen both an: puppic-J. \IrI adul .. ther li\"e in differenl ,,<xld, . "The fo., his rais..d b) a kind ,,ido.. li"ina on a (ann ....,,1() huntcr ,,110 is \Idining his dog. and lhoere is I " owl who conslamly is tr)"inJl to help t~ litll~ ru. c.'plai n Ihe wa~~ of lhe wild 10 him .) Our .()flt. was cloe:.tr enouJlh . bul Ihis " as lhe r.:aclioo:

8 . 1. 12 .

13.

E,innodc eludes bats: ~wJ.mp animal) 10 the resc"". TI", c~ape: diamond , ,,,,overed: I'~ rln)" rescucd ,,ilh aid of fire"orh. HaPi'~ endil1i : mICe s<:nt on 0<'''' mis;;on.

can relate 10 lhe characler,;. We 00..1 how Ih~ owl feel s aboul the fo.' . really. ~"M is Irying [0 do--or why . Is ~~ Ihe SIImt .. ,,idow? And we don1 ~e enough of!~ .. io.i;.. fl in,> 10 ju>li f~ lhe lenglh of a ... Itok: where ~he Iums the fo~ I"""" in the ............ ~inl of Ihc picture .eems slowbttaule "'.., oK involved . More footage ~.'plair\ing lhe", thinC" just mak e Ihe pitturc eH iI , lower. O n ~n e~rl~ sOOwing..,f SlupmX 8,..",,)' " f a re"""on lhal rid,s OUtlhe , anN" I>pt ot .. abN 0\11 pf'C" ...-nIUI "In

The bineS! ""takncss is Ihal lhe~ is no ""I'ffl '

audic~

rroml

Our goal muS! be 10 kp the audience pl~ascd . hul lbo e.,cil~-d. ''''''''m.-d. ~",.r. c,p.x-ial1y. "\J!lIlerin~ wh~1 i, soing 10 happen nCXI . "'hi~ ".. ill takc pla..c on l) if tM ~udienec i, involve,1 "illl In.- dlaf~C I~' ,\ and ..... hal IOCY are dOing . In addilion 10 an (~ci1ing , i.u~1

Th~'...,,. no ,~al ,onl1i(1 "fGood and

abIJUI llo'lt. ;,oJ il UM"d :<[Ithc 'Y' "hol, and ~ \IIIJ w~, aboullM a~~ uIJ .trutl~I,. I'IlI ",""""", .

b-'I.31" I

(~to hl~,
(!K't

00 coon '''1

r~ally

de\'doped The "ud,-

"b 1lC'-er .n\'oh-..l,

1lle characler< lallaJ aboul

Ibo'>l<lf) lho) " cre III. 001 d,dn't he 't- lhe audiCKt

nt'-er fell

II_ II ",as

newr real

Ell')

I"",ure gel ' lhe '."'" Iype of

eni""'" at Ihis

1IIg(. "hl(h bungs up one of the mOre dtffkult ehal-

Itn,el ,n the woo lc proce.s of making Ihe fillll , Whal !h:Jol~ be dor.e al Ihl< point. reganlle" of "hal wa.
.nurn ,n

tho Crlpl. 10 ma~e Ih'" p.clure COnIC 10 hfe '? "\M ",II male the >!Iualions """" belle,ablc '? And. _ ''''f'O"ant, hoJ,. can we make lhe: '101)' ~m 10 ..... from "~I llIe eharaclers do~ \'rf}' oflen a fe'" \lmple change, ",II bf,ng d"4.-.: rtlulh AflC'f 0f\C of lhe sequenc"" ,n Thr Fo" ad lilt 111iI"" had been reworked. " )'<)u"g a,,,,,,,,lor comment "All righi' Nov. you f.:.: l thal Ihe \!ll!j'I;'OI!If:! 0,11 of III<: p.""'nalll,.~_n i~ not a riO! :K":Ift Ir)'"g 10 (lU>h lhe character< mil) n ~sn'l .... fttl hle a SIOI)' II's jusl o;onlClhong II\;lI happen,

,_,h"
..

.,

.... )'ou ."' lho". personalll'.S v.orklnl "Pili" each

SomotnllC~ ,I "(01)' a mailer of a f,," IIC:" >celles: nubh"',n! >bot 10 clarify the locallOfl or lhe cond,. Id\ ",rroundm8 the characler>. or ne'" way of ~lnl til< or'~mal idea Ml Ihat il h., more "reng,II , Iltt ocn,l()fI;jll y lho Slaff has 10 con.., up ""h :I "hole Ro rompronu>e. or e'.n a complcl" lie" ...:<jOlene. in .... 10 mnc lhe: COOI"'UII~ on lhe "'r~n hold an

S<:.n.bmes cullln~ OUI pans Ihal ~''t' bn o'-crblllli Gf bm>rnt ronfu~",g (e"en lhuuh Ihe)' n"ghl he

enlcrtammg) ",II ~lInplif)' lhe ~1Qf)' and make u deam, 0r,en. (Ile cn(hu>!a,m for a "~n: b't of en(eru,nnw:nl ",II h~'-c blond<:d ('''')Ion. to Ille nttd for cOlftful "'Ofl; in ~ .IOf) Of layoul ber...., (1M: ~nes 0Ift p,..sed on 10 Ille an,malor. Somel,mes lhe ~nmulor him~lf can be l<I nj;cr Ilc doe> r>OI wall for an) more prcparll' (ory " 'OI'k before lie begin._ Th, s 1x,".nlC ~ rut pr0blem on Ihe lale Ihirtic~ ,,hen II j;cllcrall), WaS felt (hal jusl aboul an)lhing ,'oold be anlmalcd . Veleran .!Or)man LeQ Sal k' n. >peak,ng or ltom.. d;l)'. <a,d Ihallhe >(01)' work " -as much more e~dli ng and SI,n,ulallng ., 11M: :tmm~lorS ,mprowd ,n their ab,hue' 10 handle an)' l ind of :telm,. ROIl Ikn Sharp.In fell llul """ and lhen lhe SlOf}'n'.n lefl h,s o"'n "ork 001) half done, 1 ..-rOlC, " I ~m ",clined 10 lc thmk Ihal 100 oflen people grew lScruSIO",ed 10 M""e IIr Ille ~rc"t p"rformanee, Ihal :,nimalors gac, and IIle) were conlinuall) rel)"n~ nn lhem ,n """,I iring IIIe makmll of a picture. of rcall!.'Rg Ihal. f",. <jUCRII), ""'pic SIOf} changes could produce e,'en be" Icr To ,lIu"lrJlc. he dll.N: a >1100 of /)untbo lhaI5OOvo-S Tm~h)' MUll,., Mortling dronl The elo,,-ns h.'-e bn celebrallng and droppc<J a bottle of 1I,!"or ,nlo a ,ub of walcr. Timolhy and lAomoo ConI( along. "ery d,>o<:on,<)I"te. and L>umoo begin' 10 IlI ce"p. Timothy ,ugg"'" he drink ""nlC ,,'alcr, .. ,Id .'oUOn the lilli. dephant .. b.:l.3' ,ng on a slr4ngc manroer TonloOlhy "'00' ocrs "h:.t ~ ,nd of " ."Ier is in Ihal lub and lakes a dnnk h,m,elf Th .. "a, IIIe :tC1ion lhe ~Iof)'m.n lefl up to 11M: an,malor The >O<:fllC "a. g,,-en to F",d 1>1.,.,.." 0fI0 of lhe lop

..".... .,.

""II

D .,,,,,,

""",ad

".pM.1

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tIfflIIJ

fr""" ,~ '"
~-.
botl,,",
Q

""'tt(t. ,'" (1111.

""',of

_boJIbI. J,...A Tj

.....

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,.,.w ,...,.

111' dot .""

.." '..'

-=--------<Z1-1

animar"", (wirh "ucce""," in Pinnrrhin on rhe c har~c rers of Geppeno. Lampwick. and Jiminy Cricker ). bur he had trouble with rhi s assignment. aen Went on. "Moore was animating the scene. and we could I>Ot gel the result rhat we had visuali7.ed . It was based on It very suhtle and difficult piece uf personality animation ." Timothy. so .... how . had to react in an appropriale and emenaining way, first. 10 lhe laSte of the water. and, second. to the way it waS beginning to make him fed . 'There was nOt enough lime to have him complele the change 10 a funny drunk: the poim of this SCene was jusl 10 show hi' initial reoclions to taking the drink. It ...as s uht le-a nd questionable planning as wdl. After Fred had swealed and squinned through several lests. noltC of which felt righI, the deci sion ,'..a, made ro change lhe SIOry concepl at thaI point. 'They went bock to the storyboard. and after many discussio ... Ben recalled they eame up wilh Ihis idea: When Dumbo showed signs of imoxicalion. Timothy remarked. "I wonder whal kind of water this is anyhow ," With Ihal remark. he leaned over 100 far 10 look into Ihe tub . fell in . and after a splash or 11010. Ihe sound of his voice c hanged considerably. (In the final. lhey used a happy y<XIci I This was done wilhout showing animatio n of Timothy . The nexllime " 'e saw him. he was reSling on hi s elbows on the edge of lhe lub with a sill y smile on his face. This was a simple and easy way of puning the transition over. II was a far bener .... ans of doing il Ihan to have squzed everything we could have nut nf the animator in some subt le manner . In fact. the resulling animalion could have been done by an animalOr of lesser abilities.

Annlher Iype nf change 10 consi<l<r if rho c~ need strengthening might be a shi ft in character malionship . It could be the busine~s itself that ItffdI bolstering. but it also c~n be thallhh':,~:~:~'~;:.~: not have a chance to play properl y a, they are. Adapting the pen;onality lraits _ to si tuation s Ihm are developing could be one but occasionalIy a whole new relationship is net<kd. Whon our production Unil slaned of us thought we would make tives more interesting and a lillie different mice we had done by having them married. been several successful live action shows band and wife team. and the idea seemed t si~uatinns that would be stimulating for all of ul . Ihrough lho SlOI)' had moved lhe first well into experimental animation became apparent Ihat 'he responses various si tu ations "'ere too subtle for cation in animation. [n the live films. the fact that characlers are good-looking and involved in ment really was all that waS needed . logue belween them wuld fonify but that was nOt vital. You either liked thorn. ., not . and if you did li ke them Ihey were doing. In animation, tha~ is IlOl enough, We had 10 have stronger reactions. more ftings the audience We tried bkkering. affection. bUI everything was tOO mild or li We finally realized that our biggest Ii was thaI there was nothing eilher mouse was achieve in their relationship. Withoul tho wildering momenlS of gelling to know each

the p<:>Ssibili,y of roma~. without

1~ ~xc ile

of I new cOInp<lnion. ,,'C "'e~ rinding "cl)' few , .N"."~h anim31ing. II lAs 100, bttn koo".-n in the rhcalcllPtar OIlC of (he "")'$ 10 gel hold of any characu.r is 10 find OUt he is trying '0 do. If he is mm:ly an """'n'er.

::~;~::~,:~::i:;;':~~::;~;::i::;:~
Imkad of

in any situation. il will onlydifficult to be concerned real 0 1 exciting. It is noI until he to inle~late with Ollie, reoplc 01 ,,-;tPt human

...~:. " ~. hc Show5 his amy of unique t,.,.it~ . We to find intcn:Sling ways for OUT charact<:rs 10
10 .. ything they might encOllntcr . I professional team " ';Ih the " 'isdom of

~;;~; wc changed our mice to amateurs who had . pledge to the Rescue Aid Society 10 guide

Immw iatcly ric h alti tudes appeared, and siory'

,,:::::~,,:,:~gcr [0 ddv~ (he f it I But even more IM:lpful was to h~\"e II(lI e~'cn ac:quaimed al the: starl . each seeing for !he fi ....' time urly in ehe pio.:eull' . Now them did " 'as roloml by l~ pres.

into

Ol'W P'J"ibililiu

new romp;rniOfl . Min Biann. was v~ry . " ' ilh qui ee an appeal for Bernard. and. duey was to ehe socielY and hi s desire co predica=m s "l're made rnuch such an e~cieing f~male by "" as wrong. he fa r mon: encerlaini ng possi. mamed for ewenly years. B~', lack of regard for logic created real any ronniCls bClwn e~ two offered pQ5sibililies 10 boIh the sH'ryn~n and the . AI>(! all hecause we had c han~ed their Il'la. to one lhae could grow and Il'mnin active. many good plays have hecn written with no

~~~::;:~~~~:~ ""I.

feel abolu Story will 10 end. gt'nerally. the each ocher IS easily if lhe chan.c:lers an: no! protOO. An)'time tllcK c an be a de>l'lopmcm in i, will be c<tSier to fil>(! busi~s personalieies and hold ehe interest so carried away by the potcmi~1 of the

the mice 's prcparations for lhe mtssl()fl. 1bcy well' told to check OUt the equipment needed from lhe sour old rT1O\ISC down in lhe 51OCkl'OOll'l , While Bianca was selc<:ting 11315 and oull;t5 chat ,"'ould make t~m loot debonair. B~mard wu concerned with ... fety and ingenious invencions thae a James Bood mighe have used . When asked by the clerk if he knew how to hnndle a ~f!C':ial lial1 gun . he aCled tlO1\Chalanl al>(! competent in order to impress Bi~nca. Naturally. he hit ehe rclc~se and nearly killed them all . lIis aplomb was funl\er shaken when ~ was handed the survival kit wilh t...-o pills 10 be. taken in case of c apture! Ken made hundreds of dra ...inp of the: props that mice could mne OUt oflhimbld and erasoen and thinp thaI human s had discar<kd. and " 'e "l'll' all exciled about the enlel1ainm<'nl in both the locale and lhe situ alion . It wa~ no! Unlit several wefks later. after we disco>'ercd Ihae the plighe of the little girl was ehe very b;tckbone of our Story. that we realized Ihat we would ha,l' 10 give up all of the byplay of the mice Vtting ready 10 go on lhe m ission. Ie juS! delayed our Vtt,ng Co the main part of the: S1ory . "!"he picture ~ interesling ...'hen I~ mice had a real problem 10 solve. and allille talk be.fore they-acmally sean ed OUt became dull, and. WOI'l'C', made later pailS of the piCTure seem to he boring hecause they repeated atti tudes we were using here , So the SC<tuence had TO be dropped, Of course. the big problem romes in rognizing ehal chis should be done . Basicall y. it i~ l:I\Iill 0fI a knowledgt' o f what business is beSi suited 10 ehe animalion medi um . Every piclure will ha>l' scene$that an: diffICUlt 10 draw and iines thaI call for upcrience and talent, bot lhe bulk of the film should be made up of scenes chat are usy 10 do, should be ~ffect ive and goodtooking on ehe scl'ttn. and should make ehe but possible usc of the anin,atiOfl poIemial, Hell' arc a few guidelines Chat can help anyone joogt' the: material be.fore the animation is st.ar\ed: I . Avoid sce~ Of activities thaI are OfIly ronlin .. i ey . Thi s type of OoClion is difficult 10 do convincingly and is always judged critically by an audience , If there is a mood to be eseab!ished or scenic almosphere is needed. all in the dwarfs man;hing home from t~ mine or ehe: sequence in Tht RtJcutrJ showing ehe: mice flying on !he back of lhe albatross . chen t~ conti

.iC had made thaI we were in~pirt"d by Ken

",~ ".,,, t"'

10 build a whole sequence about

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fiI"~tU

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Tit", d,,,,,,

,.uMiJ fiN ,11m mi..io.rs. T'" _flY FOP' DJi>pthl '" ,Iv ffNfIt ' "d _ ... Ii,., ,0100, .. ",.J snJI" rlwv....

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art/WII"" Iwfor, _,It. nK"'''' f/"11$ 11l",dt' 0''''' !of,loot aJdJ ,UII... il "'P" ofd,ommir ... , .., 10" _ _ tty dull ''''lNMU of rI.orIKUrs mm"ml"_ 10/' W "_It,,
e opla... 0,.,.11,
OM

II IN/i<>,"tJbI, "'" 1M"",,,,,,, .....rkIN ''' ..... ptVSSWIU by 1_ "rrol dot'._

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can be

oecood~ry

.... the

pic!(Jri~1

effect . Other-

is more ;lIlere,<1 ;n whOi h:'ppcns o,...:c the

"'he,,, they are going lhan there: is in the

oction of gell ing there.

:.

, ""(lid M'CIICS whose orly funcHo" is.o explain. ~::~::'~::.;~ chaoxlCrs ha"c 10 ~and around

:~?;.::~::, a3narrator or a titleor'"3set up thedisagreemenl. prcdica Use

t.

I art .Iway~ difficult . Be Sure {I\c", is a s;tua. 1M ~ivc:s ,he characl.:rs ~ definite ~l1iludc. or

make the onslage actors t.Io il.

l Mate sUre (he story in<;illem or . ituation is really

1~~~~""~~X~'~~j";:'~"iS' ",H.i

acting . n.ey should m(lIivalc the no! be upeclC:d 10

(he decisions they IIwke ,,'oole slruo;lure. OOt there

c~!l)'

be a Sll\lIIg si' oalion Iltal has ~ootIgh imerest in I di Like the liCeoc in 0"",00 of IB,ng ,ho drillk. il should noI be len enlirc:ly 1 C'IT)' the s""1' idea. 0 S. Sure 1M char.octcrs ha'-c an oppo,1 unily 1 0 to life. Wah al"'ay~ lold us. " find the enter . .~'" in tile s ilualion and in yoor c har"':!c(s, Don'! bognI down in . he SlOI)I itself," W~.ch 011' for activity or uplosi!ioo . Bad; up hnmedi-

S. look for place!< to shuw!he chamc:ten thinking .

,., . ,~'" Changing aui lmk, and look for way~ 10 ~ fac~., uf lheir ",,,,,,,,,,,Iilin; .hey should ~ ~ h .he film. Consider Ihi s: ~ strong silua has ~n ~stabl ishcd. Th .. Chal'"oIClCr "OIlI<"S imo il

wilh " definile and inlcresling a(l ilude . Confronled wilh !M problem. he develop. hi s OWII pomonatily, grows a link. ~s " '00 he is. makn his decision for action. lhen docs i! in an clllcrtaining way. 6 . Ask yOll~If, C~n the slQr)" poilll he: dono: in caricature"'" Be sure lhe scenes call for action. or acling tlml can be caricalure<! if you an: 10 make a dur SI~lemenl . JuSI 10 imila!" n~ture. illtAl""" reali. Iy, orduplicale Iiv" action no! only wastes the medium of animal ion bul puIS all enormous burden on thor alii mator. II should be belieYllhlc:. 001 not re~liSlic. 1. Tell your Story Ihrough lhe broad cartoon char :>etc"' ralher Ihalllhe "Sl l'lIight OOC5 . "There is no way !o animale Sll'OIlg .... nough alt iludes, fecling$, Ofnprtso sio'" on real isl;'; charactCI1i '0 get lhe com,"unicllion you should Ntve . T he more: real . lhe leM lalilutic for clur COll""unicalion. Th i. is more easily done wilh lhe cartOOfl char.oc:le(S " '00 can carry !he SlOI)I .... ith nlOfC illl.. resl and spiril anyway. SIlO'" w,,;,~ wa~ told Ihrough lhe nnilllnls, Ihe dwarfs. and lhe wilch-no! through lhe prinrC' or the quoecn or the huntsman. "They had vilal roles. bul lheir 5Cencs were essenlially situ,, lion . "The girl herlil'tf was a ",al problem , 001 she .... as helped by al " 'ays working 10 a sympathetic alli!lU1 or a broad characler. This is lhe old vaudeville Irick of playing the prel1y girl again.1 the buffoon : it ho:ll'" both characters. Our own f"" lings were ~ullllncd up very simply once in a 01)1 meeting; " J uSl ~ $Ure you gi~ U$ someIhing 10 animale . Don'1 give us a ~ene " 'here nothing 11;11'1'" ns! ,

Story""" Ed ""nner had an unu"u~1 prubkrn in TM LwJ, - ' 1M Tramp "'~h lho: ....... ~ oflho:~. in tilt city poond . The- i""""p.bl, fil<"l thallho: un"'anled ani ....... ore PU' ''''oy al lho: .. pi ........ " 'a, a ~ey pan of .... ...,.,. 1JItI .ho: lhoug/ll had 10 be pI .... N in ,hi. StqU<n<: ",. of mc!anchuly dog' hchind b... is""" Ihl"!'. bul ':lkin~ an "ni ..... l.o tho ,., c""nU. tudorf,J "" lho: m<lIt>ld and "'..,n,ln ..... t;" ,n ow ..... dlum. ",>o ld il lit: pre.. ntcd,.., thai il was unmi , LobI<Io.)'Ct tk_ ...i'h a light I"""h~ jO[u.i....: Firs,. buIld a I"'FoIlkl ,""Ih ,ho: I;,.., l<lion pri<Ol'l (il"" Ih .. had been.., popula. jU>l. few

ra'''''''

II,,,..

or.

ITlit' lI;r 1'""s~. TM I..... M"~I, ..... ~'n' >1-.;1",* dtcl>t. of dIal",,,,, and ,"itude. , '"1.0,,1;, gUYI, ,hey'", lakin' Jo.Jo."
)':>n nrlic.

"Yeah, lY's lol;;nl ,ho: Ion~ ",,,Ik'" " OIl. ,,.11 . I<hort lif, and a .....IT)' one. " l1>csc wcre f.",iliar 'er",. lho: audic~ undcMOQd , Sond. show ,ho: doS <)Illy in ,ilho:Juc1lc , '" a $hadow, ,<> minimi .e ide ... iflCa,ion . Third. cwge IIY q', na",. 1 0N utsy." I nd. fourth. give.ho: .ni ..... lioo to C liff Nordhe:., " 'ith in.IrUClioot '" M .k. it fUMy!" Only Oi cook! handlt: wch an .... gn ..... nl. II. had beeon .. kno""n for hi~ abilily 10 ."'... lho: un... reeled. scn:wy act ..... ,,"hen: ordinary " ..."".. 1ItS _III ha"" ",meed. !lis .. knls gave. uny '1uali.y '0 "'und.... .itullion. and ""ere just righl for Ih;, ""Iiea.. 1pOI in lho: pictun: . No ooc doubted lhat Nu"Y """ indeed .. ling hi. IISI "llk. but IY "'''s 50 romical oOOul i, th no one could bt:oomc o,.<ly ronccrncd .

Walt and the Storymen

Story_n are as d ivel"$C in thei ~len\S and in.eresls as anima'OI'$ , They are not interchangeable and cannot be e~peclC:d 10 do equally " 'e ll on e~ery assignment. When Walt wanted a cenain result. he cast his story_n wi.h the same pc:lttp(ion and imuition he had displa~ in castint his animaton . Ted Scars and Perc<: P~arce were s ll'ong on chalX te r dc~clupment ~J\d JIIlf1iona litics, Il ill Cot trell added good taste. Ippropri~tcllt:ss. and judgmcn1. Bill I'l:c\ """Id co ..... up wi. h I whole "",,W visual co"",,cpt , Erdman (Ed) l'cnner and Dick Creedon kne,., story structure and undcl1.UOII the mcchanic~ of cOlnedy . Ou" Englantler Wa~ a veritable libr.rian nf Walt's discllftlcd idea hat were too gOO<l III lose . The: li st c..ntinues on. with each t.lOIYn>aR Il:rving his O>'n indio vidual s m:ngths and t~lent~. Wal. nc~er was in.crested in s.ory ~tructure. relying instead on his almos. infall ihle intuition f{)l" what wu entertai ning in any idea . He tore ~tol)lhoards apart ruthlessly as he tried to find .Ile span that could he developed inlO an unusual and memorable sequence

_aJw.q. "WliJ. " d/Ii()#l ....... 011 ""'YfIV~ lVId {I<_lrDiIl(l rtlldr
~ ""'. H ..... " ........... ill I~ Jot: GI'QIU, C'nI-

'n

KlruvyNu

'mpromftI~ SIMy

on film . Prior 10 1935. hi, story_n had mn t""" 10 Iool; r{)l" .he fres h. tile une~pected. the diffctnl. and 10 think in terms o f cancature and ~U".nt __ which .Iley interpreted as meaning bilam, wikl. lIIII impossible . The rtlOfl: outlandish . the bener thc~ liked i. To them . anything real or , incere meanl "~raIPt" and automa. ically wou ld he dull . No .... , sin .. animaton could do so much more. Wall had to pull. s.orymcn hal:k and leach them ne .... ~alllCs of ,,'ama and bdic val>i lity . II~ still wanlc-.J fresh ~ituatiOM lid funny predicaments, but he also wanted hil ~~ to achif:~ mnin' um identity " 'ith the aud~ This .ype o f think ing is .he Uillmale In CIUll..,-_ n.e challenge to.he st"'Yman plus tile "imulltlOl ~ Wah's ~onSl nn. pressure-- nol to deliv~r, but to $Card! and prnbe and disrovcr_kcp( an air of c~ (~ _nl in the Story Depart"It:~ , I. i, not 100 difflClllt. hilS of business tha. dalmatian J'UPI"CIo think " f mighl do. e~pecially wilen Illere are fift~n of diem ill one family. bul lhe hig itlca tllal has them all "'llchiaC tde~ision li ke any family of kids is unique and cOllld from I ",re talent. The idea goes further. for thc ... gram they are Witching is a :\Cries featuring theu ..... Thunderbolt . the Wonder Dog . The aooiefu has rouhle at:eeJlling this since Ihey have =n it in lhoW o wn holllt:S night after nighl. II is completely tithe". ble and offen; endks.. possil>ili. ics for bllli ...u. pa """"h.y t.......,hc:s. gags. and _thing entirdy ...... .. the scrttn . M~ than that . i. is. warm. h3!lP)' ..._ that w;1I play inlO lhe e~i l suspense of.he heing kidnapped immediatel y following. Maybe II. not genius. but it cen ainly is creati>"ity! Many people contributed ideas to thitl ""_': wi.h Wall leading t.... ,,ay . bul .he .. oryman 011 II 101 D"lmtllimll was .Ile talenled . pIIngent, imcitlle hurno.-isl from Indi"na. lIill I'~e., He shared .IOII'Ir d Waif s feelings fOf fannl~nd ~. and hi s char.>etm wm al"'ays 5Omehow reat and do ...n to-earth. no ho,., fanta!.!>c .he concept . It is amazing 1'0""" .. observation e""bled him 10 calch lhe essenct of "I'f). Ihing he drew . .... helher ;t wa, a hoxcar 00 a f~iPl train or a Bavarian dwarf li" ing untler a lil y pad. feI. 10-..' storyn.. n and s ketch anlSI lbtph Wri ...... ,,'110 . . hener kllO ...n for his great gags "' the Goofy ..._ ~ ""Ill thaI Bill ...as 0fK of.he few ...00 rtr..... up re.1. li ve charnclef1i thaI li ved and bre~thc\l . .

""'e

""PPIn.

thougllt and came from the hean of tile Stot)' an i.!." Bill PCCI alw~y$ h.ad a ~tl'Ollg, overall CQI"ICepl or tile -"ot)' IT\3t"";al IIIaI integl'llled tile lIumor in boIlI the cllaracters and the situation . Rather rh.tn s pOI pp.llis imegrity drove lIin, 10 1iC;orcll 0111 an idea tIIal lifted the s ituation OIIt of the com mooplatt. and sliI! left tile door open 10 funher development in Ihis new difI!Ction. Yel after cooceiving all this in lIis mind . he could ~jcct the cmire lIOI ion if il did IlOl work wilh tile OIher pam of Slot)' . One suell invention IlIal laler lIad 10 be diliCanlcd was bhw. the buuard. in the early versions of TM JUng/if Book. Rill nttdcd some way Ihat the bcaslS of prry could find OUt wl\at WlIS ",ing on in OIhe. p;lfU of the jungle. so lhey knew the movements of lhe hunlrr Buldeo and lhe bQy Mowgl;' l ie could have !lad them s\.llking about. jlCt!ring lhroogh (lie tall grass constantly. or lislening (0 lhe:: warning cries of SOme bird of tile Indian jungln. BUI llill found a JTIOfl' en(enaining w~y of lying ;1 alilogether. Since buzzards do not kIll , he had !shtar in [he humilialing position of llavi", 10 get lIis meals from (he scraps left by lhe liger and leopard and !he wolves . Iking cn\(rprising:as ...ell as hungry. lie promoted himself and hi. even(ual meals by u -

I""

Hill Pw pt>HS"" .. pIIMo

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lif,." "'" pld. dT"",.ItII. wod _

-*""'"..........

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e...." a piau fO.II AI /rIo .i,uA ,,"lSI aM "orymalt. Bill /lad a ~";"w "". r,,11M fi..,li~1 u" m"Ndi~ i"8 ""'Y '" I~II " "<""1 I" .irumi"", INu fflI<ld".. .....11
"ltimaud.

TIIr ItJltlily of dDlOOOIuuu " '''lrA 'M" I"WJI"iu 1V pt<>"tJItI I(}~'IIr. liU "'" Iuuntuofiuroily. lit IINs """li' <UId rmrrl(}''''''l~' 'IOU"'''' ,,. 10 1 ~(moci .....

,.,,'i....

c/wIgln, bils of informalion Ihal lhese bcasl~ mighl need or find inlcn::S1ing---<'spcda ll y informalion abou l tho Iocalion of a prospec live 11",~ 1 for e veryone . BUI all uf Ih\:)e meal..,aling animals I"fIIl\1I by nighl. mllhe buuanJ is not el.juipped for 1I1Ivcling in I"" dart . He wall alway. SlIggc::slin,. " Pcmap' "'" can go fnI thing in I"" IO>O<IIing . _ . "' only 10 be cut off by a CIO"lin,. " Now !" And as "" ran off in pursuit o f his bmefilClOf. bumping inlo tren and stunlbling . "'" heard his vOO ~rying. whining. " Bul why does il have 10 be now? If. dark and ... Oof . . mBYIJc we cou ld . .. ,Ikk . . . . 1I 0w aboul al the crad of dawn . Oooof! ... T' Nono: of t~ predalors liked I"" buuard . but I""y '""' lilcd the infon",uion he brought them ....hich [RieIIlcd I wooll relalionship on whkh 10 build their ~Iil ic$ . It is al\uys good 10 know how oncch.atICIer f ls aboul another. BUI Bill 1hooullhl he waS on the .... ronillrack and lossed OUI both lhe character and tho ii lualion . lI.eali ,.ing il was more imponall1 to de.tlop a very believable re l alion~hip belween lhe panther and Mowilli. he found Ihis wcakened by the cOfl,ic ..oc, of orh." cllaractcrs.

No one had an easy lime wilh Wall or found him p;l<Iicularly romfOf1llblc to be around. and anyone as argumenlali~ as Bill was bound 10 compound the problem. Sl ill , he e njoyed a rare rappon wilh his bou lhat led Wah 10 relax more in DiU', room Ihan in most orlters . Thi s was not always to Dill's advantage. He lold of one 1II0min, when Wah dropped in wilh lerrible cold and nopped in an easy chair in fronl of lhe boord!. It was c lear that he s hould be home in ~ instead o f roaming the halls wilh walery eyes and a Sluffed up 1lOISe . lie admi ued . " My head feels like a block of cemenl. but quickly he 5C1 his Jaw in I defianl aUitude and continued . b.II I' m oot giving in 10 it! "' Bill smi led weakly; lhen Wall. with a heavy sigh lin~ wilh dclerminalion. wen l on ... We ll . whal the hell ya g(~ here . Bill ?" The boards were not uppruvw. a!ld Ihal aflemoon Bill 5tan ed work on ~ new ven<i".. of lhe malenal . Walt' s pass;ng fT100ds had a prufound errc:c:t on boIh his judgment and hi~ bc","viOl" and on his dark days he was apllO rip I storyboard lpart for no apparent rea son . ti lll alw~yt; claimed thai there wen: 8ClUally thn:e diffen:nl WailS: the dreamer. lhe realist. and lhe spoile r. You never knew which one was coming into your meelinll ' Bi ll quipped. "You have 10 pIlone down 10 lhe fronl gale and a~k the >p wh ich Wa h came in this

mornmg.
Thc biggest problem the .torymen had with Walt

was lhat he nevc-r would look wben: they

~ ~nling

whe .. lhey uplainc:d the aclion on lhe 1MMnIs. Usually he already had seen every thin, ,nthe room a couple of nighl' bd~ and was not cvcn Ihinkin, aboul whll was tldng said. bul be also had the knack of lislenin, wilh one car while complelely engrossed in somelhing else . Nothing ever slipped by the man . Webb Smilh Slarted off one meeling by askin, Wall. " IJQ you see this drawing up bere'" Will assured him he did . Webb COIllinued. "And)'QU _ this drawin, down here'" Wah grumcd I n:ply bul his curiosity Wl!S piqued . Webbconcluckd. "Well . when I'm talking aboullhis s kctch up hen:. I don', wanl)'QU looking al Ihi s , ketch down here:' Walt laughed. bul deliher_ alely looked every where e~cep' where Webb was pointinll frolll lhen on. With Walt', policy of seldon' using. sin,IeSioryman working alone: . lhen: was always a templalion for each

man 10 build his o wn private s toryboard over in a comer iftStead of working together on common dfM. Ralph Wrighl in~is(S llul this is wh.al happe ned on I~ thort . TM Art Of SI:Ung. One storyman had all his husi_ going from right 10 kft, while the Ot:her had his gags going left to right. When Wa lt tried to combine their e fforts, the dirliom s imply did not: work . After an annoyed s ilence. someone suggesled , " Why don't you usc this stuff of the Goof going to t~ topof the hill and i\C'uing ",ady 10 make his descent down the SII' s lope f..cing hi m. then suddenl y have him shoot b;K:kwlrd$ do.>wn the ~Iope he has just climbed; mat' ll make him gning the ~vrn:ct d irecti...,n for the ~t of the husineu , " It also mIOO thc funniesl ll~g in the piclun:. To lien SluupI;ln , Wall W;L' the wool<:- Siory dcpartmo:nt . no maltcr who wa, wurking fOf him . Fmm lhe puliition of di=1Or and oo;c25ionally l upervi,inll director, Ikn had a special view of whm went on. l ie uid. " Walt's :.:ting and Murytel1ing abil ity were If! important fealu", in the success o rlhe studio . He had D terrin,:; J"'rsonality fOf ttlling puries in such. way that the animatan ~nd di=lon; were lhoroughly confident and believed in thorn . lie could lell a story so that yoo coold see it as il would ilf'PCIII' on the 5Cf'n , I e;mnot give the man lUll much erediL. " Ikn _III on 10 rcl ~le how W ~1t helped the di=tOt of the piclure U well. I was assigned to di~ 0 .. Ia:. As I began 1 plan 0

it. production, I naturally assumed Ihat I would stan at the belinning 0( the story 00 a!leQUCfICC or Mictey Mouse showing off as an icc s kaler. Wah dropped in unannounced, sat down. and began looking II .... Story s ketches . He said, "The picture, ~ i1 ii, il loo long. " Then he pointed to two sequences that \tint pretty fir down in the nary. The first involved Donald Duck and Pluto . Donald Slr::opped a pailgj' ice skates 10 Plulo'S paws while PIUlo wu ukep. Oon~Jd lhen yowled like a ,~t, wak ing PI"t()"p In a n llgil:lled stale . Plulo's firsl thought was III take off '" pumlit of lhe sound . lie hil the il:e and sklddod IU'OUnd hartly , and ~ fooh . TIE second lCt!ucnce presented Goofy u an ia fi.r,,:rlllan QIl lhe ..... ..., fW7.en punoJ , H~ !\ad <:lit, hole in lhe itt, and lhen had dropped bits or tobacco into it , with the in tePlion of dubbing rh< fi5h as lhey c ame up to spil in the cuspidor "" had provi<lcd. Iking Goofy. however. he kept mimns lhem . Th is K'tjuence was perfect companion fir !he Pluto SCCjuence, because _ coold kave Pluloil I helple S'lualion and then cu t back to Goofy and his troubles without wasting time on tr::on$ilicmt

tiIe..m.

foou!'! .
Walt said. " lI ere YOll' ve 101 tw<) great li!ulticlBJ. It i. n ' l ;mporlant how we lead up 10 thml. Noooa fler you gel thr:m done and you know how mocb footage they U!ie. lhen you can go b;K:k -.I t-iId your heginn;ng ." Walt procteded to describe rh<

rhi, i"ht {i",,1 ('Q1I'i~uiry of 'hr ""tmp' '" tm s"""" W /IW TIu- "rdit,,'1uJd _ . INj(Kr bNft a<UJ 10 ....'''''1 "'u~ NlUld '''It ~ ;ft " Olrn>Oft. W...., Ifw:r Iwlint .hi,?

""'int"

..aRou$ " '115 tl'llt Pluto would try to get up on his feet Igain. only to nop down . He w~nt through the . fdc: routine . H~ a lso de!iCribed Goofy's fishing prob!ellUi . H~ concluded by lIIying, "Now when Goofy i$ completely outwitted by tho!ie fish. then !bey aU come up IS' group Ind spit in !hecuSpidor. And ..-hy don 't you consider pl ayi ng a little tune? Some son of I liute tune wi th the spit hiuing the: cw.pidor." We ended up by usi", what musicians ~J.l1 " btt4k .' They were high spots in the fin (shed piClun:, This expericn<:~ was a valuable lesson for lOt . A drar example of how Wall worked wilh lhe story -nIl i~ found in !he !ieq~nce in SliD'" W/rir" in .. hich the HUn1 sman lries 10 kill the young girt. The original "n';u" of this cla.'\.\K: fairy taie ma~ say, "So tk quem onk..w a failhful ~rvant to kill the girt. but. ;nst~ad. he told her lu nee inlO the woods." The $('til( could hav~ been playe<l lhat way. " 'illl oor .". lit! illustnl ing lhe aclion in. few pH:torial ~nes. but that WIS not nearly enough for Wall. He fell there OOIlkl be an n eili ng nlOltlCnt ~t thj~ spot. and there Ud to be _ w.y ""e could do it in c,noon , Could ..t poMibly ~a(ll I ny of the techniques o f the curre nt hwactioo cinema'~ It _ lime o f stimulating adYltntt:S and c~peri. rnt1I1S IS new areas of commu nicatio n werc being upknd. Many u titing uSC's ~n: being made of the

montage. a collection of K:ene5 CUI together to give an overall mood rather than a specific continuity . Dr. Jdr),// (lIf(/ Mr . Hytk. iUUTing Fredrir; Mardi . ronWned a gripping lran$formation from genlleman to beasl right before QUI eyes . The film Privott WQI'ldsc~plored the mirod$ of psychotic indi viduals in an institution, with /.>lIe panicullll girl named Sally. who hurd her name called over and over in a fading echo. The sound track was beginni", to be used to interpret flings and sensation~ in addition to just carrying the dialogue . Film I\ad oo~ of age as a medium o f uprusion and W alt would not be left behind . He would find ways to adapt many of these ideas in an imagi native way to the limitalions and strengths of !he , lItOQn , He wondered what he could do with his o wn $eo quence of an attempted murder. a burly killer who ' annol carry uut his missioo . It aU sounded SO n:a!iSlic. "" WlIighl. SO emotional and dnomalic, and none of lhose: elements ever had been consitlered for animation before . More tl'lln onr;e he asked , " Can it be dont:1 Can we find way 10 bring il off?" It was /.>lIe thi"110 have the girl s ingi ng to a group of ani mals. and quile another to prescnt two human chanw;:1CTS gripped by intenSC' cmoxions . How could he do il1 His first thought was to have the HunulIUlJI a real villai n . a he.vy , with a "voice that is lUSty and cracked ," He would l'llve . name , Humbert . and ~Id be a de finite personality. like Wa llace Beery. only meaner . His daily job was 10 kill , and perl1aps he neb

/ I

-"

""

looked forward [0 this particular tas k. "When the Queen says. 'till hu: [he Hunm""n's foce brigtnens up IS though he wants to do il. " Here was real mc:~ . 1lIe girl had bn "" nl out \0 pi~k flowers , 50 the sequence should star! on a happy l10Ie wilh no hinl of tl'Ollblc . 'Then gradually the suspen"" would Slart to build ali Humben 5tt$ hi~opportunil y, draws his knife . and . pproaches ~auliously. When somc:lhing ~auses him 10 fail to CUT)' 001 hi s bloody as~ignment. lheR is co nsi<kr ~bl~ dialut!ue explaining whal he h:1(1 heen lold to do. why he muld nol do il. and Whal Snow While should do nnw . This fim ven.ion Iold the .1IIIy wilh melodramatIC e~cilement . but . If II h:od been !\COl down 10 the anim~' t"", at that poinl. it would have been difficult to do and ulKlouhtedly very cl umsy on Ih" SCreen . [I was R Ii_action situatioo. with lIe.icale acting. 1lIe anin"". 100 wookl not be able to get hold Ill' either characler without endlcu slIody of film, and even IMn lhere wa~ the danger that the re~ul l would be on ly a cruUc: ~ym bol, oontorted by rt:~lricted mQvemenlS and weihl ' Icssness. 1lIere had 10 be ~ thought . mure refinement , ~ adIopt.alion, before this woold be righl for .nimMion . More story TflC(:lings were held . .lind ma ny n>()fe d..-~wings were made . nd pinned OfIlhe hoards. InStead of pickin, a bouq ... l of flo",ers . perhaps Snow While

should be stretchctl OUI . reaching for. particular flower in the Cnlnny of a rock , She would be more "ulnmoblt and make . better larget iii lhe dagge. w l'l raised ..., one lone flowe. ",'ould be mure sy mbolic of the l"""ly girl. Wah began 10 feel Ihal even lhou,h tllo: flovom reprnc:ntcd inntJ<:e~ lhey lacked warmlh . and tNybt cIlanging 10 an animal Of II binllllat coold respond 10 Snow Wh ile would give a slronger situation . If . . we re hclpin an animal in !rouble the r.: would bcgreal conlrasl 10 lhe evil ~ppr<>'lCh;ng behind he., and I woulll hdp build he. Ch.anlctCf as "" til . Immedialtty the i<k~s he",n pounng in . "S hould the bird he sick , 0 . have a brol:f " wing .. . ?" " 1 <lon'1 see !ha! il i$ sick , bul jusl li~c ~ liuk kid woo is lost ~nd is rrighlenW, crying . , , ." "Sllo: l4. ,k~ . ' A~ you an orphan'!," ; " , .. get lin le baby t.jrd idea the~ . .. It" innocenl, paralleling her o",'n SilUftliun ." Looking over lhe , kelches o n lhe board, Wall coold sec !haltoo mIlCh time w..~ heing $pCnl 00 unj~ ",,!ion. The: preceding sequence had ~~Iopal .. iIb. <!rnI1g endin" and you knc:w of the: COII",ming jea1ou sy of the: quun as ~IIo: assigned lhe grim lask lo ller faithful servant. This was n<) lime 10 51aft a new job. He commenled , "The mQnlCnl silo: lells 1110: HunlSn\a

10 tiU Snow Whi!c wc fade out and fade in on the dullC !ring curied ou!- matc it movc fas!cr." And the dialogue a! the end had to he brokcn up with more anion !r!,,ecn the !ine~. Tha! would be bencr than a Ioq bv.och of di~log"" . She would ask shorl ques tions -ad he "'"(MIld answer ,,i!b sIlOf1 ans"-C:rJ ." The", was a big discussion about how Humben -..oold wc:aken and when hc s hould drop the knife. '1 mink it would be a stronger picture if $he j uSt _1lfOIU>d and Ke$ the knife over her. It would be _ .n.rn.!K: .. , : . 1 think it would be bener if he droppo:d the knife when her back is turned . Walt starn! at the board. bis finge rs drumming on lilt Jm1 of the chair , one e~brow down . l1Iere W2S a long lilcocc. then unexpectedly. Maybe we cou ld !pttd the woole thing up-ot". m~ybe the", is bener "lY we can do it. Maybe ,,c dont nttd this ,ilwtlion ..1Ih her at all! Thtn: " as anolher ~ ilc","..,;aS!he fellows in lhe moelin& tried to consi dcr this proposal. Finally one sug&nttd. A fcllow like lhe Uun!sman who ilKnt out I job should do II. A fellow like that wouldn , ronfas tNt he couldn't do i( .' AnoIher silcI>Cc. You could have her e.s<.:ape . Mon though! ~nd ~ ITIII.'C tings and!l1Or!' uctches

on the board . Art: "'-C: doinl it the right way? Will it wor11 M aybe if we juSt kept it short and direct and
stic k right to the point. and do not develop the Hunt s, man as much: play OUI the situalion. but do 001 1"1 inmlvetl with him . W ah Mlggested that they woO; on the dramat ics of the whole thing. keeping the Hunts man in shadow. showing only his feet he comes forward .. . . . and hear the crunching of the lcaves and twigs." This woukI build it in the audience's imag. i~l ion tl1oOR . When)'QU get d06C-UPS o f faces)'O\l havc to !ell them!OO much aoo you lose imaginat ion." No One ever had done anything like this before. and it was imperativc that the audience accept it the way it WI5 intended . If they lauiJted at the Huntsman. it WQIlld lnC'an thlll the audience had not been dlll wn inlo the s ituation and could not !akc hi s type of handl ing serious ly in ~ canOOll. llIcy m US! belicve that this animated figurt: uis!ed and n:ally w;aS goinllO kill the girl. llIcn: WilS good n:tiQn fur Walt 10 w~r . St ill he kept roming back to the salnC' ingredients 15 being the right way 10 go. In a stOl)' meeting in J une he was able to outl ine what he thought ~n: the best ideas. and though there .... ere ~ n:fiOClnC'n!5 as the sequence .... ent through the plant thi s is csscnlially the way i! wa~ done. NOIe the Icngth of lhi~ meeting . Saturday. from 8:00 to 1:00. wlui a "'gular work. period in those days.

I'

SEQUENCE A-SNOW w llIn: ANI) nit:

H Uf'ITSM AN IN T H E WOODS Meeting held: Saturday. June 27. 1936--8:45 A.M. to Loo P.M.
Pru~nl

she is talking 10 the hule: hlrd and .Ioa)"in, Ih1l1,11O C!>ttl;t up. litre como: the fCfi 51"",' ""m I hnIeating Mcp-il could he the kInd of a SICP thalrs
trying to he light. Llrry: Woold yoo su the ., haoowli on the grouoo' Wall: Yes, but the shadows are so that the)' any IhTOllgh , She is 1M.., with the lIule bird and npc bc:hind COI'IM:S the shado_blllid up the sI\ado<o. and the: knife . Joe : We jUlit set a flash of the knife a~ il ;1 btllll pulled . Wall: We jU.l t flash on (he Shining anicle-<;ut 10 ller alld ~he kis~s the liule bird and il flies '''1) - Ihen we CuI back 10 the knife o~er lin 1IId. begins to shake. hand . n l and knife drops Maybe he coold drop<k>wn riSht in !he scene, and she take. il as he say. FORGIVE ME OOIt 11I0Il NESS. Soow Wh ile is up the.., like she nII'l understand iI_ WilY . II U~lH~Rn WHAT IS IT'tnd

were:
Joe Gram 8ill Cou..,11 Larry M<ny

Wah

Fnmk Churchill
Charles Philippi B<Jb Kuwa/w"a

Walt Snow While is 10 be picking tlowers-so Ihal when you open up on lhe ~IUp here there is a menace right offlhe bal- YoU jus. cu I to a Sh()l of
1M HUni sman m."rc wilh j usl his eyes looking .

What I !itt tiw:1l' - she is trying '0 help the: liul~ bird and tllen the Huntiman starts 10 come 1 her 0 wnh tho: kn ife, and you CUI In the Hun!Sman as ..., JlUII.< 11M: knife 001 and have I slow wal k un him out of lhe scene--that is the last you Sec of the Il unlSman, e~ce pl hi s f""1 apprwching. While

I11ft I....INI ~
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llumber1 coold I'lIY, I COUW/<"T 00 IT YOU R IIIGII ~ESS _Snow Wh ile says. wItAT'- liumher1 : I CANT I(II.L YOU fOR it E R- Snow While l'lIys. 11'1101 Ilumben ,.ys. Tllii QlJI:f.N. TIl E QUI];/< , GO 00 00 ANI) /<t,VEK U "TU MN TO TIlE CASI1.1i
FC* THE SA IH. Of' NOT ONLY YOURSELF, SlIT FOR

lllOSF. WHO LOVE " OU . DON,. Rt. 'URI< Ma )'be i lie' rould end up wilh GOGOGO, She is ronfu~d arod run, off and maybe cut h;lCk 10 a Shol of him

In. bRakdo,.'n qui"~r posiuon ~I the lasl . Gel a !IIOI rA 1ht ,.rods and ~he dlxsn' l k...... " 'MI 10 do. bul jU!;l goes on . hesitating at lhe heginning. buI gres 00 decper and dec""r_ maybe yOlI C'KJ ld carry lhal "SA U.Y. SALLY " idea of I( ILI. YOU" 'HO"-THE QU~t.N_/:KJikling in lhe liule: Ihinp !lit Hun\5flWl said 1 her. And alwaY' Ihal GO 0 0000 ",hen "he "'op',

is Ihi~: " Siling the whole Ihing up-do you think tMt. ~""r.llI y. ,.-c are: 00 lhe right Ir:ock for Ihin, lit.. this. or do )"011 Ihink il is too heavy?'" There: was 00 ~nl to guilie lhem and 00 way to lesl the: sequence unlil .1 was completed in oolor . No one could say for sure. but Wah SHICk b y his 'n,ui lion and doded to go ahud .... ilh II . Today. we c:lSily can _,he: ingredicnts th.1 made il work so well. The crew conccnlralcd on just lhe: cssc""c of lhe SIOf}' silualioo. 001 Icuing any pan become o~enk"eloprd : Ihty used carefully pbnntd <lramalK: >laging <alher lru.n uplanslOf}' 11",,5: and they underplayed 1M emolion,,1 . SpeCIS of 1M acting ins,ead of calling for overwroughl. lom",nled histrion ics . A$ a """,II. lhe: audiomc:eo; ,.-.:n: s"-q>I along. ClIUghc in a ,,-cb of their own imagi",,'ion. convinced of !he inle ... ily Ihal "" vcr waS aclually sllown . Thc leu lhey wc..: lo ld. lhe nlOU they filled in with lheir own IhouJ:hts; and the less thai was :said. lhe: more: !hey

_rued 1(> understand. As liule as was Jhown on the Huntsman . he probably ended up with more substance as a eharacter than uer had bn planned . By M~h of the foll ...... ing year. the animation had been completed. and. as usual. several of the poinls so tboroughl)' discussed ""ere ~ coming off. Alternative ways of doing som" of the things woold have to be found. and in this transcript of another meeti ng, Supervising Director Dave Hand explains the ideas they arc considering as he listens to the reaction of !he staff. Incidentally, the hours of 5 to 6 :30 were no! normal wurting houl"$. but reflect the overtime that already was expe<:ted of the personnel in order 10 .;o"'plete the film .

JA-SNOW WHITE AN D THE Il UNT SMAN I N THE WOODS Meetin; held : March 17. 1\131- S:00 ~ . M. to
6 :30 P. M.
Swe~tbox

S~:QU F.NO:

PrcsetM ",'ere: Fool ..... Vern Papineau John Hubley Ted Baker Eml'Iit Non.Il i Juon Harold Miles Stuar! Buchanan Ken Anderson CharleS Philippi Terrell Stapp Tom Coorick George Goepper Les Novros Mm: Davi. Dick Cn:cdoo tllI&h Hennesy Dave Hand Grim Natwick Mike Holoboff Grim: I didn't care for the !-hot of the Hllmsman's feet very much--it didnt _m s.trong enough for lhe place it was in--it _med a li n le clownish. Dave : Yes. we are retiming it and possibly reshooting it . G rim: the feet dont _m strong enough for the situation . I feel you ",'ant something big and dra,""tic. I think lhe shot doe5n ' t even show the feel o ff 10 advantage. You 're upting something ominous and an you o;oe is a Pli. of feet . A knife W()Uld represent ",'hal was going to happen bener tn.n a pair of feet. Dave: A shadow comes in first. then the fccl. We speak of having the feet s tep o n her bouquet of flowel"$ as he come. through the scene. Tom: I Ihink then: oughl 1 be a CUt there to the 0

Huntsman after Snow White SCream5--just a fI&\h to a clo5e-up front view of him . Dave: We ha~e discussed lhat 1(> oow his haDd reining and the knife dropping . but if. a JOf.ld poinl and I'm glad 10 have it . We arc coin, 10 do it lo"'er and ha"e more furtivellCSS in his movements. Creedon: He walks li ke he is loiAS 10 meet some thing . He should be movins sideways or e=pina: I<;:k of somelhing . o.\"c: I reeall a g~neral reaction . PIpIe Mbly surprised with the aninUltion , il didn'l kd ~ bod. Creedon; I was agreeably ~urpri""' , lIearins tbr voice alone. I thought it " 'wld he ham . Dave: We still intend to ~Ct aJl(>thcr c",",racler voice and do it over. Suchanan: That"s a I""""y hit;h cliff she falls over Dave: W~ have had a discus~iun of tltat, and""I: felt it should be a shorter drop-INny of us. Suchanan: It s 100 d:mSCrou5--il might kill hc:r.

,,= ......

"The scene of lhe ft wa replaced by a ~ of die II l1ntman's face coming closer and closer. but 1I1lIt no ~h ange of eXl"""ssion. The menllCe of sing die
steallhy (CCI had sounded !iO good in the SlOT}' meetings. but even Wall agreed that the repl~ment IocW bener. What is more inleresting is lhe thought ~ sented by lhe last three comments on the page, n. cli ff ~ 100 high .. ;1 might kill her! The girl become real to the crew '" ,".".~, did to lhe audience . No one ever WOOTled aboul Duck filling 1 00 fa.! Th is sequence has beco"", "~'"".o tion wilh lhe audience. Everyone was drawn inw picture in a way that made the eventi 'h.",,~ have a greater imparl . It was melodramatic

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becoming saccharine. Perhaps the worked on it contributed the most 1(> malting it SUCttSsful pan of an outs.tandin& film .

".",11" .,,'''.

Dialogue
"The easiest way 10 develop a Story is to do il dialoaue bet",'CCn I lhe audience neem to know . But. as

iMd. " When !OCe tell a >lory in cinema . !OCt should raM 10 dialoguo: only '.'~n it '~ impossible to do odII:r.,ise . .. The hardc~t way to de"elor a ~tory i~ to OOtt~lIwith panlomime . While it is truc Ihal a charJe 11'1 iitklom comes to life as a s pe6ft<.: I"'rwnality until tk vo;.:" is added. t~re is alSQ Dupey ...00 made no 1I:IIn!s. Pluto ""ooonly howlnl and pamed . and Donald o.:k ...'hose dialogue ...as filly perttnl uninlelligible. Slill.!IIQ(>1 of the greal characlers owed much not onl y 10 the 'oke but to 1M carefully se:1 lcd line. they

character is not K ling. he is not Iiving.'" They Iud to Itl'lQw!he feelings that go deeper Ihan ..."OI'ds before lhe y could fin<.! lhe strong attilude. that woulll male Ihe silualion believable, There .... en: four major rules to wriling dialogue:

Rul, I. Do

rIlH

" 'riu diDlogue

Ilrol ducrilN~

"""'1

)'0" urr suill&.

....

Wall uwally lefl 001 lhe dialogue umi l a s.equo:..:c IIad been de''C~ 1 lhe poinl wllell: he: could I 0 JII!I bi)w liute waS ...,all y needed. If lhe idea could be put o'er ...i lh an express ion. an action or a souOll dfec1. or with music. M would not uSC dialogue . The AOI)lIWI ~ 10 think in ... isuallenm firsl. and when k dIid .Tite dialogue it had 10 tell 5OI"OCthing ~bool lhe dIIno;ter and not be: cxpo~ition. WIlt insisted thai no OIItwanlS to see a cha racler c hewing away on a bunch \ll'W<lr\I$ . 'hen a provocalive silualion i. developing. nc .wir~ ...lnU 10 I what is going 10 h. pp'n. .-I Iht swyman only .... ant. lhe dialosue: Ihal will bufy and ~n hi. story and the: per50ru.lit"'s. Hilcheock also said. " To me One of Ihe ca rdin~1 _ for a $Criptwriter. WMn M runS into SQmc: diffi nIry . is 10 !;.Iy. ' We un cover lhat by a line o f dia . : Dialogue: >llould be: a ..... nd among ()(her """"'thing Ihal romc:. out of I'" mouths .,1I<.>sc: lelllM story in visual term,: " I' 100 :IUSlere for 1M cartoon Ihal has and per)()fllhly IiQ heavily . but it is Ihlat Iry to call)' tile meaning of tile

If a character is panling and s~at ing from lhe he al. 1M lasl Ihing he needs is a line Ihal Siaies. Soy. am I hot!"' Or if he has sianed 10 lelve. it iHoo late tocommenl. "Well. I guess 1"11 go now:' His " 'ooIs should refl 1 his feeling. ilbo!.l ...hal is happening . nd be wriuen in way that .noclle. hi. perwnalily.

Rul, 2. Tin: ....ords utld Ihe IhoughllNhitld Iht.., shoWd IN spial 10 Illis OM citarOC:lrr. No one else: woold
say things quite this way . Look fOf unique ..."OI'ding. colloquial phrlscs, colorful upre~sions Ihal are righl for this one ""rtieular chlaratlcr.
Ru/t J. 0;,'/0& .... I7Iusl IN ...rilltll So Ihrrt j s _ rhill& 10 ullitn(u,. It has 10 n:flect an attilude thai can be drawn Of an emotion Ihal can be soo,,n. Exposilion is deadly. and 100 many words waler down Strong altitudes. No one can keep any sirengih in a long line of llialoguc.

Ont producer al Disney's insisled Ihal if a character -.I he feit a cerlai n way. Ihal was a lllh.1 was needed . wl)UkI.stabli$h the fact aOliIM loo",,,,,e would 10 belk,'C it. Bul il docs 001 ""OI'k like ' hat. II is a cllar.l.cter is mad or Ii . "!bere muSI be business 10 ~Ialcmenl and a s iluation in which he can Ilw:se: emotions if the Jud",,,,,e is 10 Iw: so. Un'it ,he viewer feels IIIe eTTJO Iw: is 001 imfll'Cssed wilh the "''Qrds. it simply : "Anyone " '00 li '. notacling.~ndifacartoon

Rult 4 . Diu/oB .... ..,usl IN ...r/lttn MJ 1M aclOf' doing lilt ...,ju run comribme somnhillg. Wilhoul changing 1M flXaning of the line. il is usua lly possible 1 give it 0 more life by rephrasing or adding a louch thai lives , lie lOCtor. belLer c""""e. Oflen a chuckle. a sigb . a stUIIC!. swallow. or gulp will reveal man: of lhe per. 5QTlality Ihan lhe words IMnH;elves. Other limes. lhe actor may have an inlimale know ledge of fol k phrases from certain regions Lhlat willMlp build a man: internling characLer .
"!be voice lalent usually i. uger 10 Mlp devclor a unique characler. cspedaUy one Ihal is unders.ood lhoroughly . and Ihis comribolion should be encour aged. Ho""ever. in lhe early day. of wild chases and violent lOCtion. lhen: was lillie opportunily (04' lhe nuances of an individual personality. As one lCIor adm iued wryly. It 's a linle difficull to build a strons

.. UuryCkmmtHu "mI<ffl1 INfQ" 1 ".,,/ by Ward ...

i."

r.

.. VanctG.rry mrs

fN)JIumtS.

'xp"s

OM al/;/"".. for /Iv linl. SUir <!f1l>t

CharaCler when all you say is 'Oof . . ugh. 'flY" yip. and Wheee!' bUI i('5 slill imponanl 10 do whal you can." Occasionally. lhe dialogue would be wriuen befm lhe skelches were made if an oulline had bec.n approved a nd Ihe wriler had a slrong idea of how lhe sequenctS s hould play. Larry Clemmons. who had bec.n in ani 'malion during Ihe Ihinies. Ihen len 1 wrile for radio 0 before returning 10 Ihe sludio. had a 1~lenl for brisk dialogue Ihal gave everyone a feeling for lhe ch.1nc te~ and lhe enlen.inmenl pO!emial in a silUation. Ik always wrole scri pls. lhen a~ketl lhe suny shIeh .... 10 follow lhem a~ cI'lSely ~s possible. If lhe , kCl(l man was 1101 alen. he would end u[> merely illu$1I1lins whal was being said and nOI adding any ne,,' ideas 01 approaches 10 Ihe problem fmm a vi.ual slandpoinl. Woolic Reitherman direcled these tilms. and. whik lor enjoyed the wordgags and Ihe play belween ch.1ncle~. he knew Ihal Ihere had 10 be a new ingr.ditd added 10 make lhe .<equcnce do ils job. lie "wid complain. "There '5 ,,"Ihing happening! I wanl a hoppening! I' ve beard enough words--J wanl somrdIi" going on now. I wanl a!lilUdes ... you have 10 tnow how tMy're fee ling. whal lhey're Ihinking bef~)'OI Can tell if lhe words are righl!" Slorymcn must lhe palicoce aoo energy 10 try many Ihings seuling on a direclion .

VlIICeGerry. "'ho did both ,tory and slory sketch. hit upon the best solution_ He u&ed Larry'S script as a p!de arid a basis. but set it aside while he staned making the drawings that seemed to fit the situation. One drawing led to anOlher as he explored various _l)'S of handling the chamcters as ....el1 as the whole mood of the se<jucnce. Evenlually. he W"'l able to pin "l' continu;ty that included actions that could be animated. bosi!>e"s that developed the characters. and pantOmime that strengthened the rclationships. At that PJOnl he had a meeting. and all the ideas ....ere pre !tilted. Following thai. LaIT)" would rewrite alld Vance ~"OUld redra ...... bul bil by bil they Came together and tht result ..... as a unique. convincing sequence that fl'lbably could nol havc been achieved by any other

""'"

A good eumple of this l'ooperation is the introduc, tion of the linle girl I'enny in Th~ Re.c"as. It had in assumed thai the proper ..... ay 10 introduce her ~uuld be in a happy sequence ..... here the audience could be taken by the appeal of a cheerful. spunky child. She ..... as an orphan who wanted "ery nluch 10 he ......... ed. oot it ..... as felt that any sad sceneS would have !!lOR impacl if she were secn firsl in happier circum.\IanCeS_ A whole sequence was ..... rinen. sketched. and iW1ia1ly animated of her on a visil to the .no_ Il'hen it waS discovered latcr on that the pathos of

the little girl was the very heart of the picture. all of us decided her introduction shOUld be in a situation with a strong hcan-lUg right from the stan. We wanted the audience to become involved with Penny and her feel. ings "'l quick ly and forcefully as possible. SO our first sequence of her became the one in the orphanage right after she has been f>35",d OVer for adoption. In the story meetings. we had conside:d ha~ing Penny do a linle act for the prospective pal"<'nts. some litlle song or dance: something she thOUght she did .... ell alld on which she could pin her hope. for adop tion-something she hoped would make a mother and father ....ant her. If she did her beSt and failed. we k!>ew there would be a strong empathy from the audio enCe. But it also would !leee",itate showing the visi torS watch her act and perhaps pan of lhe act of the lillie red-haired girl who finally would be chosen. [t had good pathOS. but also problems ..... ith the added 0 characters and more fOO(age 1 put over the additional bosiness. Vance Gerry had been exploring Ihe appearance of the bedroom in Ihe orphanage for the next pan of the sequence. and Larry ClenmlOllS had wrinen some poignant lines between the little girl and the orphanage cat Rufus. as he is trying to find out what had happened . Penny Tl:sponds . '"They looked at me. buttheychoosed a lillie redheaded girl -she was prettier than me."

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Belw~n Ihalline and Vana: 's <.lr wings. lhere was no .. nce<I for any OIher inlrodOXlion . Her fim !occ'"'" in lhe picture dlowed her sinin, on her bc<.l. all al""" . in !he orphanage . Now ""C' had 10 to!K:cnlnUC on lhe ~rongesl stIIle0 menl we could make for a sad. lonely girl . We had 1 ha~e warmlh. rommunkalion. and sineerily. and lhe girl had 10 be h;mdle<J u a real girl in a real Sillialion. There was 00 latilu<.le for broad drawing orcaricalured c~ prcssions. Whal had 10 be caric~lured wa.. thc film approach In gelling lhe: audicllCC 10 fed For Ihi s girl and he:r problems. 11 had 10 be immediale. succinct. and conlpellin,. This was our he:mine and <he: had to capli~alc lhe audicnce from the: ~cry firsl 1.... wilh no false ~ I nd no ronfu$ion . II was a delicate SilU3lion and required del icalc handling . The rnovc::s would be iiUbtle. bul I~ planning had 10 be po.."C'rful. Vance Gerry did charming drawings o f the girl md !he cat . He lried different uniform~ for her and re searche:d the: kind of bed 5he: would have. as ",cll as lhe ChaJaCICr of lhe room in .... hich lhe orphan~ ~lept. The sizc of the: room and the position of Penny's bed in il ",-ere both impo<1anl. He tried various type s of

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SIIIing. showing (he girl froOl the fronl. the ~ide. and .. t>ack. Each "jew offered something special. and .. ftlat~ip to the cat varied with each angle. 100. ... roukl sqUCC1 under IIcr arm in the front vicw but .c ", .. !be: OIhefs-without an a,,b."ard move-and ",-c wm.un:hing for the bold Slalcmenu, Ihal would flow

smoothly and naturally . Tbt animator who was given the Il: ~ponsibility for Ibis cruo;ialltequencc decided Ih.ll lle rear view of the aund,irl was the best for the first scene," Somehow .... Iooted moo: vulnerable wilh the s loping MIoolders ~ lirIIe noe<:k. and it allm,;ed him to hold off the first ItIIIIl ,,10'" of ille Birr s face: unlil lalef. when it would ""'"' impact . The back view WlI$ alO a good fOf the eafs IlCt ion as he rubbed against her ~.nionaldy and tried!O look up into her face . M any dille e~pres~ions were then played off the c~t because '" face "'"as SO much more pliable . lI is chin could Itmbk as he WiL'S on the verge of tears witlw:>ut ""ing ,,,,,~,;, . It was hoped lhat the audience ""ould tmpMhy for the girl throu&h him . When she IiuMydoes tum !iO that hccr face can be secn , thell: is a ... rolling down her check , bu, no 1l:31 dramatie

-- _.
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audiencd lrQUnd lhe world and raised people's spiro its. and Ihal mUSIlx wonhwhile . William Faulkner said lhat the only subjects worth wriling aboul ""'Il: "!he problems of lhe human heart in conniel wilh ilself. lit: "",n1 01110 say that;1 was the poc:t"s and wril~r's dUly and " privilege '0 help man endull: by lifting his heart. by Il:minding him of the courage and honor and hope and pride and com passion and pily and sacri fi ~ which have been lhe glory of his past. " 7 Even lhe cartoon can lry for SllCh ideals.

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it wb .11 that wa, needed . the buildup received a leH~r I jaded crilic wi,h this comment: " That scene

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:::: :~ ~::;~':~::: surprised me: ! "rom lhen on. I aboot whal happened IU Pl:nny . Maybe : tIIC' dialogue. or her expressiorl. or ,he PUt ~ , , . bul !i()Ol"oI!thing l1lO\'ed nle as no O1her _ m~k has before." '
We II"'IY~ "io.".!er if ....e 31l: go ing 100 far . or high. in our aUcmJIIs 10 let 1l:~1 feelings in our medium We cannOI be 100 dramatic '. and if we start 10 copy Il:althealer look l ill y. Yee within our limil31ions . we have ways 10 !lel'elop emotions that have lOUChed

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Character Development

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"'Ih,nk )''''' Iwl't' 10 know ,"nr /,,1I0wJ d"jit,iltly INforr }'QU CUll dw ... Ih~m. Wh~" )'01< J/(I rl '0 roricalu" /I wit/rout kltowinglhr person . Tak~ LaurrJ "mllll).rdy for ~xamplt; t ....ryho<ly can Jee Laurel ""'''' (trl/li~ ,!tinl(l be",,,S<' ,Itt)' kn"w Ll'''rel. Wah Disney

was lXMopklCly ilWu,(j"e. He never had to analyze the " 'ays 101 mighl c~(ablish (loom or find (Ilcir pc:rsonalities . He J1t'tr worried abou t their mot;"ation~ or ~.rchcd for kl."Miquu to make (hem believable . There was no pRlbIcm in I>ow 10 integrate them into tllc Story; they .....r the MOl')". lie rot.Ild no! conceive of bus inus (hat did fIOI reille 10 a s pecifoc I"'rsooali.y. He had such a ifni fed fOf the e ntertainment in any situation WI all ut these ront ider:ations " 'ere aUlomatie. From the Iq'MillJ . lhese c haracters had been real 10 him: (he !>It now ,"lS 10 make lhem as interes ting as possible. In Novemlle . 1936, we started having weekly """'tmp 11 night 10 talk of nothing but character de,e!op

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~nl of the Je""" dwarfs: c/~;r rdation~l\ips with tach OIlier. and how they would move and act in e~ery ,i1Uatlon. Many of the s\.Ilff <.:O\lld ~ s beyood jU51 finding something for !leven characters 10 do while on the $I;""co together. but Wah was looking for much more . He knew thai the development of rich perso<UlJi. lies would be crucial to this Story. and it was I ~ of tJ>c, p1ctunNlwing thaI he pankul.ly enjoyed. Wall

wu SO immersed in these characters lllal at limes. as

he lalkr:d and ""Ir:d out the roles as he saw them. he forgO! llial we wcre there . We loved to _lel\ him; his feeling about 1m:. characters was comagious. Each
succeling week he refined and wengthencd hi s ron cCplion. and ours. too. We ,,"'0II1d think LO ourselves,
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Gee. if I ~"" Id j llSI I'.~I Illy hlld. "II tiM S\.~!IC of Doc and Grumpy lhe way hcs talking about it . Boy. [ can see il so clearly! Wa ll wa~ saying, "Do.; is upse' by Ihe le"~1 li'lie Ihing. lhe ICaSllil1le annoy~nce. lIe do),,,n' kn<)W whe", is. a~ far as he is; somebody has '0 help him memal reaelio" '" IlCrsonality is concerned. When Soow Whi 'e s.ays she is a princess, he becomes all nuste",d and gets his wmds mixe<.l "1'; and. when he finally does gel the word. he says 'he wrong one_ For instance. when Doc says .. ",~ ARI; 1l0NOMEI). "'EA ~ E- (he hesilales. he docsn , know what to say; Grumpy then comes in and feedS him Ihc wronll ",,,rd; 'MAUAS ItOIH<h'TS,' and Doc imme<.lialely picks up whal Grumpy says hefore he realizes whal G rumpy says. [thinl.: Dvc

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is thai way. in that when he hc<:omes nuslcR<!, "" <lammen; for words . ' Il e has I~i, hallil of gening mixed up, only "hen lie is upscl or when he L, ang.",d ," "'hen he ">1'1 Snow Whi'e. Whcn he n",cls Sn<)W While. he is like a 1;,)low meeting a girl_ gelS awfully tlustered-son of an inferiority complex." An01her nilllli. Walt waS lalking "0001 Dup<y. It was not jusl his pcrsonalily but his physkal appo:ar ance . '00. As Walt described Ihis lillie characler...~ could see how " c should draw him. from his propor. tions down to how he would stand . Dec. 9, 1936 Walt Dopey i~nt cute looking in tllesc dl1lW(1IV H i~ hoody should be longer and his legs shooct". You should haw Ihe feclinll aboUI him Ihal he i$ wearing somebodys cas'off coal. nOI as Illough he \,..,,'" a big g"wn of something . He sho,,~ 100 much analomy. I don"hink you would sec iliP thi~ liltle guy. Babbitt Do you see him quil. e=1 ~I of W lime? Walt Yes. ale". That would come righl in Wllb sprillhlliness. When anything happens. Dopty runs as (ast a< he can and gets ahead of the OlheJ dwarfs--tums around and looks back like a kid Langdon had thai kid action lie .... ould hold""", his ha' whco running along wilh sorne: feIi0"5. la "no "r Langdons pic lures. in a faclury seq..oo:. Langdon was inviled by some oflhe fel1o,,s lOgo along wilh Ihem after work . The idea of his he;" laken along made him happy just 10 be ,,ilh!hem They igll()red him and lie ,,ould run ahead of Ihrm

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aM loot back ri"~ a kid . I f~lthat Oopo-y would "" the same kind o f guy- grad to be in on anything.
Mcr tl'c OIeeting . Olle of lhe men jOlted down so",e : "Walt is so .....are or lhe foct Ihal it " 'oo ld be m)" to male Oopo- y in\l)ilie and he doesn ' t want . . btcau!iC it"s ~ funny- he jusl ....ants him ~hild . is/! +Idling. h'sclusi,'(, but Watt always seems to h1~ a way of seeing it:so Ihal il. righL Lik e the way ' lit t~lk s about when Doc SO". imo his thin king p<l~. and lJorIey is trying 10 do the !>11m" thing , H~ hu his f.. gcn "I' 10 the .ide o f his face. and his finger slips . . Cot:S in hi. e)"<: _ Ik is trying 10 imilale IJoox lho.:re . Bot lit tw !'Ie'"<:r spem any lime thinking befo.-.: and he
_

has 10 see :somebody else do it before he can do il . n.. mOSt slimulaling pan of Millhi. 10 lhe anill1<llon was Ihat everylhing Walt was suggesting could be ani mated . II was 001 a"'kward conl inuity or realislic illus' trations bul iOCtion. lhal _~ familiar 10 everyone . II would ~ be eHY for lhe animalOt'S. bul i1 would be fun . It seenIW weh a short lime ago tlul they ..-.:n: animating spindly legged. "" eighlleu Mickeys .nd Minnks Wilh lheir superfICial lillie "'Ialionships. Otta sionally the~ had been a glimmer of things to Come in pict ull'~ like Elm" 1~plllJ'" and C{)IImry Cousi~ . whell' there had been a special el\aracler " '110 had strong f~l ings aboul ",-hal was happrning . bul fOf the I1lO!iI pan Ihis " 'as all new. and it seemed as lhough il had blossomed ovemigh1. Now ....c sal c nlran<.:w as Walt tal ked aboul lhese seVen liule men who were becoming as much nesh and blood as lhe per:son Si t ling nUl tQ us: and ....'hile tlK problcm~ they faced in lheir make-believe w1d ....'ere utraort!inary. ""<: C(lU1d grasp lhem and could feci lhem ou~I\"<:$_ llIcsc characters W-C~ dealing wilh life and death problem s, ~t i,""s in a humon.>Us way. somelimes serious. but always sincere ami believable. and each acu>rding 10 hi . own per:sonality . This was real char OCler atling. and it ....-as all soeasy when Wall cxplail'lOd how il should be . It could be funnier . Of " " " " ~riou$. or more fanci ful . bul the c"""ial ~Iationships had been

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e5tab1ished and the c,;'ici~"'s now ~ . U minor in tern,. of chiU'1lCler deV('lopmcnt Without Wall's ;nluilion. how ,k, you build a char...cter'! How do you reter. mine wltat is imeres!;ng? Uo w do you koow if il is right fOl' your story? An .nicle by dnuno critic Charles Champlin in the Un Angtln Tlmu teUs how John Hun went abot.. chara<.:lcr development in his portr4yal of Max in (he film Midnlghl F.:xp'<,:ss. "~ In the su~rb ",ay .ha. acton can, lIun ittmed 10 have buill the ch;u-.octer of Mn from \he iMid. OUI , invt$fing him with II past and a perwNI only hinlt<1 l ! in the ..,ripl ... Champlin qUOle5 111111 in SOme detail on his creative approach \0 building Ma~ 's eharocler. " Without knowing:' Hurl says. " \ imagined that he was ofa very good fami ly . Locs of money . And W I he had SO"" 10 a Vff)' good scOOol . Harrow . maybe, or Bon. And Ih.al he had started., O~rord. probably , but dr<l(>fl"d out as a 101 did in the '605 and hi. ,ho. C3lilem Iraillhal was popular lhen and

inlo drugs ." We started on each of our c haracters in much !hr same m31l","' . Usually lhe Siorymon ..,archro for Iho broad Iype o r PC""'" Ih~1 would fil the ~ory. ~ 111I1;ng on lhe general aspects ralher Ih.an lhe rri"1IItmonts. One "oryman enrolkd in a " riling cWJ .. improve hi , skills and was s urprised 10 find tIw Iht ,;time advkc wu pan of IhI: yOling wrile' s curricu. lum . He reponed . " You mUSI de~lopclulrac1(IIIlIIS. you m",;! think 0II1- wh.a1 ~ of person is thi$? ....1111 kind of background does he come from? Is he 111l1li)' chantcteT1 A happy characler? A fooli' h chanc1tfhow would hi: rea(:I'! He mighl alw~y. cany a III' mighl ha~ a IwiLCh ,,hen he nIOVCS. he miglll ha>'el I\;Ibil of lighling his pipc. Wh~1 son of clot/w:$ ..nUI he wear. how would he ~'! Well . Ihis is ,,IPI we _re doing lall"" ~udiol . We wnc dl"lwing the Goof and having his pants hang down. and you have I \U Ihal doesn1 f'l ...

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.'

lhen a,ke<J wrn:re we find our characters and our ~, "" point Ou t Ihal one of the biggest souf<:es is ~Ic right around us. wherever ""e may bo.. So. ,"'e &ay to train yourself to bo. consmntly observto "'atch for Irw: unu<ual and trw: cntenaining. lainly that is whal John Hurt did in hi s preparation he role of Ma. ) If you see SOmeone with. uni<jue of gesturing and talking. watch him and make ental notc--maybc draw him when you have a ~e. A boy and his doG and the way they look at oIher. or tWO lo,'en; holding hands. SOmeone wailmpatiently for ano1rn:r pen;on. a &alesman. a spons ~he)' all hold the promise of inspir.lOon for a ntia! character. But you muSt be thinking that way . baS(ball pitcher is constantly adjusting his cap "'iping his brow on his sleeve. mking his glove off lilbing the ball. All pitchers do these things. but ,one does it differently, Walt was oontinually tak,is glasses off and on when talking over a scrip!. Kahl did not need his glasses for close work. so n looking at sorrn.-oncs drawing he would take the ;cs off just one ear and let them dangle precariously 'ghout the whole conversation, lICe tile general type of character has been found. , begins on finding Ihe refinements. the details. pedfics that make him into an individual---uni<jue entenaining . This is more difficult to judge. but "imator will noundcr wilh indecision unless he get inside the character and know precisely what ,nS are righ' for that personalit y, As long as lhere Iy confusion or lack of understanding. the drawwill be vague and indecisive, A good che<; k on :ber the cha, cter is really understood is this <jues.. "Do you know how he feels about himseir!-' lOUt knowing his se lf-image. it will De difficult to ,how he really feels about anyone else or what he

is trying todo or even what he wants 10 have happen in the story. Obviously. thi s all will De easier and more inte~st ing iflhe animator likes the c haracter in the first place . We advised a group of young animators, "Look for things in your characters that make them so interesting that you end up loving them . They should be appealing to you: you are creating them . Endow them with all the great qualities you like that are consistent with their personalities .'iO !hat you will want to be around them. like an ador gelling a good solid role_ you will look forward to each day. and at night you will think about your sequence and the characters in it and what you'~ goi ng to do with ii- and you JUSt can't get it OUt of your mind, It' s wi th you 24 hours aday," Some of Ihe funniest shons the studio ever made came from the sheer enjoyment felt by animators work_ ing ""ith a character trn:y had come to know and understand extremely well. These were the " How To" Goofy pictures: How 10 Pia), SlIuhall. How 10 Swim. How ro Fish. eiC. Mos! of these wcre directed by Jack Kinney. with inspired work by animation s upervisor Woolie Reitherman and zany touches from animator John Sibley. John. !ike Woolie . was especially good at funny. imaginati"e aClion and timing . They loved to talk ahout how funny the section they were working on was going to be. The more they would talk. the funnier il would become to them. and soon they ",'ere just killing themselves laughing at all the gags. So they would decide to go a nd lell "or Kinney" aboul their new ideas. because he might think of something even funnier. Everyone could hear them going all the way up the sta irs and down the hall, talking and laughing about Ihis with an occasional pause while one of them showed the OI her how it was going to be: then the laughter

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wwld gel "vCn loulkr. By lhe lime Ihey were at lack Kinney's room Ihey were both in tears. but Jack knew (he malerial so well he could pic k righl up wilh them and v"ry SOOn was in convulsion~. too. Thi ~ love for the characler is reflected in the finishc<J pictures. for Ihere is an inspired quality Ihal "",'cr would exist if il had been P\'l logether mechanically from [tle storyboards. This clearly show', lhe impmunc" of tal king and talking and " kic king an

idea around" and continually observing and Ihink", and w3tching each other aCt O\ll llte i)usiness . llusil how great cha'a<:ICrs are developed . In Ihe early SM)' conception of Th~ Rfscufrs. ("",. O rville waS juS! a bird-perhaps a pigWJ\-wllo ,",wid fly the mice agents 10 {hcir destination. lIil IIIQ!I distinguishing bus;""". was thaI he woold be calapll~ oIT the ground instead of laking off under his ~ .... power. This was a no~el idea. but i1 sumed 10 iMibll

.. *"'Iopmcm of llIe d,arac.er . Thinp " 'ere llappening /Q him rather than having him make anything h.iMltn. On the strengdl of 1;001<: of 111<: slooio's nllure film s. " .. dided 10 base Cap! . Orville' s ~h3racler on 3n alNlroU. Immedialdy .his opened up a ll kinds of poIoIibili!ies. An albatross in tile air is a thing ofbeau'y IObehold. IIlI: ul\imate in perfect coordination. but on tile ground. either landing or taking off. it exllibi!s the 1lciJ:h1 of incompelen<;c . 1l1<: alhotross lands like a """'Iilll bill. scauering companions around like len p.. lIillake-off. if po$sibie. is evcn worse. MOIher N~\ure had an off day when she devised Ihi s pie<.:e of , . .~, unroordinalcd K lion. He canOOl C\lCn run well . lltina I longer slep ...-i,h oil<: leg Ihan lhe ocher. which 1"'" him I gimpy JooI,: and makes it doubly hard 10
~':" enough ~ 10 gel airborne (much of lhe ' lime he docs not succd). After running what seems miles. he will suddenly abon lIis flight as Ihough

10 ... y. " This can juSl as _II wli. !;IIIOmOrTOW.

PilOis $.a)' thallhe lough pan of fl)'ing is landing and laking off. The albatross does nOi seem 10 recognize llIat 11<: lias a problem in either procedure , and thi s ,."" us our c lue 10 his I"'l"!iOflI.lity-t1le bel thlt ..... lIen lie landed on his fa and IlIen cra\J1<:d jnlo sc\lt:ral of lhe OIher birds on the beach. nobody made a big deal OUt o f it. The)' JUSt shook Ihc ... nd off and plopped do"'n again as ifoothing had happened. In our pklure. lhe firsl tinl<: Clp! . Orville landed. he pl_'w inlo the run"'3Y and lilill 10 a Slop on his fa . 8errwd came running OUI 10 see how badly the alhotross had bn hun: his reply was. "One of",y beller landings. Bub!" And he meanl it! This would be his I"'rsonalit)' through OUI _ He thought everything he did was the grealest. and lhe only " -IY 10 do il . His takeoff ..... ith the mice a~ bame the funni est pica: of business in tile whole picture siroce it played into all three pef$Qllalities. Ikmard was afraid of Oying.

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Ibt Rescue .. COltSi.ud EIIi, Mat, 'M bossy. ,tIi~g wif and L~k" . . shift/us b,bonJ wirh
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g/ili., and Elli. MM ltd up a. a mort con

tI""""/ nwlMdy I)'~.

and Bianca was looling forward (0 it Wilh enthusiasm. This gave each of them definite UUilutles thaI opened up new facels of tlleir personalities. Orville was sort of a crusty guy , but likeable. We Ihougtll of him as t.:.ing a World War 1 ace wilh hel mel. goggles. scarf. and puutes--the work~. He tolerated Beman.!. bUI warmed up to Bianca. The slory could have been told without him There was a lime when ..',e considered having lhe mice da" into 3 regular airliner, hUI how much beller Ihe ""Iuencc bc<:a">e Ihrough lhe development of CapL Orville Difficult as it is to conjure up a successful character and to know him thoroughly. it is oflcn surprisingly aw~ward to find the ways 10 lell the audience all about him . The oppol'1unilics to show all thes.c delighlful Ira its in a rich personality can slip away one by one a. the sequences develop . leaving an interesting residue hut none of the exciting momenlS that had been visuali7.ed . We had thi s distressing silualion in The R~s("un5 in the very next sequence. When the mice. flying with Capl. Orville. aITh'cd at the bayou, Ihey were forced to abandon ship and parachule 10 ... fety. A ....aiting Iheir arrival was a group of eager local animals organized into a home guard unit known as the Swamp Volunteers. When the parachute of the micc gOltangled in a lree. lhe reception commitlee bmke ranks and ran about like the Keyslone Cops as they tried to reseue the suspended visitorJi. Through oul all these proceedings. the dominant character be-

came the muskrat Ellie r..1.c, wife of Ihe shiftltss Lu~ and selfappointed rnajQ1" domo of lhe area. She had been thought of a< a Germanic t)"!'" ()( housewife. capable. energetic . slrong. eager. and bppy. with boundless energy. bUI now she had tobeo:ome a specific individual within that category. A TV commercial showing aboUI Ihal time feat ured an actress who waS extremely large. but vcry delicate arod remi nine in her gestures . To that "Iinle girl" sclfimagt we added the Slrenglh of a horse. and had lhe Stan ()( an interesting character. We did not know )'Ct if >lit would be e~plo~i'l<:. forgiving. self-<:emcred. aggressive. Or petulant. but ..... e were finding out. Iel~lC Nolan was chosen to do Ihe voice. and she nwle I sta"ling contribut ion (ha( developed lhe idea funn.r. She played the quiet lines wi(h great s)'mpathy and tenderness. s upponed by a slight lisp. then unexpectedly shrie~ed the e X CiH:d lines in a voice tha( ....wId shatter glass. She helped Bianca from ttoe Illud with a warm. 10ft line. "'Here. hone y. let me hc'p you ." Then ....ithou! even stopping to inhale. she beIlowed. " You bo)1 gil over here right now!!" Then Once again. all gcntJt. ness. "Oh dear. ain'! thaI a shame." II ..... as a frt!lt eharac(er and one that we all liked. The dra ..... in8lof her showed ' tmng arms. a stocky build. a defiMt set to her head and a <weel little smile. She was lhe bos$ and could do anything. but .he Ihooght ?fhe~lfonly as S....ce! and delicalc and vcry feminine . She did not

ucitable because sllc ,.'as 50 competent.

when she wanted 5Omeoroe else to WU often . Thi ~ s.upponed tile

changes in he' delivery since it was

!lOt

U.fonunately. as the continuity de>'eloped and the ...~. .,~ relined. almost of the OOines5 that usc of her OIJlbulllS was cut 001. and we were left wilh, rich chara<.:lcr who had only I1lO1herly line s. We scan:hed through the rest of the picture OOt found 110 1'1- 10 make uS/: of lhe emenainment ~lIIial"~ hId_n. tl brOII!:hl home lhe point of how imponant i1 is to

'

;';~;'i"'o; an enlOlional build-up. and it reaJly waS me: w~S 1101 awall: of doing.

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111,'( busincss thai give . your character a chance 10

It so easy your I:~:::~:~;i:S .youisknow """rysay lhal f his character angle o pcrsonal .

10

that he ....ill be memorable and outstanding. but

in the film-intell"l1ed into the story- no o ne will ever lllOw what was in )'OUr mind . It is not cnou~h 10 say it ;s there; it must be mo."n. In our case. tile work we had ~ made Ellie Mac J liefinile chaJXlcr . sillttre and COIlvincing. but "ithoul lile' fur. ,,"<' ha<J ~nticipated . All lhe whilt O!'>e char""ter is tlC'ing considered . ,loc ~1I~nlion also muSt be gi"cn to the Otller players ,,1'10 ",ork around him. for it is only the ir interaction !lui brin~ the serReS 10 life . II seems like a dcvastat wignmcM, When Ron Cltmenll> was new al lhe studio. he commented. "TIle grealeSt challenge in ani malion is to create a relationship of charKlers Ihl'Qllgh a picture tllat an audielltt bclie'lt's in . To them. these ~IC"" ui"~lhey're real. II '~ IOUgh enough to (Wile one eharacter Ihat li,eli. but to get 1"'0 or !l'OOI"<' inlerrclating-lhal is lhe impossible dream ." Actually there can tIC' some advunlage in working t~-o characters IOgetller. If there Can be some kind of

~,o ~iifi, "" "<, ,"" ,~,,,

tension be,,'ieen them. immedialcly there will be aui tuOcs and drivC$ and actions !lUI re'lt'al indi vidu,l lnoilS nK)TC clearly Ihan would be brought OUI by passive agrttmenl. This is something to consider when scv crdl of lhe chaMlcters work as a team wilh one unilIrd pu~ . l1toc Swamp Volunteers all wanted lhe .... rne Itting and diffcm!!l'OOI"<' in pltylical appeann than in either aims or penooality . Withoollhe conniel supplied by Ellie Mac 's bossiness. lheir $Celles had lillie vilali Iy . 1fle i1Cmkol1lic villains o f 101 /)ulmmj",u. IIIe 8aduns. sham! ,. COmmon goal and a con'mOfI ptr. sonalily ~ well. 8 y h.,ing one !l'OOI"<' "upid lllan the OIher. and a lillie k ss aggressive. wc " 'ere able to introduce :;ome ~rgumerl\ Ihl'Ollghout lhe Sl:enes . Probably our most ensptraling and elusive char"", I<'fS were the lhree Good F.irics in Siupilf/J Iltuu,)', ,,'110 " 'ere commilted 1 doinl only lood; they had 00 0 appatI'nl ""<'aknenes or foibles at III to exploit . In the early s tiles. Walt actually loyed with lhe idea of their being all ali~e. but iflhey WeI"<' there would ha" c been noIhing to ~nimatc--lllere was 00 play anlO<lg tbem . They""C're like Donald Dock's nephews. This JIO(oSibI)" would h~vc been accepIable if they "",re to be jUl. $pc<:lalOn commenting on what they j.3.W. Rut Ihis was a story of how the!;e lhree fairies lried to save a girl from tile curse: of the evil fairy Malefj cent. and \osl . For Ihis role. they would need s lrenglh Ind purposoe and a ernain aggressi"e"""!;e idoom _ n in pass ive spectator.;; . Moon: lhan thaI. they ""C're tile rulers of their variou s domains. and while undoubtedly ,"ery gentle monarchs lhey should be more lhan ju,l sweet and lovinl . l1tocre llad to be more ~ub!.lalltt \0 them and 10 their relation'ohip. The animators ,,"OOJd need "",""thing posilive lhey wuld caricalUre in order 10 make any ~ind of Slalement. but whal should ;1 be? What could be done with Ihr !;ecmingly VIICUOUS l;>dies who agreed on nearly cverything?

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thing Wa~ lila. cveryone: start acting on i. immedwtly She feli the burden of any problem, and lhought herself u having a ~nse of ~sponsibilily. I't 11"10>1 important. she had a gf'~Sp of the big c~ ,,-hal "'as going on . Now wc had 10 find .he wt " 'ay .0 play ~ "'-ealher again>t .hat charac.er. Whoa. if "'" had idca~ lhan Flora. especially in lin"CC~ of erhis? a the frustr~t ion of having to do il Flor., ,,- r " payoff. She could havc a ~ason !O argue with and Ihis type o f ronflicl wwld liven up their relit ship . Also. maybe oM is ~ impulsi,.., and qud acl- ~ of a doer lhoan lhe others bu... "hoot understanding of the big e"'nI ~ around her, Silo: be ;nltn:>lW in little thing_ and how thinp and would volunlccr 10 do tile housework. we 1lI0II she would love lodancc and 10 be happy and IOU herself physically . Her feelings ..'wid be on .... face . and ~he " 'ould fla~ up in anl:<'r mort tllan the Qlhen . Now ""here in hen: could ...c fil another 1)"1""' F ..as characler waS the moSI difficult 10 find we could not ha"e anolher dominant pcTSOlUhly: we dill not " 'ani her simply to be baltered bct ..,tn other IwO. If " -e wenl 100 far that way. the

As the ,u~rv;sing ~nim~lors On these characters. we would be responsible for tile" personaljlie~. aN.! we spent many scui<ms wi lh the siory crew working out ~pecifk business for the first Stqlleoce. Even ber""" the voices " -ere re<:onlc:d . "'c had uied ideas. disc:ardW
them. 5 ...;lched trailS from one fairy to anolher. juggled and tJorro,.~. buill and appraised . We had Maned out Wilh Flora being bossy . To her it was more imponanl Ihal ~he be the boss Ihan he righl. So she would dominate and the other 11"0 would fol low, bUI Ihal did not ma~e a good relalioMhip. The n ,,~though t . "Whal if slle's the leader but no! always right?" Merryweather ''''QUid poil\! 0.... the error c, -en thouCh !>he was us... lly all ,,'rapped up in herself and having fun. BUI Ihi s mighl make her 100 a.gumenta1;.'( and that would nOi be desirable. And wllat do we do with Fauna? She is ~ wishy-washy_ sllc always goes along Wilh the last person talked lo--llOO Ihis lea"e$ her.oo "'-cal 10 be imer=ing . Gndually "'-~ began.o fed .ha. Flora should 001 be bossy. btn ~hould domina.e w;.hou. ~ali7.ing ~he ;, doing i1. She would be jU>1 a more agg~~~ivc perwnalily and full of ideas. I. was nO! imponanl Ihal her idea be t~n. it wasj',IJI thai i. was the ~s, ilk_the fac.thal it ,"as MT idea was imma.erial. The: imponan.

",laIioo~h;p ~amt unpl~3sanl .

lhallhe>c ladies ... ~.., "~ood " ltd U~ illlo I"" saccharine: , lkn .... hilc on vac~!i<M1 in Colorado. one of U ~ mtl a lad~ ""00 was 10 have ~ profound influence on I"" ,haracter of Fauna. She rou ld be described as wi sp~. ~tly ~mil ing . t""inkling-f:~ed . and almost unawa.., or ",1w might tit going on aboul She IovN nny bod)'. !hought tlta utifulthoughts. rould scarttl ~ ron cri'~ of " 'f(Nlgdoing . and delighted in spreading " 'hal !.he romidered to be sunshine . He.., wa. 11 positive <1I.racter ""ho ,aw only good in everything and slill I;o:;ked OOlhing in personality . She was supposed 10 IUd an inspir",lon;tl JlOCm at each rottIing of iler ""0111 ' .. '~ club. but w""n arri ved and eould no! fi nd ""r pn:pall:d .se leetion--in,tcad of being flustered . upset . cmN ..,assed . or confused- s he blilhely pulled OUI ><J/1\Cthing else. like a Ictler (n"" t..r cousin in Indinn . l poli s. and read it to the a' .<e,,,hlcd ladies. She was Il .... )'s sweet and .parkling. and also a link infurial. i",. but as a model for a unique " good" c lt.anoeter

Wc had 10 ..,mc:mbcr fairies . bullhal alway5

""I'.

s""

who rould move through any problem unscathed &$ "..,11 as unaware she W2S inspiring . This opened up a whole new n:l ationsilip and made uS think a lillie o f lhe gn:at comedienne Billie Burke. AI last we fell " 'e had an understanding of the elusive Fau na. She still could tit vague. in lhat she could lOS/: track of what she was doing. but she did have idea, of herowr>-most o f them lillie. feminine ideas. She witS interestw in small details. She liked the idea of bak ing a cake . but had trouble keeping her concentrati<M1 throughout the process . Ofille th~ fairies. she would worry the ",ost and wo~ld be the one who would try to slIl(X)Ih o~er any COOf1icl between lhe other two . This new sbnt had given F~una an l imost aggressive vjew of lifc. Aboutihis SIImt Umt . 1he muliil:l\cntM 0.;., DaGradi OOliced thJt little o ld ladies tend to wear their hat' flat On top of Iheir head . He made ",me drawings show_ ing them as e Uler. mol'<: win !iOme . more appealing . Our drawings had been 100 Sirong and heavy . Now Don sUgg<'s ted!hey eoukl be filmier . more like maiden

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aunlS. smelling of lav~nd~r . Suddenl y il ~ II ''', ,_ get her. The.., fai ries were cCrl D inly 00 mJIcl! Malefoe<:n1. bul still (MY feh they had to try. "good" all the way through , bul enlcnaininsJpll.
They helped 10 tell IIIe SIOf)' in a fresh and ing way. adding imaginalion and warmth. CIlan.LICrs llavc been 'found . il i of the story a~ an)'lhing btn a I Wilh them i",IOOed. i! tJome5 a

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something Ih31 h3ppen;; ~udienoe know. Th<:y are j ;n,crested and. suddenly. ;ovol v.:<l.

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dW3Cter growl>. iroc:"itably it .... iII influence the dc~d ~n1 of lhe story. and that in lurn influence~ the tlluacttr'1i ~13tionship to others. The ~tory is 00"" bominl alai.! aboul specifIC characlers: .... hal they chilli; and dttidr to do tkltrmiroc:s ""hat .... ill happen and !he ""y it ,,-ill happen . Chanoeltr ~Ialion,hips nlust be built slowly and carefully through aclions. t~P"'ssion . and emOl ionli . Ottlsionally there will be oTIC key scene thai clearly

all that is needed. but more onen the.., will ha"c 10 be: ""'ny SCCnQ. tach CQIIlribuling a liny bit 10 lhe o"crall altitudes. An elus ive soensalion of warmlh. of unspoken aff~ion. o f ~n\liTIC ror><Xm be:1" 'een IwocharaclCfS may take more Ih:ln one sequence be:f~ the audienu , ha"" the redings. You cannot <;:()Union ils corninG off or be:ing lhe~, bul you Iry and Iry und il i. in all of yOUr thinking : somehow. when yOU are donee . the feeling is thc~ . This " 'I S panicularly evident in the c haracters of 8 al00 and Mowgl; in TM }IIIlII, Book. and l1WIyof lhe intangibles of accomplishing this kind o f r,,jalion. ship bonlC appa",nt as Wt look bac k on the dilcmma, In the early stagcs. the story was all about the

cst3bli~hes

Bil/PHI-

The Ju"," 800It

do,.,mind

10

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A .1r<HIg'M'illro u~d ,/"" . .,o'nro MO~'lili T~li;'tus

dospl""uT( "t
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fl3nther Bagheera and the trouble, he had getling Ihe yoong boy Mo ..... gli out of Ihe jungic and back to the manvillage, Each of the animals Ihey met along the ~" )" reflected a different philo'i-Qphy. and Baloo. the ea'going ocar ...... as Ihere to show Ihe slo"enly life.\I),le Ihal i, po"ible when one is Slrong and can eal all)lhing . Uaghra had to oc ,-ery ..... ise. orderly. and faslidi OIlS. which made him ralher sluffy. Those lraits are ... ilher endearing nor inte","ing. and al this siage he ~"3S admitted ly dull. I~ is primary relalionship was with Mowgli. whom we Ihoughl of as a tenaciou, kid of Ie'''" 10 Iwet-'e. confident but not smart-alecky- a )'oong Tanan who could lurn 001 to be greal. if he lired! Mowgli had no inlenlion of leaving lhe jungle and became obslinale . Baghc..,ra'. patience wa, at an end. ill .fter 0"" final di"greenlenl he g3\'c up and left, The boy. li ke any kid who has wOn an argument he did noI. ""am in Ihe firsl place. was disconsolate. slill a litl le annoyed. and ,"cry lonely , He had his independ(lICe. 001 no friendS . 11 ",'a, imponant at this poinl 10 build sympathy for Mowgli . He had been unre~sonablc. bot he was young ml i""xpericnced. and we r>eeded audience identifica-

lion with hi s f""hng.~ of rejection. II smed beller if he did no slrong acling or emoling. We fell we CO\Ild ponray his feeling' bener by IIs;ng mo"ly long shOl~ and fealuring only kidlike aClions such as kicking a rock. Ihro""ing a Slick. climbing a boulder, sliding down a tree-all th;ngs he ord inarily would De do;ng playful ly. bul now is do;ng aimlessly . We fel! Ihat this approach portrayed a loneo;ome liuie boy on the screen beller Ihan any complex. close-up acling scenes ""wid have done, I! was at this point Ihat lhe big-heaned. slow_lhinking aaloo entered Ihe piCiure. singing' 'Dooocydo-doo. it's all so easy .... " He wa, a standard diamond-in lhe-rough character. big and sirong. and someone who could play righl inlo Ihe boy's predicament. being eilher comfoning. threatening. 'illy. or friendly. de pending on whal worked besl fur us . I! was I;me 10 slart lesling vo;ce, . The panel that listened and judged consisled of Ihe direelor. Iwo siorylllen, and Iwo supervising animalOTS. W;th the very first actor ""e reali~d thai our ocar waS 100 old-fashioned, 100 much like other bears ,,"'I' had done. too ordinary , We tried changing him 10 a sort of Ed Wynll-ilulhorily wilh a comic Iwist. We lested Some exchange studems from India to s if we could get a voice wilh a special QualilY indigenous 10 Ihal area. None of Ihese gave us any kind of characler we could <;ee when we closed our eyes and lislened. Finally we found. funn y voice Ihat made a son of bungling. confused ocar out of Baloo. and we were trying 10 develop Ihal Ihoughl when Walt suggested Phil I-Iarr;. for the pan. Phil had ocen associated more wilh nighl clubs than Ihe jungle. so we ""ere surprised and he was stun""d . I-Ie explained ... I don'l do voices: I waSn'l so good al reading to my lwo daughlers ""hen Ihey " 'Cre linle." BUI ""I' gOl him 10 corne in and go through a few Ii"", in spile of his obvious discomfort . finally he backed up and ,aid ... [ can' I aclJike a bear_and. hesides. [

".'t,.._ Olli. Jolt",,,

An
a'gu,"~nt ~'''iI

iluT'(J lrows M",,-'gl; "I'

H. ,Iw~'s hi. jr#jn8' I !id/o'kr grlt.'rJ "" Ilw. dramatic acton,

don' t do that doobey-doo stuff ." We asked how he ,,'OU1d del i,'cr the line~ if he could do it hi ~ own way_
lie grinned at the script
I

l1\()ment. lhen threw IxIck hi s

head and shook the St3ge with 3n infeeti""s. rhythmic chant . " Well it 's a doobcy-do-doo: ~s. it"s adoobcydo-doo; I mean a . . . . " Immediately we had Ich3BCtn, As we warmed up to thi s new 8alO(!, Phil began to sec nlen pos$ibilities himse lf and became relued and exc ited by the end of the day. But bef.,.., he left the rording session. he began to thin~ Ihal Ihi s new nsociation wilh the Dis tlCY studio mighl be hard for his f/lends and f~mily 10 undcrswnd . lie asked . "C~n I have a ~~'PY of " 'hal I','e reoorded loday? O'llIC""'isc Alice Ihi . wife is AliC<' f lyc l will never belie ve nll)'." Once Baloo had become a detinite individual. he was so enten.ining il was imp<Sibk l<) kp hi m out Q( the rest of the I'io:ture . In>tead IIf the litlle came<) pan Ihat had Ilecn planned. he was built into Ihe "ury n1OI'e and I1lI)TI: unlil he was lhe main furce Ihal made it ,,-ort: _Phil IliIlTis' s performantt added sincerity in a rolorful chantcter that gave new inlereSt 10 everything he did. bill. most impon anl. Ihi~ hear suddenly had ""at warmth . something thoc picture had needed . Nunc of thoc otber "<liees ,"'e t~ed or lhe jICfSOIlalilics ,,-e considered ,,'ool d ha,'c (0011)' this. Baloo might h~~ remained a camco hecausc he woold not have bo:t:n ,trong enough (If imponant enough to uC in more Ihan one place . and lhe story woo!d have been quite diffCfl'nl, While il may take a few minUle~ for an audience 10 disassociate thoc visual int:lllC of a well -known performer from his role in lhe fil m . the gain in ehancler de,..,II.>pf1I/lnl is immeas urable , In Ihe scrond and third n:leascs. years later. tu audience~ who re~lIy had !IOI koown Phil lIarTi s lhl'Qllgh radio or movie roles. Tit" )11"1/" 8001: has proved to be increasi ngly popular. II is obvious that having e~lablished the c hilr.lC.er and used il in the best way is fur more imponanl Ih an how wetl- known the voic(: Ullent might be: al the lime . In

d~.

<JI fUdy 10

,;th t~ affa.

PitlOltio. ,,'e used Chff Ed wards. top o f the Ihinks. Wal'eT Ca. len. popular bo.h stage and sen,en. as well a, Chri Sl,an Rub. I' Venable. and Charles J udel~allwcll-k l.o'.... n I patrons of that lime . The Iype o f lalem IIw can g"~ you the eharacleri7_ .1I1on y"" ntttl almost al"'Iy. ,,'.11 he well -k nown in his f)w n field. unless he ;, ver.,. )'oong 1lI'. that exlremely rare item. a "ala".1. When Walt heard 1't1it'~.cst .rack he Io,~ it. e-\'ta to the point of staning to OCI "'" how the bear wwld first ..~'")C d3roc: ing intu Mo " 'g li' s !>ct:11I)', llIesc rll:I' dimensiuns Wal. was Stto"l bet:au~ of I'hir~ voict naturally affected the al'l"',rancc or llalno , We bcpa 10 d':ow ~1I indi vidual. As "'e talk",] aboul .h is roc:w c haracler in our piC' . ure. we tricd tf) gel inside him. to koow him ~".ID Undersland ,,-hat he miShl 00. If he ,,'ere lJI anI_lor. what kind of a guy woold lI aloo be? If you came InIO hh room. whal wootd i. be like'! He probabty .. ou\d be: silling there " ' th his f. up on hii desk and lood all nver the plaC<'. crumbs and roff stains all nl"a hoi dr~wing, . l'n.>babJy he w()U Jd have hi~ nlOOlh full 01 foooJ whocn he grttlS you: "Come on in and ,itoo.._ take fi,..,. The trouble is . here is no !'lace to sil S. sonll)'how Ihi s diw.>rdcr is t>O! as boid as il fi~ ~rned. bet:allSC you immediately like Ihis individual and)<ll fcd good whit( you are around him . He isa flft ..... ",'arm and friendly. and ~eeping every.h'ng in ooIn- is j usl no! ;mportanl 10 him . Life is s imple and Ihing5ft solvC<.! in a simple "" ay . lie would be ralilc-r Cal,!, to trick or dc<;ei~ because we 1hink o f him as bnIt gullible-gullible mainly bttause he likes people 10 much that it would not OCC ur to him not 10 U\lM tilt,. He would be impulshe . If somelhing pupped In10 Ita head that he woold like to 00. he would do it. IIt\'II con,Kkring Ih ;. might no! work out. M os l of all. he would lo"e sensual plc~"rt$ CI. ing. or m'el'1:'I'ng. and singing. Whocn ;"" ...., . I

Phil Harris you Ihin~ of rhythm arK! finger-snapping and /OOVing 10 the be:al . and Ihat is the kirK! of thing Wallwn looking for ""hen he s h"".,ed us how the be:ar """'kI dance . Then scralching-Ihal has gOi 10 be: a bi& pan of his life . Sooa ..~ foWled seeing how Ihis new Baloo ...QUId IIdp lIS wilh Baglittra , too. What could work be:n~r .1Ih I f~ spirit Ihan a slUffy. disapproving straight JIWI?The IooI;o:r the be:ar gOi the more entertaining lhe parnher became . So we stanM building on Ba~era again IJId won<kred what he would be like if he were ill! animalor or perhaps a Moryman . lI is room would ~ nc:1I lIS a pin wilh every pt:ncil sharpencd and all laid 001 in ni row, according 10 color arK! length. Paptr IJId pads would be: neally Slacked. and there """'kI 1M: no food any .... herc--just a bottle of anlacid piII$ lOll the wlf. He ""ould be: friendly. bul m;e,."ed . \\"lIm "'1: were ~UR: e"""'gh of our cast of charac m. "1: came back 1 lhe scene where Baloo arK! 0 ."""'eli til)! m1 ~ .\.IlIned crealing the crucial rell' IIIlILWp be1"un lhem . Ho w ...ill they rellCl to each other? Wililhe boy be: . fraid of this big guy ? He is. lIrlIKCOOS yoongsttr. bul he is slill upsel from his orgwntnt and Mill is trying 10 son things 001 in his onnd, When lhe bear tal k~ 10 him. we decide Mowgli .ill uke a swing at him . I~e is 100 nai"e 10 ~now any !tdlt!. and at Ihis point he wants 10 be left alone , How <loot 8al00 react to this lin le squin hilling lim? Is he SOIl' about il? No. InSlinctively he takes . compIcu:ly opposile point o f view . "This kid needs 1Idp. 1k1I get himsd f killed s winging at big guys l i~e _ of I don 'l help him ."' This isn 'l a mental problem: it IS PUftly physkal and right up "'" hears alley .

IOJIrrsr FroM TIJomos.

Mo,.,,1i aM 8a/00 fi lld Q"
~mply plQ~

in

'Qd.o'h~, ' s

I>{ ,h. " ... m. ,;oMhip'

achi~y . d .

lif ~.

This h./pM produa

'm'm~" hG>'~ "'~r

,,'ao

We had animOled about 35 or 40 feet of Mowgli and Ihloo for a tt~1 when Walt SIoIW it arK! uid. " This be:ar i$ ma",elous-we've goI lO keep him in the pK:tUR: ." Phil Iiams came bac~ for a KWnd n:c:ordi,.. iinSion. and ,.'e sho ...ed him Ihis animation . He $tared It il. unbe:lieving: fut3l1y he lumeOlO liS Ind u id . " Gee. this .... ill make me immortal . llle way you gu)'$ ani mate n", I can do no wrong ." This piclU~ was 10 bring him a ...ho~ different group of fans. When he walked do .... n the $1""'1. ~ids woold C<lme up and grab his harK!s and ron al008 beside him calling him . . B~Ioo ... Everywhere they we re reaclingto his chal'llCiI'r JUSt as Mowgli did. They loved him becaulie he came across as a living Char.lCler on lhe SCn:en. 0 The relationship ~Iween these IWO be:gan 1 ha" enormou~ possibi liti~s for .... armth. comedy . !,"thoi. a rK! 5Uspensc . Thoey really needed each OIhe, . The bear ne~r had a cub of his O,,'n and saw in Mowgli $Orne' one he could teach the things he thought "'e~ inlpol" lant . lbe dOl)' had bec:n grim wilh e~eryone again>! the boy, and now he had a friend . BUI ,..lul l friendirresponsible. impuisi"e. thoughlless . The ludie~ knew lhe panlher was right in his concern for Mowgli"s survival. bul they also could see lhe a~al of the bear to Ihe boy. All the c haraclers had clear drives; lhey were in conflici and they were enjoyable and provoca live . In lhe firsl se:quence. " 'here lhe '''''0 have met. the be:ar COillin""$ his ~s"""" and tncs to leach Mowgli 10 glO ...I. Bagheera hears Baloo's roar. fears lhe wont is haPP<'ning to MowgJi. and races back 10 help him . lie is ~IIW 10 find that lhe boy has picked up wilh this " jungle: bum:' Baloo tell. Bagheera thai the kid is goj... \0 stay with him. and he will teach him all he knows . Baglittra's sarcaslic response: is. " Thai won't t.ke long ." ' lbe n:lationships among the Ihree m.in characlers an: be:ginning to dictate lhe way the situa tions will play OUI and what the dialogue should be . The second sequence has an entirely different flavor becau5C it is all done 10 prc scon:d musk wllh lhe characlers moving in sync 10 e vcry be:at. aclually danc ing their way through "'" song. Eve n the 5eCondary a<:liom an: pul on "'" be:at as much as po6Sible . since this always COIl\"e)'$ a happy. e xuherant fffl ing that can be achie"ed in no OIher w'y , Through Ihis seq uence . MO"'glt .....allv I. II) In& 10

tp/oudiff'" >0 mi&ht WI

10

<shi. ~'I'

hack that sets him off. but whatever it is Oaloo f",1s the urge to be .scratched. " Hey, Mowgli. oowabout $I;r.Itehi n' that old left moulder?" Mowgli <Ioe$ .. best. scratching higher and lower and all 0YCf thc~. btll this is just a tcllSCr for Oaloo. " This call s for IOI'I'Ie reol scratchin . He finds I very roughlooItini paino tree and has at it , The more: he scratches the mtIft franlic he gct.s-hi s eyes become glazed-he no IQrIp is in control of what he does. Finally he slides e~1IMIed into the water, and he ~nd Mowgl; Jl:prisc the SOl( together in a s low tempo as they drift dow~lltI. At one point during Balon' s scratching. he upooII the tree and scratche$ his back with it. The dirlaor decided we needed some mus ic to make the trod WIll" port th is ~nd add to the excitement of the pktUl't, lit called in f"ur mu siciun J- piano . drums. N.'\S, II1II lrumpet. While the y " 'ere ad libbing to a sect!!,,,t cl . 'The Bare Necessities," the trumpel phlytr, C""" ~wis. was asked to gel ~ of whllt the hear ... rling-~ frenzy- to gCt the feeling that tho bow could not stop if he wanled to! Cappy finally 01thing we alllil,,:d . a really dassic piece of i~ trumpet playing . As a rmmer of fae! it -:~':,::: ~II that we decilkd to ~prisc it exactly at the picIUn:. This would send Ihe alldientt OUt

mimic OaJoo. Thi, naUo:n the bear and gives the feel ing thai they a~ ~sponding to the same vibrations . which adds to the closoefle$$ beno.'een them . They could not feel bettcT about each ~her or themselves at this moment Oaloo drops down on all fours as he finishes the lyrics and Mowgli hops up on his hack. J>crh~ps Mow. gli accidenta lly touches a sensitive spot on Oaloo' lIi

big lift. Danny Alguin:. the "'."m'''~"'''. '~""" to have a musician transcril>c it note fOf note. musical director George Bruns inserted it r

il.",.,

'The time came to do the final rtCOldi"l seclion, with lhe same trumpet player and the WIl! lib solo all nicely written OUt for him . He it- looked closer- blew a couple hi s horn and shook his head . The phrdsing was
him . He looked up al Bruns and said. "',~::;,:;, play this!" or course. he did play it. and

. /oJuuIOtl .

< lI1y. Bal""

ojJ

Ih.

a"... '"

I~M",b

p'-;"g I ,piri. of e1ubn'anc:e and vi.alily lO.he ending of.he pic.ure . 8)' thi~ . im<" .he bear and .he boy haoJ \.Ic'dopw a 00"'1. iOIJ>ething 11m grew out of all .he lhings lhey had tftn doing togeiller . !lit by bit lhey had opened _ir hem) 10 ~3Ch OIher and there " 'as a rt'al fhng oflruM belween Ihem. Thi s w"' whal w~ had hoped we ...~rt' geuing. becauS<' il " -as !iO vital 10 lhe Mxt wqut~ " 'hen: their friend'hip ,,-ould be ItMtd. on a differenl way. by eac h uf them _ MO'fI'aJi is kidnapped by the monkeys , a big fight ~. and Baloo and Bagheera gel him back. Then oomes a dimeull all-dialogue Sl:elion belwn the pan_ thtr and lhe bear ..-here Baloo is finally con\"inced that fQlIhc boy"~ own good he mU_'1 go baek 10 Ihe man .dlall". Bill even though 8 aloo is eo.wincw. he fls ~ u,"ure of himself. Well. un't it Wlil till m(!mInIT' he pleads. bul Sagheera ans"crs . '11" morning _ .... " Baloo $llrn IOward the: s leeping MowgH. bnitales. and Bagheera has 10 urge him unce 1\"KII"e. " ... SO on. 8aI00 . Before .he animator slaned on Ihi, !if!Ction"he wrOle do.m.1I his flings aboUI Ihe Siluslion and Itw. char1ICIm.1O elear il up in his own mind . Ii is e~y 10 get bI ;" uying 10 do 100 many .hings when you are lllill\ljling if you are not s ure of whal your main Slatc_ is JOing 10 be . By ,,-, iling cvel). hing do",n fim. )'001" mind bcwmes organ;ud. chan ... led in.o jusl whal }'W .... nllO do. You can always change your mind if .. is not working. bul i. does give you stan and. dlltClion . lkn: is ..-hal the animator " -rOle :' Thm ;/Iould be an aimltss feeling.o Baloo' , walk huddled fling. in contrasl 10 his nornu.l e.pansive. confident manner . He has nervous vague

gcOl.Urt's IS he searches for an Kka . If he is 100 nervou s. or h.u 100 m~ny e~ ~nion5. he becOl'{cS excited. Cf evasive. Cf even overly dcspcra!e . Our brar is despenue. bul he is not excitable orevas;ve. He i5 a simple. direcl characler ,,'110 meets every thing hcad-<>n . Hc i. used 10 senling hi, problems wilh physical force and Ihi s ~dkamc:nl is n:ally Itcyond him . He is tOO honeot to be evasive and too simple to ha\"e a complicaled thoughl process. He should be desolate and lost. yel his lo\"c fCf the boy is w genuine lhal he cannot walk away from the problem, So what docs lhe bear do? Whal kind of acting will show lhese inner feelings in drawin~'1 The best way 10 501"Ilhi. OUI would be 10 make Ihumbnail dr,a",ings of differt'nl Ihing~ he mighl do . They musl be acling symbol s thaI are in ehanoo:;ter and arc e~ily idcnlir.w by lhe audience: . Baloo is in way over his head. bul he is .rying very hard 10 Ihink of somc.IC_ _ _ f/fl hin&'" Can "yor

AMm,

FrruIk

nooma..

1M ""illlOior U(Jrc#W. lor JJNdlk acrion. rhar ",ill JItowBaloo,III/V' OS It#: ~ .., 1~1I Mow,l; It#: mllSf I......., rlt#: jwIr/'.

_Ill

r ,. .

7"

l_ ~ r

.'

A",JMrotI

Fra"k Thomas.

lIu.",bMil. bom, a odds a ~ .. .Ii ........ iooIIOBa/oo. cll/J,....

~
S1W
~.

,IIa,

"

dC) . lie can pull hit ear. rub his arm, look around him for help, rub his nose or h;'_ j~w. ~niff. KllIlCh his neck. or roll his C)'Cli. Anyone ofthnc is in clunoctcr for him. bul he cannot 00 .hem all . Does he move into (his Kllon or is he already in il al lhe sian of the snc1 l1ow much ""l"cmcm will there be within this pose or .Uilude? Bow long ....ill be rub his neck or how much .,"'" will it \.like 10 mil his c~s or do "h.:ucvcr action has ~n chosen? As lhe lJor,ar agoniUIi OVer Ihis problem, the a<;ling oflile boy bttomcs vcry clUCia!. Wilh 00 idea Illal the bear c"en has a pn:>bIem. he is running all 0"." the place. h<lppyand unable 10 senle do"'II. If the boy ",QUid JUSt stand still and lislen IQ 8al00 il would be difficult ell()\lgh. oollhe facllh~l Mowgli is KI ucited about [he day they ~ going 10 sl"'oo wgcthcr just makes Baloo', problem impo:Mlble . Baloo instinclively rulil.es lhat their relationship is different from anything he has had before. They have UlIsled each ocher. and he is afraid thalillis will end il all. 0111 !he righl ...oms jllS! ", ill noI c;omc 10 lIim . Finally he has 10 1IS1: force 10 m~ke MO"'Bli lislen. He Brabs him and blun. out whal he has to say' "1've got 10 lake you back 10 the manvillaBe!" MowgJi al firSi 's unbelievina:. Then. heanbroken. he pulls away and runs off inlO the ...ood~ . te has bn belrayed by lhe one frktw.l he loved lhe most. Thc:!iC are the momcnls lhal live ...i tll an audience. mai:inB lhe film ~ Ihanjust a canoon atw.llhe character! more Illan JUst dra ... ongs . T1ley ate al"" lhe moments thai offer the grealesl opponunities for mcmorable perfOml~nceS to ""Ion. whether live or created

"

00 paJXr. None of il is pos.s,ble. OOwc:veT. ,fthe an hllS failed to develop the Cllal1l<,:lCn 10 the poinl whm !heir llloughts and lheir aclions seem naMal and belin able . II eannot be achieved mechanically. or by oop)" ing. or by wishfullhinking. bul ooly by comf..1build. up. understanding. and a love for the chlU"aC"krs. This fIOw.rful bond belween Ba1()() and Mowgli_ lhe ingredient Ihal held lhe piclure logcdlCl and midi: lhe audience can: . II also enabled US 10 build twO Spc:<".at 5equenee. al the end tllat nc~r wukl ba", hn sustained olherwise. Mowgli . ertlOlioos .. lItn he bdieves the bear i. dead WOtlld OIh."wi~ ba", been JNoolin. and lhe billen ...ttl fan:wc:II . .."bert dw: lure of his own kind is If''aler than his 10>-. for IllS fricod. would never Mve becn convincing Of sati>f);", ~~ In coding. II was Wah ""00 asked lh31lhc roy JO inlO !he village through hi~ own choice rather "'"" because the aRomals knew il ""as the nght pIICt fa' him . Jt gaV1: lhe IICCessary light touch 10 cod !be pe. ture on a happy nole. Tire J""gl~ 8oo1e was the fir>.! picture Ifler SWhir<, 10 have the JXrsonalilies and feehngs 01 tilt chan>etel"$ $(I dominanl. The audience undtrslOOd'characlen and idt:nlified with whal each was "Y',",," do. Every 5eqllCoce g3v<, ne .... opponunilies t05ee. fattts of lhe JXlWIIalilies . And <,ven though ~ ... very lillk Slory a~ suc h. these characler re~ and interesting JXI"Wnalities m;><.le Ihis lhe 11>($ sot ~dul canoon up to that timc in our hiMOf)'.

Costumes
Tho: ""Ioe of lhe: CQl>IUmc in crcaling a Jll'rsonalily
cannoI Ix Qvcrcslimaled. In addition 10 lhe obvioos
()t

appeal 0( the: col()f and de. ign. lhe: specific a"icles IIw the cilara<;ler " 'cars m~kc him a spific individ .... The anirT1lll()f can become uciled by lhe possi bilities forcaricamre a nd movcmem in lhe: malcrials of I diffen:m kind of 1ppan'1. bul. mosl of all. cycry<lIlc ~ Iilimulale<! by the personalilY Irdib and cartoon bu.i KSl IlOOII that It.. cl\anc1Cr is becoming $0 definite . Wlltn o.arlic Cllaplin firsl wcnl 10 lhe Mack S<:nncu Studios. t.. was Ioid 10 pul 00 a comedy makcup . Al lilt momenl. he had 00 idea whal he w(MIld pul On.

"However. on lhe w~y 10 the wardrobe I IhoIlght I would dreu in bloW I"'nls. big shots. a une and a derby hat ," he ~aid . " 1 wanted everYlhing ~ conUlI diction . Remcmlxri"g Scnroe1! Md upected me to bo a much older man, I added a small moustache ,,hich . I reasoned, " 'o,lId add a~ " ';Ihout hid,n~ my upru
,~

" 1 had 00 idea of ,he: ch;,~lcr . bul lhe fflOII"ICnC I waS drc..cd. the dOl"". and lho: makeup made me feci lhe pcrson he wa., I bogan 10 kl\Ow hIm . and by lhe limoo: I walked on lhe 'Iage he: was fully born . When I confmmed S<:nnen I assumoo:d lhe cha.....,l~r and !;Inoue<! about, .winging n,y cane ano.! I"'rading before him Gag~ and comedy ideas wem racing through "'y ",;nd.)

The Appealing Villain

\lIlalllS are usually the most fun of all characters 10 On'riop, ~ause the y make everything else happen. 1'Ity are !be instigators. and. as Chaplin has pointed . aI,,'1IYS moll' roIorful than the hom. llw:y may be ~ic. a",csomc. insidious. or sc:micomic. 001 inev_ iI.IbIy lbey will he rich in unusual personality trails. E.~n before we know for sure how We wanl them 10 bit, .... know the: role they a.e 10 pia)' in the Mary lid are fairly wn: of the effect We ...anllhem 10 )",,'<: .. !he aooieocc . Which brings up the big question: jItl.I !>ow KaT)' shou ld our villain~ be' Do We gain alnUin.menl by scaring anyone here? Is il a quick. ldbIiII, scare that is soon 0",', or. deq>. abiding fur? Ahtlm'l any Siory becomes innocuous if all the f\'il is eliminated. hut we do nOl necessarily gain lIml&Ih merely by being frightening. We IT)' 10 find a mnner!hat " 'ill hold an audience and entertain an ~,"''<:II if il is a chilling type of enterui"mcm. 1k tiger Shere K han in Th" JIIT/glt Book cou ld Ito( ~n a vicioo" snarling , ill , tempe~ Ixut . Tile ImIH could have been planned 50 they we~ terrifying; m aU, he " 'U out to kill the boy, and tllat was tt.. 1IOO,'lttion of tile whole Story, But Wall kept asking, "lie 's rIO! going to be the same old ,Iav~ring . growliIrc III)' likc " 'e' "C al"'ays done , is t..?" We had not 6:tidrd just how [0 handle [hIS villain, bu[ now "" e knew he WIS not going 10 be slavering and gro,,'ling, TIM: llLOry called for Shere Khan LO Ix the "huvy" of the jungle. He had to Ix jlO,,erful. utremely competCnt , and feared by e "eryone , Bu[ be)-ond [hal he could be sneaky or aggrenive, ~hel1ling or direct . belliger cnt, unpredictable. bragging. or reserve<!, It depended on what worke<! best with our OIher characlCrs. and " 'hat " 'ould give uS the bcu opportunities for l[[illde$ and IICtions in anima[ion . As one of the crew wg gested, "What if he ' ~ 5<) wnlident and invincible that lie doesn't have LO prove anything to anybody? Like a really tough gangster who I>C'ver has to shoot or throw hi, ..,.,igtM around LO ,how " 'ho he is-everyone knows!" Ho,,'Cver. we wanted nlOl'C d an and favored an aristocratic. "'gal monarch, SO we made some draw inp of a tiger reminilCent o f Basil Rathbone . We "'-ere dc'-eloping a villain ""00 had only disdain for his vktims and " 'ho ,,'as confidcm to the point of being art'OI!an1. This was getting Ixttcr! In fact, C011il would be a good t",it. s ince he had to be dcfuted somehow by our hero. or combination of heroes. Ne~nheless, by the time we were ready 10 record a vni . ..,., fell that the imellcctual ",finc:mem inherent in a voice like R~thbone' . would no longer be quile right , We found the perfCCt combination of trail. in the voice of George Sanders, He " 'as the ullquc!otioned king of the jungle.

Bill Pm',

.. "

II is easy 10 see oow a comic villain can br and a dramatic onc Ii . but a mOre diffICult lengc arises .... hen the visually diSlulbing, In addilion to the normal of making him or her convincing lhere is the increased burden of designing an in a way not only KCeJ!lable 1101 IIjaling. OUI appeal. no one ""iII respond CnouglllO involved .... ilh cither the c haracler or lhe 51"'Y. SQme c realures, Ihis secms impossible . Whal iflte supposed to be revollin,? Fearsomc:? Lo"h~" WIuoI if he i5 snakc? 1$ il I",..ible 10 rrW~
~ppc:aling?

;"'.1
1

I.

a competent. inteliigent . conceited Itiller " 'ho never

had 1 0

~Iaver,

or

growl ~

In 101 DO/millions. the same type of decision was

matlc in determining how bmad the villain could be w'choul upsetting the Story conccpl. No onoc: ever doubced thaI Cruella deVi' actually would skin those

In the following pages wc physically tWO villains who star1C(\ 0111 lrolCe yet lhey grew 10 be among our roosl lovable?) characlers . This was accomplished by"",," bining the elcmcnts and principles ""e have disawet ioIOI"Y. charxler dcvelopmellI. ,~""w ~.., emotions. l1Icre wcre dark days of doubt. and IIlOIIIi disappointments than nee<J be mentioned . but e~ aJly " 'oy WIS found to mxe them Ippulin, creative mind al"'ays " 'ill find a way 10 do tilt _ im~sible assignmcnlS, given the opportunily lIId tie Slimulation .

~~~~::::;I

. .'1
ne

puppies. yet lhis did r>Ot keep he r (rom being a wild. fa!ICinaling figu~ who could gel laughs . In oonlraolt, It.:: queen in S,."... Wllilr had 10 be cold. ruthless. mean. and dramatic. N~hing would be gained by dc""'oping her personality any further or by Icuing the audienc<: di9;Qver her weunee:i_ U ke a Slukespearcan rTIOIlaJt:h . she: had 10 be regal and beyond lhe reach

Kaa
There is definitely something ~ry disturbing lIId ting about seeing a s nake . When the U"j"ll Ducrr wilh engrossi ng raulesnakc at work. an exhibitor in the ca.<;l relcase tbe picture . Hc claimed thai c"ery the audience wOlild leave lhe theater would be OUI of business . Snxes may crealures. bul it is hard to love lhem or build em5Why for them. Bill Pe.eI . one ofourbetlCf"'''' IIId tried to sell Walt on story .... ith I snake Zj chancIer for a propaganda fitm during ,~ . II evcn Walt had shied away from the idea, Few artists had ever ~lIcmplCd 10 do -.: animalion. for how can you gel any ture that has no shou ldcl"li. arms. or /uln<.b? there had been tokcn snakes i and there W I small sequcn in U made in 1933. where a s ly , capricious

of common people. "The whole illusion would have

been destroyed if she had s lipped on the stairs as she swep! dQwn to her dungeon . Cafllai" Hook in PrIer PM, on the Qlher hand. was his most entenaining when he lost all dignity and conlrot, as he tried to gel aw~y from the crocodile. Yet llIis ne"", ~akened his relationship 1 Peler Pan. as 0 dlher menace or advcnary. Admiuedly, ""Ier Pan wlS intrinsically in~ indblt, and ~ny foe was foredoomed 10 f.ilure. so there was lillie point in =Iricting O\II"$CI""" to pc:rsonalilKs who were only threatening or ~illainou, .

snake would eSlablish lhe variely of dangers Ihal lurk in lhe foresl and enrich lhe piclure wilh an exotic characler, while ,oowing Ihal none of Ihe animals had any respeci or concern for Ihe boy and (hal he had no frien<.ls 10 help him , Only Bagl>eera. Ihe black p"nlher. fell a responsibihly 10 Stt Mowgli safely oul of lhe jungle, and early in Iheir joumey lhe IWO had been forced 10 climb a Ire<: 10 avoid lhe mad charges of a nearsighled rhino, Mowgli, laughing al lhe inepmess of Ihe beasl below, failed 10 noeice anylhing Sirange aboUI lhe vine upon which he was sining. Bill Peel'. script conl;nues: II is a giam pylhon and while Ihey've been lalking, Ihe big snake has quielly arrange<.l a few of his large coils around lhe boy until he is wrapped like a mum_ my, and Kaa is about 10 put on Ihe big squeeze when lhe panther spOls him , "Hold it. Kaa! Hold il!" And Ihe pylhon he.ilales, "A frknd of yours?" he asks polilely. "Indeed no," replies Bagheera, "merely trying 10 save you from a very long caseQf indigeSiion. Thi s miserable mancub is so spoile<.l he wouldn't be a fil meal for even Ishtar Ihe buzzard," The python studies the boy with his hypOOIic beady eyes for a mmnem, Ihen draws bac k in disgust. "Ugh' I lICe what you mean!" and he makes a SOUr face, 'Tlllal<e toa<.l5 and lizard s any day," and he glides away, his endless body circling down lhe tree Hunk 10 finally disappear in Ihe deniiC growlh far below. The firsl SlOry meeling broughl OUI n,any new ideas , Wall fell there should be somelhing more between the sna ke and Ihe panlhcr. He sensed Ihal Ihis unusual combinalion of characlers offered more Ihan we were gelling, and he kepi digging for more of a .ilUaiion, "How aboul Bagheera hilling Kaa 10 SlOp him from eating the boy- what would Ihm do?" Would K... resent il and sian afler Ihe panlher? One animal has allacke<.llhe OIher in defense of a small boy, and as a resull becomes Ihe polemial viclim himself. ~s Ihal nol give us a real silualion? l1le best ide~ 10 come OUI of Ihe meeting waS Ihll when Kaa was hit by Ihe pamher he would release his hQld on Mowgli, whQ would then begin pushing the heavy body of the snake oUi oflhe tree while lbe head,

s",,\I.e
Tuq

~"s: r OJ't ' "

JiJ

c~ure a small bird Ihal ha<.l been pecking al his M des. This gave a fluncr of eXcilememlo Ihe film an<.l a oouple of quick gags Ihal prove<.l Ihis panicular bird '1$ brighl and quick and a polemial hero , bUI lhe illHe gOlIl() '.lVeS from anybody_ W lhe decision was ma<.le 10 <.10 Th~ ""'git'8ook, hen i ":as obv;o,," Ihal Ihe greal .nake Kaa should De one of !he charOClcn; in (he film, even lhough we had ehminale<.l many seclions of Ihe original nalr~live, lllben lhe SlOf')' work was begun, il was believed Ihal !bemai. poIenlial for animation lay in Ihe relalionship of !he boy Mowgli 10 Ihe animals of lhe jungle. A

....
~
~,

Idgittt'" MW
by climb

<lI

'hi' poinr

1RI~""n n""

rd, rh. liaM In IhiJ lim , in"odlKl;""

rh",' i$ wry

liily OJ! Kao ewI"".",nlof

several feel away . was busily engaged in lIypnoli,,ing Bagheera , II was 1101 an act of heroism 1 save Bagheera 0 but an innocent act of se lfish defiance: however. il worked very well, saving (lie panlher from cenain death and crippling Ihe s nake temporarily. ThaI way. Mowgli .... ould become confident , rhe panther fruslral ed. and Kaa compleldy humiliated. All three characters had definite business. clear mOlival;ons. and strong altitudes. We hoped Ihe audience would be

with the", characters and wonder whallhey would 00

ne~!.

The revised storyboards. severJl meetings laler. had the snake drop inlo Ihe scene. unnoticed by Bagheera.
look the boy OVer wilh
CQJls ider~ble

reli.\h. ar>d pru-

int.i,,,,,"

ceed IQ wrap him up for dining . When Bagbttra &a'" "'hal wa;c happening. he hil Kaa full on lhe wide.,pen mouth. causing him 10 release the boy . Kaa', indig. nant response was. Ooh. how dare you . Baghecra-

r' shook! roe"cr ha ve done Ihal! "

and he Slaned d os-

III in on his IIh~ ,,jlll hypna;c. C)'es. A$ Dagheer.i Iried (0 kp from look ing inlo those e)'e~. Mowgli flUlhed tile snake off the li mb. ~nd 11M: fall nearly ~ K.... s head off_ He lalKkd in socII . Iang~ _ 0( coils thaI he was unable \0 straighten himsel f ~ ..-j 11-.110 en ",1 . ... wilh his ""hole body jUlt one hu~ knot. A ~loryman s U IIII<!sled the line. " 0-0(HH)/I, my crawler's broken!" We laughed . but did IDI acupI it 8i11 ~ 's 510<)' .\.ketche$ of Kaa stKn.'cd a big. povom-ul p)'I00n wilh a simplified drawing of the head, \OIIich alleviated $OI11e of (ile unpleasantneSS many peo. pk feel about n:pti~. bul he was slill very much a Ir*I snake . Qtr;iously. he had to be. or the $(01)' w-ould llWl' ~ audience lIad 1 believe Ihal Kaa n:ally 0

.r

, Id cal the buy unless solll<! lhing happened to Slop m. Still. if we did our best \0 present a Il'~J ~nakc at

dis poilM. " " ,",oold ~el lin le ~ Ihan Shudders C di.. u~ .""ien.cc. The slOry situation would IIOMroogcr. and it ce"ainl y would noI he any iliOn: ''!Iining . We slartoxl wOfldj,ring just how far we 10 0 to prove that Kaa was n:al. and that liroe: of in, kd liS to the big <t~st ion, "W}uot is enter ning aboot ~ ~nake~' We cou ld ~ think of much. While the stor)' work continued to search for stronger io.:::.r n:lationship<, the n:st o f us started ~udying ~ and tried diffen:nt ,,.ys of drawing them . From in, our film of pythons, it wa, appan:nt that then: several objectionable fcatun:5 of a sna ke : ( I) the ;oj that is an utens;on of the body in one long : (2) the beady. unblinkinll eyes: (3) the slitherirq; ~nt. d"void of any appan:nt feelings: (4) lhe daning tongue. As soon as we bent the hnd at right to the body, we avoided the first problcm . As 11'1 "l: ,a~ him large eyes, e""n silly Ping Poog WI eyes. "l: eliminated the beady look. and also gained attitude that made hi m mon: inlcn:sting . Eyelids p~ him a whol e ga mut of e ~pn:ssions unkno wn to IqIIlJr snalr;e~. but ""'" animator insisted we wen: giv_ "p 100 much of the n:al !make al tllis point . Kaa 00( have eyclids, and alway. should maintain ,Iassy Slare so distinctly I"I'pt ilian. BUI Ihe in' por_ ItIR of e~pIl:liSions for his pcrwna lity wOR OUt. and ~Iids Came back . 51itllering mll'l:ment became a matter of judg-

.,.tes

"kl
n.:

ment on each indi vidual 5ne: we tried 10 put OVCf the business ncce$$U)' to the 5ne. but in the leaY objec_ lionable way . It would be wn)ng to give up tile slitllering completely. we a ll agreed . We alliO kepi thedatting tong"", l in<;c it did not Kem 10 bolhc:r anY""" QRtC these ()(OO characteristics had been changed. Then: wl5 even a small gag built around it. Ku, in Iookin. over the boy. seemed 10 npn:ss glee wilh hi s daning tong"". Mow.li. ~ing this. stuck his tong"" oul at the snake 10 show his o " n feelings abool this inU\lOer. "The final feature we emphasized was the big, blum nQSC. Fw IiOme n:aliOn. !'Wple and cartoon Characters an: !"lever considered to be mean or n:ally siniSler iF they lIave big O()liCs. Comedians ha~ big noses. Rcal snakes do noI ha'l: Ith and gums like I bear Of a calor a man . Some have l"'lh. bul these are quit~ different from Ihose of mammals . s ince they an: 004 designed for chewing or tearing the food. The s.truc. tun: of lhe inskk of the mouth is uniq~ 10 n:~ iks. and the color o f lhe nesh is a~ to be I silky white . The law i, hinged diffcn:ntJy , too. which w/)\lld make I di fference in the way a snake ,,ou ld t~lk- if he could tal k . Howe""r. ""C decided 10 treat the jaw like I normal canoon ja w. the kind ..c knew how to handle wh<. n we were trying 10 draw convinc ing dialogue. but we wanted the insid" of the mouth 10 be n:ptilian . That meant more study and more: effort . but we felt tile mults ..-ould gi~ strength 10 our clwactef. Somehow ..c failed to notify the color model peopie of our brilliant decisions regarding Ku s I11O\Ilh. IiO we felt complctely betrayed .... hen they suggested the pIl:tty. pink mouth they put on a ll canOOll c~ ters. We screamed that lhere !"Ie'er had been a I'),bon wilh a pink mout h. They asked wh y we hId not lIid something bdOll: if il " as 50 important, and then then: were some: accusations back and forth . Someone criti_ cized the lack of communication bctwttn departments, and this was followed by the usual commonts about anim3tOl"5 who think the y know everylhing . Whars the big d".1 with the mouth ? Show lhem some of our n:al problems!' Eventually Kaa ended up with s lightly tinted. ivory-rotored mouth. and a ~tudio party al the compl etio n of the pictun:. once again. smoothed tile ",rned n:lationl bel,,"ttn ~t least twodcpartments. Some people wonder ..hy " c go to such lengths to kCt'p IiOntClh;ng o f the n:al animal in our pIl:scntalion .

llIere is cen~inly a lemplalion to fonso the ~tudy and dfort needed to incorpor:ilte the animal' s anaIOfn)" and !llO\'ements imo OUr dr.awon&~" But if we we~ 10 thl"O\O' OUI thi' s peeial effon. " "c ,,"ould soon ha"c all the animals loobng ali ~e. ~nd ""ne of them looking li ke much of anything. As onc animator "'id. " Wh ~ do youtl)' to make any dl1lwing good'} Yoo do it because il look. bettcr~" While lhe changes we had made in lhe neck and e)'e~ had rid us of the mo,t nhjectionablt fcatures uf a snake. ,,'c ....erc tampering wilh lhe I~PC of prescnl~ ' tion Ih;jl would make Ku bl'lic vahk:. W~~ he ""gin_ 0" ning 10 look 1 silly'! We~ we loslll' uur men:>ee? lIad we given up .., much of the IoClual . nale thai we no longer had the ~'urwiclion the slOry nccded'! we fell the repul,ivc qualily had been "uC1."C"fu Il y eliminaled . bo.u he was rar from 3ppc~l i ng. and possibly too weak in appear-mce 10 put O''Cf the siory poonls We decided it .....as IOIne 10 search for a \"(),"'. since lhe righlcoolri OOlioo from an aclor could livc lhe ncede<J d'rcclion 10 funher refinements in our drawings.

We had dialogue wrinen thai seemed ngh! for 0lIl particular snake. hul d~~ " '!IS silil a "ide I1lIlP' 01 inlerprellnon possible "hen " "c began te5un,. AI ..e explained the story silualion 10 lhe voice l~k1l1S, II hccame evidenl Ihal Kaa ",as sl,1I Miler oldonal)' and obvious . He had 00 pefSOflalily quirks Ihal nude 111m unique or inle~sling. 00 mJnncmms or ...... ys ofduli illS 111<01 made: h.m d'Slinclt,"c . Each ""lor "'"OIIki 1<:.... 10 find some spedal qoalily . hut for the II1O!iI p.u1111 we got were a '~"(1y of hi~ses-Slnt'lcr hl<ses. \Oed..:1i"e hisses. hypno1i<: his""s. tomptlling hisses. SOlI..: "'ked if K~a we~ a man Uf ~ wo'''an ....as he or oW mean. cooce.tw. playful. VlOOICIt'"C. aUloc"I~1 tk could be any . or all. of lI>csc Iltmg> without eban,IRC a linc of di"lo~ue or lhe 3ppe~rance of a d"'I'Itng. nUl !lone of lhese IUilS al""" was cn1enaining eoouj!.h. nor did any or lhen. ~lIm ula1e 1he I n11l1<1t"", 10 $Ct' tlprts. IOOS and 3u.tudes (or the character, After eigh1 alle"'pI~ in d,fferent dtrcc1>,,"s. II ..... Slcrling Hollo"'3), "00 finall y Came up with lhe pr0vocative voice aoo altitude Ih"l ~par~ed us all lie 1101

0lIl)" g",~ a re;oo,hng that " ..... the charnete he ""as able IOWuc>t line.' that "'"OUld fit !xue. wilh Ihi ~ evoh'inl', rcr;or1 ~l ily . When K hears Bagh~'C11I tcllthe boy 10 rolO ,I ... p. Stc.ling ,uggcs lw. in a s ing_wng)" voice. "Y~ ss . mancuh. go 10 .+slttp! w'hich led into ~ h)"pnoIic Sl~"", When Ihghttn. hi. him in the moulh. imleod rof '0011. I\< ,w dare yoo. lJaghecr-.!' il \>teanle. "Ooh. my s-s si n" .se~- <s! ful1uwed by. "\'011 1Ia,'c ju""sl m:lde a s.-scrious-s-s mi~-s,slakc. ") rnrnd. a 'l'fY ,...'mpid I1lIS~"'akc . . . Suddenly K ,,"). ~Ii,..,! We could sec hIm durly. and he WaS funny, He ""aj "'''''''''ing enough. but he was alloO a livin,. breathing. enlenain ing (n:~ture. We could animate ~ guy! Everyone sianw s"ggesting lines that " 'ould rot M Kaa bite\;, Ilagheera dO"' n the br~nch he :<;IYs. "Look me in the eye ",hen I'm ss-spea king 10 you!" R~ph Wrighl 3<Idl"tl. "Both eyes. if you pk;>.'ie." ,i~ W J'Wllhe. " 'as squ inting and trying 10 ~,'oid look ing ..., """'" di:aoJly eyes. As quickl)' ~s ,uggeslion s were made. Sterling was Mlk lu male lhe T1l:'" wortls come alive by the "'ay he

read them. We wrotc and re,,mtc and he made ...~. tiOOi. and mtelher ....., decided that this snakc' s weakT1l:>S wa, thaI he cou ld not k~ep his mouth ,h ut ",hen he "'lIS ahe~d , Just when he had e,el)thinll he wanted . he had to Mcrpla)' hi~ hand and 1~ it aiL When BaghttTa told the boy. "Now no I1lOI'e talk till morn

ing." Kaa could not kCf'p quiel and simply ta ke lhe boy away . lie had 10 brig. " He WOO'I be here: inlhe moming!" Which . of course. alened Baghecra 10 Ihe situation in Ii"", for him 10 take actioo . Th i~ was lhe line .. e hood been looking for LIIat "" ould cause the ~lhtr LO lum and see Mowgl ; abou Lto be eale n. II 001 only gave us a richer characler. bUL il w ived a problem wilh the Slory slniCtUre . Now lhe " 'hole SUM played easily and nallltllily. Whal hood begun as a bleak (IIOOIInl(r with a minor ChllT1t<:LCr waS begi nnins to be

man: and more flln . II had seemed li ke al firsl . Lrying to bI"ld a situation and a < we wert never Sure if we wue on lhe righL track in fiTS! place. bul. finally. the doors we could no .... sIan Upccrimc:nlal anima1ioo. Su\kknly. we had I TICW and UM ~ pected probltm The girl who brought around the paychecks .",h Thursday .... as ~alhly afraid of SIIake:s. and Ib60Iutdy refllsed 10 come inlo our rooms 10 deliver our m.ds as lon a. "-e had any snake d ....... ings in the .~ J

SIIC-:h:.::::.,~::1

Slit ,"'ould !Iand well 0111 in lite hall. bend ,,~(f as far !.he could loward lhe door. and lhen wilh a half. p!IISI1 ~ ~Jf.lOS.~ ~nd lhe nunering e~k on ilS '"1. ThIS "rl could 001 he coccl\Ced into coming even _ ~ f~. afId $he wamnlu ",~aledl) . lhal sbu.wld ne~er. ne~er go to ~ lhe film ,,hccn it " 'all fllillled ~ we lned 10 explain how g"'31 the cha,.,ler us. and 1\0'0<' $he wool'" forgel he "as a snake . She _Id 1101 e'en lislen . We ha ... lhoughl she might be a plOd 1C)l alldienec "'hen ..~ ha ... SOIl'" footage oJonc:.

bul since , he absolutely refuse'" 10 look al il "'e had a problem . In the meanli"",. we worked. Irying 10 "'.. w IIl\IIS cui.... body Ihal slubbornly kept Iootin, like hu~ fire hose . A Sn:Ike ob,io;xJsly is round. and ycl really he is 001 . ~:ore $lraight lino Ilwvughout hi,coils. b," lhey have 1 come. and go as he """'". And IJw:n 0 ,,"c ~ I ~ spois lhat ~med fore~ 10 animal" back"'ard on lhe screen. Should he have largn spois or slower moves? The ans"'n ~1I1ed 10 he pIor1ty in

the de~ign nf tlle dr~wing , and in the way h~ Iwisl~d as ~ :Ioch'anco:d. with lhe coil s moving ~t different spd~. A nlOrC elaborale panem of marking al ... would hel p. OOIm:.1 would add tOO much eApcnse '" lhe pK:Wrf , llow could "'C' kp tile design simpit' f ",,,,gh h) be (wnolllK:ally ~Ik.1, )'et delailed enou~h Iu be con "incing and handsome? 11Ic:n. one day. Danny Alguire, the assiuanl din."' tor on ll1e sequence, told llii exeiledly , " lIey. I ha"e a flitnd in to" 'n from Texas ...,110 is terrified of snake . Wh~I do )'OU s.ny I invite her in w see pan of lhe pK:ture and nUl lell h~r lhere's a snake in il. and ....e can see how she reacts. O K... II waS a mcan .c heme . 001 a I'Iecessary one. for we had 10 find OUI if "'~ had gone 1 f". or if the s nake .I>ould eve r have been in 00 tile piclure in lhe first place . 11Ic: ~t.o..in8 "'as ITTlIngeti . and the lady from Texas sat through the IoeClion of tile film "" e had pre~ . giuling.nd clluekling llI llle way. We "''C're mnding by witll cU!", of ",.. Ier 10 revive her if she fainted. 5ed3ti,'H if ~he banlC' distr;lUghl . and strong"'""" to catch her if ~he bolted for the outside without stoWing for doors or $ta;.....1)'5. BUI none: of Ihal was needed . She cooetI. "Oh, lie was n' t a sna-ake, he was cu,u utc !!" We relurned 1 our drawing boards " 'ilh 1l:1'Ie"'ed 0 enlhusin"" Some ideas are funnier in a Slill drawing Ih~n lhey are in ~nil!llliion , That wlll lhe case " ';Ih lite tRngled coi ls. after Kaa had fa llen OUt of the Irtt . 1lle dr~wing of the body IS one giga",ic knot was alwa)'s funnier lilan it ....ould 11;1\'( been in anilTuuion. l1w:re was 5<) liult' body left o~er " 'ilh which lie could mo'e. Ihat he only could look 8TOSS. inslcad of funll)' . as he tried 10 limp off; bUI worse. il did 00\ gi"e OOr snake lhe prop altilude to support lite exprcnion he certai nl)' " 'QUId h.\'~ ~ after ,uch an iooignilY. H~ ,,'ould he embarrasS! and in furiated , and needed an aclion Ihat "'QUId ~ol'llbillC ruffled dignily. anger. and pain wilh. perhaps. a certain amount of floulI<:e. He was nOt deftRIC{l. lhough he w a~ badly heaten . As wc argued o\'er how 10 play the ~e"" and OOW 10 make lhe <I.. " . ings. "'C' found th~r llIe knot was gradually geuing smaller and il!lll lkr in our IlIin): ing. as our empllasis shiftrd 10 lhe manner;n which he " 'ould mo,c. Finally, the kI'ul was 1'1(1 more Ihan a , imple configu"~I ;"" on tile Ill' of his la il. and al Ihar poinl ,,'e did no! Ita..-e

eoough of a picw'" 10 suppon ~ilher lhe' gOJ! Of tho: allicude . The animator ,,'00 fin;tlly did tile .ane <lecidrd ttl ha"e an elabor:it~ flopping a",1 d ..~"ing otlioo. a, if lhe hod)' hiMJ be.!n broken inlO many !iCgnlCnb I.... Il<) lunjlcr ...'Oded 1Oj!elller. J Wh31 had ~et1 0111 :115 funn~ s ingle dra""injl had "" .... hecomc a funny lIClioo thai ~omhincd une~plcd mo,..,n",,1'1( " 'ilh tile spinll'll acling "''C' needed . The: end ", suit uf all chi s d fon and fun was a higilly suee",,,rul <equence. and a ,'iIlain wlto had become III enterta ini ng personalil Y in the picture . Walt liked Kat SO much Iha( he suggestcd Ihe c h~",cle r lie hrooghl itt agai n laler in the 5tOl')' . " If you ' ,., ~ot MHlIC good entertainment working for you. US< il !" On.e SIO 'Y"" felt (hal lhe snake sllould no! be developed be)'onddlr small role planned originally. since il "'QUid up$t\ balance of the story. The audience cou ld e<lSil)' lim! of him. He thoughl ...'e should '1uil ...hit. ""' ... 5<)mc:lhing 800<1 . and 00\ !.ake a ch;.nce of fIIiPi.., E"en though ,,~ had 00 idea II lhe 'iml' of 00.' could possihl~' work in aoothe. IoCqIlen." "ith snake-,,-il00ut compleu:ly de>.unyi n8 what liNk " 'e had-we voted 10 use him again . We Went 10 work pry ing and IU88in~ on I~ >lUI)' SlruCIure. rebuilding here at>d tearing out l~re.1IIIiI we had ~ place to bring Kaa into the SIOl')' in a 'llIJ' nucural way. MO"'gli had run away from Baloo.... " '1$ ma",ing aboul lhe jungle disconsolately. AI . .l-ame Ii .... . his mortal enemy Shere Khan . I~ tipr. had heard that the mancub "'as around and unjltOl<dCll WlIal if Ku gOIlhe boy fi~. h)'pnoIi4 him "' dreamy song . lhen pla~'ed ..ilh him bef~ ~ lhe del is+~ ioos mors-s-""I? l1w: Sherman broo:lIen. Bob and Dick. "'roo: a pm! liu le: !iQfl g called ''Truu in :l.l e.' and e"eryont' ~ con lributing ideas on ways Ihal Ku I'OUld pllY'" Mowgli . Th.. hoy would be rigid when h)pnotid" could be lossed and tumed. c,'en ",ade: 10 flap hi! . . u if he were flying. or he ~ould be Kslffpwalker ," 3 s illy grin on his face . This led to graph;" idea, "'. s nake forming $13i.. for MO" 'gli 10 deSttnd lid. treadmill for him to " 'alk on endlusly , Soon " 'e had far more llIalenallhan We ('OOldr-bI~' u~. hul ,,'C re,..,led in this luxury . T\lOof. . . . . is not enough bU$ine 1 SUpporIthe di.:>1upr If Ik 0 slo, y idea . and we are aU scratching OUI

"
10 thInk of more material . n.e song could Iu'-c been a~ Ion&. We had anoth(,r ~ho<us plannro that w:11I<k<l wme of the mO!'I imaginative business, but W ~jrtClOr wisely fetl Ihut ,,'., "'e~ in dang~r of stalling our pICture . Once ,,>;: Iud m:wJe our statement of whal

,_'I

Kaa wa$ doin, ....~ should get on to u.., T\e~t incidclll; in this case, the introd uction of the tiger. SlIcre Khan. wandering by. had heard Kaa singing a "Iullaby" to sonJeQne. and IIOW he imclTUpted to find out ....110 it might be . Ku was in a fix . In one half of

AAnsr, Frank Thoma._ l1le Jungle Book.

M""'gli 'ri~s loavoid Kaa'.
ItYfHIOlic gazr, bu"hr.rtak forces Itis hMd arallnd .0 lheir tyu will mul. The marking. gi," form 10 'M

body. suggr.ling a po_r_ fll'. mll!icular ."a ...;rh dim,,..,i,,,,.

AATlrr, Frail! no.....

The lunsJe 8oQk.

his body. up in a Iree. he was holding the sleeping Mo .... gli. bUl down On the ground the liger had a finn Iw.>Id on Kaa', Ihroal: he was n01 only asking embar_ !USing questions buI wanted 10 see whallhe ot her half oillle body was doing. [I was a gust siluation for Kaa as 1II actOf. and a juicy one for the men who would gel 10 animate il. W knew our characler wc![ by this lime. The e Slor)'mcn knew how to write for him; we knew how 10 dno,,' him: and Slerling knew how 10 play him . He was I formidable villain with strength and slyness. and he 'II'U all snaxe. He was heavy and oonvincing and ua[. ytl he wa, nO! straight and he was nO! uvolting. We twdly remembered those days, only a few months back. ,,'hen we were wondering . 'Whal's e ntertaining lboou a snake?

A['''''''gh ~ lias If/) I brl. KI)(I WUIIu "'" iJtg/y"';/h drU like <l("/i"".

wi"".

MmT,

Mill KiJIoI_ The JunsJe Book,

SMre KI"m, tI" 'ipr, "",,,,s 1O.broII

Kaa lias I>u~""'" C....U J<'IUII M~Ii?

;n Ih,

,tt,.

Sir Hiss
Two pictureiii laic' we lIad anochcr snake conflOOunl US, but this one: ,,'as of ~ "cry dIfferent t"..... 1'utI) bccau!ie of know.-ledge "'l' had gained by thall,me. and panly be<:ause Rob," Hood was a much lighter ilOly Ihan Thr Jungl, Book. we we.., able to handle S" Ihu in a much bnIkr f~ioo . making a charxter of""" Ihal simply could rIOI ha"r been imagined eartlt! II had nO! been necessary W worry abotll roo ... to mat. Kaa :OCI w~n he II.ad no arms Of t.:.n<ls 10 II!o( 1m gestures . Ewn wnh all Qf his expre!o' oons and leU'.)' Ku had "cry hlile need for .houillers or body I~. gil"" to suf'p'.'" his dialogue . He was I big snake. and though his pel'5Ol1~Jily was "h,m,ocal he had l fllrthrigln manner of 'peaklng. which fiUM a WPIII physical limitations idealJy . In conlr~SI. Sir Hiss's dialogue and ~niludcs ~I<d for shoulden and ~hrugs and cringlllJl and petulwt. and c''e1Ilhough he wore I small cape ",hen; his.,.. den might have been. there was nul the slightest mtige of anythin: wilh " 'hich 10 shrug . Ik. SQIIlCIIO'O. Ilad 10 do all hi, actin, wilh only hi' rather 5n'W1_ insignificant body. which ...a~ really Imle mort 1hIa an utremely long neck , We could ~ver have !CII'rd llItSC problcms lllhe lime wc ""ere Marting 011 K.u The fcalure .h:iI.\ follov.ed Thr ),,1Igl, Boot ""II MiS/ocarl ""ilh lilt Iwo giddy ~ . Among ocher things. thcy had been an uccllcnl pro"ing groord for cMablishing altitudes ...;.h only a long neck tIC'~ the head. HandS could be ~;mulaled by IOing tips. bill Ihc shoulders ""cre 100 far away to be used . Then ",'C,," not many ways 10 ~how an allilUoJc. I pow. e~n an upression. bul wilh ext""ne care in tho: lilt ing and consi(krabl<: imagination in the "I'PfI"dI., Ihc problem. lhe resuits \I'e,," suc.:csliful. Sir Hiu IJm. efiled imn",nSl.'ly from these uperic"",c~. Since Kaa had been slICh a popular vdlain. SIf H ... ...." at fim c~;"ed as being I~r and man: IIIU)IeI Ihan Ihc model finally used . A drawing had been_ of him wearinll the type of hood popular in m. o\rIo. enlh a<nlury . He looted pr.r.o...,rflll and mtlrl . .h !Ilk ridiculous . This ronccpt of a counselor srWc.fIo aclually wielded considerable innuence "'ilb I'nnI:t John. was accepted for 5(>mt: time . lie,," ""2$" C'III chuac.er ,...110 could ~t !flto placn ....tJm, he -.wid

~
I'

101 be !.ft. Ihrough l mall OjKnings ...here no mile. NI.I <'OO1d go. H~ could sJillier up tu his victims 'Jitbwt owing ~ soond . Those around him ... ere ;n _ u fear (If bci(lg spied upon . He was a Fcarlc$$ riI~n who I\ad pow'C'r wi! h!he o:>f'pl'CSSOf . What .fhe U'tmearu what somcOllC laid ? T hi s Hi .. lik~d the mle d iroIimidalmg lnos., around him Tht <lfti! had IT\.IIde an<>tlh:r drawin, of II small ke iJ<"ed on ~ cushion . He wa~ wcaring ~ short rap. and ~ l illy look ing hal ...ilh ~ purpk feathe r pnrlKd 00 lop of his head_ Instead of an ;o<.1 ive , ph)'s, .I I!T'" ci \';llain ... 110 ,,'uuld cnjo~' gCllinll 001 and !fIlChing fill' dl fflCUil infllfnllliion, th1s shteh ~u~ 1f>ICd.., ineffective. brighl-eyed . nunphY~I<:~1 !~~ . So. jWlly be<'IUM: We ~Iread y had Prince John and lhc lberiff lS "illains who weTe capable of rcal harm. His! ... c;rsl as tho: fop who liked lhe $Oft life and proto> m.1tft comfort and his impMance. He liked clothc~ !hot 1ugge. le~ casy li\'i n~'----rllther lhan the mOT. lui 1m ho:>oded Pfb of 1he "'lIain we first !\ad considered .

an uncxjIC<:!ed role for a $nak~. and a fresh c hara<:!er for the pict ure . We knew the audiencc "'"u ld """'cpl him. in .pite ci his repeilian Ilerilage. ;oS Ioo~ ;0.'< ... c gaw him:an iruriguinll personal il)". and II",. _ ,..... like a eertain!y . ioco: he w(lned with theerr~lic Prin.;" John . Sir Hin wa. thc ~oun",lor. " 'ith M'1I!oC "J propri~y and of villainy. Sm;utcr Illall his l"illC'C. hi. ".-,>r1d " '35 tlx> world "f ideas. He wa$ no! a cl(no.n or a clod. a~ a <kspoC's a<s; ~t~m usuall y is por1r~Yfd. 001 did his sch.: min~ in a [tcn,k. intdliJ:C1lI " -ay . Ik did 00( like ,inkno.C . ' Prince John cnjo)'ed hi. rci;llionship to Sir Hi,,-,. .inee il ,ave hion 1/,., ' '!'rV"un; .y I.. u~ h~ feclings in a flamboyant . Shakc!OjX..-cln tT\lUmer llud f...... others would have tolerale"' . flut Hi$~'. weak cha~. tcr made him a perf,t at.ldicn<;c. If lhe prill<'C Ixcame

Thi~ wa~

Pn~ Joluo "'OSCOIUl<Jftlly

/wJRilw.ri"l Iri. NHotlUWr .

Story ...."'"" o{Hi s!row
Th~u "'~'~ .o"'~

of ,Ir~
by Sir

"" i_ li1t{ltiw "PP,,,,,,,,1r 10

~ ,w. 1 ob s~ "", 'iQlr,

i ,.,jilnilitl Hi" .

JwJJ~red

...,
If

o&sw"r!ed ,,ilh 1M '$poose M " as gl:lllnS. he could hit hi~ coun,ciur 011 top of the head . which he did lather oflen. Howevcr. lhe prince w~s alilhal W.b.I. and h,~ posilion gave him an im",,"allCe hecould ret ,n noUlher way . Withoutthi . he wo~ld h.,c I>n Il(llhing;e,cn ,,ith il he commanded no rcspecl . When .. oppoMpnity did present ilscl f for him to "" 1M 1't{lftS<"ntall~e of the cro"n. no one: would listen to him . He cou ld become haughly. bUI he wa, alwa) s illtfftc1ive . fluringlhe tournament seqlK'nce. His~ suffered 1M irldignities of being sat ~pon. crumpled. dangled un wtmonious ly before Prince Jo hn. and. finally. dis from the royal box . Later. ,,hen I1C' w through Robin H<IOd $ disguiSt. he fe lt Ihal succe ~~ ,,as al last ~ithjn hi s gl1l~p. With this piece of nc:w~. he surely -'d be praised and res pected . He cou ld taste: the tlwill of VictOry. But , as usu~1. the highs in hi, life .m mea.uled only in seconds . lie was intercepted by Friar Tuck and Alan . Dale ~d Sluffed into a winc:
"Oil)'

lainin; as lhe picture proeresscs . As " c di~'cred rleW f~cel.' of their charllCters. we were able to write increasingly . harp di~log""" for them . The perfecl vo;u for OUr neu.o.ic monarch Came from Peter Ustinov. lIi s f ling that Prine(: John WII omesstd with the idea of being king came across in lhe way tri,";.1 ide"" " " re dt:liwred in such M lofly manner. He woold relish cvery word and dl1lmalize cac h Ihoughl . T efT)' ThotrnlS. who became our onake. understood

-.sro

!'tI~, U"j",,". dO !',ila J.... H"

'd'ioot '" , .

~/ptd'M.~5 /lire 1M IMllo

pH

!',jJtct.,

NIl,",,~

cou ld havc chose n hi s own rolc in the pic one wggeSied \If dw fir..t dr....,ing . for as he played out the pan the 'il) we decided he ,,as hit. beaten. crilicilCd. accused iI t,.ry way. and suffered greal indignilies Ihrough. ~ lhe pic1ure. Through his gcntkness and persht ~. Iv dod lOChi.:,,, a kind o f pathos wilh h~mor . [n 'pile of his pathetic. desolatc ubtence. he was funny . ,tlioul u ymg to be funny . I-k ne'Cr ga'c up : this was 1m life. The optalOf"li had enjoyed >cdn, Kaa Gel physic.lly beaten up because of hi, evil intent. bUI tI!ry almost felt pity for poor I l i.~ ,,hen he rttcive<J ItPU!(d ~bto>c. Hi" and Ka. had 0"" personalily Irail in common : ..1It1l Ihing~ ""re go;ng wdl . they "",cr knew when ., >top talking. On occasions" ho>n Hiss was nanering py,,,,,, JOOn . the wonls wO\lld pour OOt ()f him . He It""r .... med 10 reali1.e thaI he was going 100 far. and ~ PP Ioo;ing ('''I), hing. The I1Itcm:la!ionships of lhese ChanK"lers " ere of particular imron"nce in Rooillil(X><i. becau.;e the "0')' _ ~ono.I.;!ry to . he c haracte~ . There W ill> no ful iUSptll"" in Prioce John s many . tltmpls 10 calch Robin. They art: .howca:;es for the histrionics of the IWO vilr.",OlIs ilClors who ix<.:ome richer and nlOf( enter
Mt. he probably ",ould have picked the

Hi~

,
~

/oi. "ntk"""", . .4~ IIIUft11lJ His. . ..'Ioo ..W1WI ......

llU....... ~, ... ....... It> 100", i. d h<1~

John Iwu jMJI two ,~d '" nYr)'tIwt, .,

P"'K~

/>111

-.,~pl,litut

ftuJo-.

Sir li injust as wdl. and could capture the hun fling in his voic( after cuuing reprimands by his master. Draw;n" immediately came to mind-of Ihis ")lInse lor sul king wilh ... petulant eKp:ss.ion . Perhaps the beslthin, Tury did " 'as to fortify that ncrvl')US. incf. fective quality!hat .. e ......ted for COIlIJ'"a>I!O the unpredictable prince . TIle subtler 5hltllings of this snake', personalit y ""(re based 011 n:al experience. Occasionally. Over the ),(&rS. there had been men al the studio who in their determi nation to please Walt did a fair amount of bow in, and ""raping . In spi l( of our annoyance. we had 10 laugh at them . Suo:kknly there waS a plac( to use theK obse ..... tions as our canOOll character matched the real _ ily o f hUmlJl Ktions. Now. " 'hat ,,'as so funny about the Wlly those guys did ilT- With Ihis much <kpth to his personalily _ Sir Hiss was a ''nY inten:Sling sn.ke . Kaa moved.nd "",ted li ke a n:ptile. " 'hile Hiss. lik( his m&Sl(r. appeared to ha"e enjoyed the IIOfl life 100 much !O have developed physically. Hiss did not slither in I reptilian " ay. but inched a]oog or IiOfI of crawled . If he WIS in In:al hurry . u he was when Prince John WIS chasing him wilh the club. he would hop along on Ihe end of his lail. pulling his coils up like a skin . We

"",,,.rUII OlUde>luu,_ Robin 1l00d.

Dial"gu~: "A_II" IIi" 0'" of",.. . .. uh .. wh ..

Hi". iVt ....,Iti~l '0 NOI'i",Ittmr. Ulti_/rl, /lIilJ ,,,.. Prill ...... u lj-uIIHud lIMIfow 1~""1 a..d sptJU ,,,.. Ii",
wi,h a P'~ "'Iild' ,i",.. TIIis ...,~smJ ... _ a";"".,o.Jaltir ..... 10 ~",rol wl ;~ ",ulli.., 1Wto Irl/ ,Iwl Iw- IIaJ diffindry

,,,,J,,,..

,IIa,

um~mM'i~, Hisl' r _.

a"J ..........n UllfCta~1 1<1 lra'~ hil imago in 'M mi, hisrououir>r.

'0"0''''. '0

Hi,,' ,

TftlClioIr "' _ _

J<}/o,, ' , .. ild glw_, is Wldl......-J lip ill .hi. /IktM 10.

of P,i..u

'"

" anted I",,, I" ml)"e \l\ a way IluLI II"" ,~"Li 10 h",_ n<>. lile Kaa . W~ ,,"'ere "" kln~":' re>Ir"'I~'<Il>y a real 'nak~ -, anal"'''}'' ~ " lflSirtK1 iun _h" " au"", wilb tlli' mu,'h ~h ,,,,,,t,r
"cWI"IlLllenl

ll',- '....1'" ear;""lu rin~

"r<:",,,ml il )" Illore

IlI:.n ~ replil~ . Th i, al"'ap all" ", """" f"..,d" ,., in Ihe ...:I i,~" aoo mo'c n",nIS. "' IO"I1~' (hI:~ arc In l <:<:"llL " g. ,,,1 "h., the charocter wou ld "" Ken An<kr",n had 11 mad\: a ,keith of lIin su lkin ~ in his ba$kCI. wilh hi, coib d. ape<! o vel Ihe rim so lhey look\.'d vny m ud, 1'" ....., JoII" ...... f<I<I r~T t I~ ural" 1M bla"' ~ ,,"M~ hi" 1,lan. ~ ',m u,,'')

lile I"" am" II ~ a w a" ;111 '''-.1.: . aLi i",ap"'.",.,. 1OUc1l. and a (u'",y [>i,-IUn:. SII1'Y"',:" \ '.,,,.., Gc~ "",I 10..., ('I,'w,,,,11 .. <II! (U,11"'r tr\ Ihcir It' in l'n~. ':"""!I ~ up \\nh all ,,, ann,,, ,,( ,,,-I" ilie' 0,,'<.',1 " " , Iw id~" ,,( " prdl<;""t,- '"il fl.n ..,ld !>okl hi> ~ t ..,,,,,,, " . il," "Il:""'~".:, ,~>ut1I """ "")". ("\.'n PU I Ih" IL !, 1<> his to (1) ", ~ "'u,h,"~ a..-I"",- II" ~" ,I > II!.: pia.... "f a" a .,.,~. hi: ," i"~,,,t 1(1 t>ff u[>eclcd bl(l\\', rmm Pri nce J(llin , He ,..", l'i" c n llh bcraui><: il iM:ll"'d ,n the 'n"'''

,,,,,I.;

,,.,d

'"1'Iti.

IT..,''''';'''', "" Ai. (min...

,~ .

~lrd ~ """.,., lQO~ ",,,

:f .rr.... , in nlpllti.

drrr ~

/ttr Prlnr,

oj

./otd Ai", 1 0

,,",UM""

Olli~ J()h~s"'"

It" d''''JI''

H<J' /tad '" ~KVlf" 1M ~n_ of h" ""',,,~r

"," " ... .'. hr cowl.l

~'

Inspirat ional Sketches for Robin Hood

u~ \h;M "'~ ndtd. and the animator ~idW

1Ia~ fun by u~in, the ,ap in Terry ', _th as a model . ...hich pye an opening for Il iss's tonglJC to dirt through. lie eyen had hair in SOIM ea~s to $lfCnlthen ~rta in ideas. Whate'~r fitlhe situat 100 and Ihr ptf)<lIAlit)' ...'as JiC'C'rptable. What is entcrtainin, aIioula J.lW;e~ E"C1)'thin,! The: "'IS one LaSt ingrooicntthat made: this ~ini.ter l'tJIlik into an aflPC'alin, villain . JUSI a. imponanl as all the ~tory ,,'OI't. and c haracter developmenl and rell ' tio;w..hil" and X ting was the ferlin, the animator had (Of Ihis C~lCr . ll i~ undel'!>landin; and affection imbuo:d lhe link ~nake with a special quality that ,,~nl bc)'ond hi, pcl1iOnality. As lhe arti SlrCnCCICd back on the challenges of Ihi s assignmenl. hc revealed tMSC thoughts:

...

~ is a ITII,lO'I'ont at lhe $tall ofa picture that I call the anitrnltor'$ OIoOlcnt . [sit at my bl.rd ~t:uinllatl blank pie of p;.per. [1I3"e a sound track and end Ius ideas from everyOl'lC: on how my dwxten should look and an . This moment i$ lhe heart and SOUl of ~ ...'hoIe thine, I 1uI''C thought I lot about .. bat I ...iIl do ...ilh t~ ,wo pcrsonalilin. but pulllnl the fi~t Jin<!s down i. still kind of awesome . 1"''1111 to stan OUI righl . This is my chIOU to mold tllcK characters and give them lhe relationship I~ I see it. I am ease' 10 get il on film and set' lhem come 10 life . I have thoughl aboot the e~pression .nd I know just how I wam Hiss to look when he tltal'S Prince John Jay. "Ha", Friar Tuck ." But fil$ll have 10 build 10 lhat poinl . Now i. the time to Ihiltk of the Ihi"", I ha"e learned O'O.C!' the )~ars. I

....nl to be: entena;ning abo~ alt . M i lo along livins with the$e l'I)'$ ~ tllc )'CatS. I learn more aboot them. and the more I kam. lhe more e~citing they arc. 10 n~ . I know Whal lhey like and what u~tS them. They are rc.al ptopIc to !bey do COIlIC:$ from in$ide them. and from inside me. To me the)' uiS!. and I ~nd most of my ....uin' hours wilh them . I h.~ to plan e arc.full y ~ that e ' 'Cry fralllt mta~ ~mel hin,. I mU5t make the audience feel "...1 I fer!. I may III:I~r ha,'C .n opportunity like Ihis -.pin. It i. nO! often that "''C' have a )ympathc1ic vill.in. like Hiu . This makes him a different and tieher thar.lr.'ler. I li ke 10 think abou t how he feeb .boul Priou John . I know he doun'l like him . Many limes I think aboul this miIJCrablc existence _ ha~ fon:ed upon Hiss and I ferl sorry for him . I wondtt if I should ha\~ Prince John hi, him 50 1uIn!, 1 .1$0 wonder if lhere isn't _ th ing I MIould do 10 that he could lain I linle iielr.respcct. bul lhen I ",ali he is ,,hat he is. and I ...'OUld be: ...mening his rc.latioftship " 'ith the princ:c if I mack him I SItOIIser pmonality. The bn! I could do for him wall 10 lei him hll'e his fleelin, moments of happilleSS, tbo$e momenls when his " 'OIld was right. Thil i. lhe pan lhal maku Inimalion like no other medium . To be: abk 10 play wilh the emotions of my clw'lctc ..... and know lhal I can make them lau'" Of ery or become very angry. 'S 10 upcricncc animation al ilS beil. II is difficult 10 e~plain the Ihrill I gel OUt of ~einl my dra"'inp move through lhe chan,es in uprcssions and allittidcs. in a "lIy thai ,ives Itltm thai m)'$lical quality of life ."

_,,'hal

ROlli 4",10,," """ 1"1'"" siOIu rNl"irrd Uti" i~ ,,,.. S*l11" _ , . III orJ"~ .,iII ",",.... ~

,,... -t'" ...

"f"~i~, .

Wi". ",i,""r ""'" '" .....'d u.o..ldn~ '" AM1Irlttlp. Hi.. rn~...... 111 .. loop ill iii. body '" _

off /Haw. _

~r;!:l';)

~~e:.~."~~

6 '

.. 6"P ...... Ilf' bI, ..'un 'hI fron, ,u,h. po"U"~J afu,,~ fgtnO<ll

pro'", Iti",sdf f"'''' ,It.. P,/nrr' s 0~6l}' "JS""/u.

16.

Animating Expressions and Dialogue

/t",, nt"" ..

"Af." ~'r /II;.-tn 1/'" 1/,1... suglll'sliUJls "'I" WI! ",,,,hI,," 10 do " 'j,1I rxprasi',g ii/(I" ''''(HIgh tltt body. '''''n ..... ..<In <,<)mt' ,'0,,"" IQ Iht' ," .. if ,I... fi,cia/ uPUSSitm_ IM USI' of thr ",.I's. l'J rb,o"J. Iht'mourh- lirtir a/" rrwtw.. 10 {}I" a.I<II"",- h",, rh" ryrs /III;/ lit.. mOll/it M'" 1 "'(lri /()gnhu (wmrtimn ) /ort):pun ioll-iw>o' , 0 IIIty ""Ofk inUt'l>t'ntir mIY/(}T ......",usion <II OIhu rimrs. In OIhu ""OrlJs. Ih,,, " -I' would I<J 1m" 1M NHrIbintd~
<f (-'{Krnil-' j ..murrs und (xp;rss;,'"
U('/iOilS

of 1M bod)'."

Wah Di$l'ltY

One of our an teachers lold us that (he eyes in self.

ponrailS ~~c~llIow an mist reds ~bou( hinlsclf. Every

young p;linrCI Siands in front of lhe mirror and fillds dut h" true po:rsonalit) sccms to be ~'"Caled as he icM"tI'S Ilts fhin and looks OUt frum undo:r hi. brows.

Lalcr on. as he becomes more DlTOi\ant. he lifts his chin and looks ddiamly al the world . Then. as he
ages. he IUrns his head and looks wj,h wisdom 0111 of lhe comen of his eyes.' show;n,. as Co kridp Nid.

" Commoo sense in

ilII

UJKOmmoo devee ."

~"8 up hav. ""'T< .., liu{. !uy ,";Ih " "_m, Frum Ihe {rfl. Ih. ,.un" in Bam'P.j' from Snow

I<I'{Y ntrJ(M Bash_

Snow While. la'"

!lM/iful ~'llh lon~ " , and Pluto Ih.

.,11Iw, ilL lias ,hoi

singl~ drawing Or painting. but they never can show anything e~cept that one ani\ude. This brings uS to the hean of what lhe animator or the actor can do. imagine that whilt you an: looking 11 one of these fK'rtraiIS, th~ subjt gradually lowmd his brows inlo a frown-paused--and lhen lifted one brow and glanced to the side. You immedia!oly woold sense a change from one thought to another. Something v~ry imf'Ortanl happened! Through a chan!' of t xpnssion {ht thought proctss ...as shown . Si1lCt the first discovery of this principle back On !h/, elrly Mickeys. the animator has found it to he his bes1 memod of showing his characler's thoughts and feelinp , in lhose days there had been little nd for 1liiy expr~ssions beyond the crude fK'rtrayal of emotionl suggested by the situation ~ . A e hame!er wa, h.ppyor he waS sad: he waS frighlened or he wa, mad: he was worried or he was eock)'- and it often was difflCulllO [el1lhe diffe r~nce, among even those six basi<: reactions. unless something li ke te","". or t",mbling bIeeI, Or drops of perspiration were added, "Then, as Walt's acting stimulated the drawing of body altitudes. it was discovered thatlhere was bener communication in the whole figure than in the face alone. By the ~arly thirties. thc ~taff was able to do I version of Tht Ugly Duckling Ihat waS all feel ing. and though it was drawn simpl)' !he audience bol.,vcd it enough (0 enjoy the predicament of lhe lone,ly. dejected. baby ~wan Soon after came Pimp" P/uroaOO the wonderful sequence of Plulo entangled with l ""=! 01

"tad oflhe mcost. 100iS0 Huot (193} J.

1"8' art <llOwn In it. C""""" S}'mllO/J '., Infore Ih. <lap

,," wo,,",h in T~ ",,<lin!: (1931 J t\"~ 'h" drawi"~" ..-er. oplt and br()lld

1l!e early Renaissance painlers always had their main f'gures looking up . II is an acc. pt~d Iradition for the innocent and Ihe pu re. but it does seem to be based on truth and reality. The artists at the studio hav~ used Ihis anilude repeatedly for cute chara~ters. Somehow they look mo'" wistful. more hopeful. more vulnerable. This was particularly imponant to F",d Moo"" even though il was an instinclive thing wilh him. There was more appeal when the figure was drawn looking up al you out of Ihe tops of the eyes, Somehow you ~ared mo", for the innocent , lilll~ characler. In each of our art teacher's examples there was an inner feeli ng lhe artist had about himself Ihal caused him to choose Ihe partic ul ar attitude he did. While Ihese Hample~ a", all expressive ones. Ihey are ~tatic. They may represent the best thai can be shown in one

flypaper. Expressions played.. very impofUnI pan in

!be entertainmenl value of those scenes. and while
ad miued that Ihis was only a broad canoon symbol for a dog and lacked any auempl at rul ism. it . . Ilill felt thll the door tLad betn ~ned for even cruteT .cttic:vemencs in animation. In the next five yean. e~rytbing possible WIS trinI in Ihr way offacial expressions-some 50 compliclted iMy looked like road maps, othe rs ro simple they lacked interut. Refinements brought subt lety that. in 11m. oI'ten brought vagueness. Some expressions juSt do IlOl 5m to wort well in animation; they may be 100 obKure or 100 dirrlCUlt 10 draw . In this cue. the ItOI)' lilultion $hould be ch'kcd to be sure it cills rOf 1"11)' spedrlC altitude from the character. The ani$1 .110 cou ld try a simpler uprenion, something thai offm more caricature . He s hould Iry it oul in thumbMOb. turn ing the head lUound. strengthening the lines of !he fa, lurching rOf Ihe lies! and clean:$! wly to WiC t....! pal1icular ex~ssion . Often the animalOf Illy think of the right upression oot becomes dis""'raged wilh it because his s taging does nol show il 10 good advanlage. Only careful experimentation will ", 1 the besl method of commu nicating an ide .
~

it does not animale prosxrly . Do Ml be afraid 10 di5card you.r lies! drawing if;t docs not fit your action . It is Ihe idea thai ;s important !

(2) Do "01 In Iht nprtJJlo" conflict with Ihr dla wg~t. Nothins tan be I1'IOIl: diSlJaCtins !han this. An81'\3 EnI~Q. the ArTM:rican mirTM: . told her class. "llle tnOII
obvious Jlfoblcm was to avoid deflecting the meaning of the line lof dialoguel by emlN: movemenlS . The way I chancier walks. siands. silS. lislCns-all reveal the munin8 of hi. words ... 1 This rule would apply 10 panlomirTM: as well. where il cou ld be equally disturbillg to have I CharlCler mak~ an cKJlfeuion that docs not fit lhe personality . (3) TItr r:tprrJSion m,lS/ br NlfJrurrd Ihroug/wf</ 1M ,,"'o/r &od)' as wrll as In lilt jUfY . If the charac~r is defianl. his eyes. brows. moulh. cheeks. and head alt itude will be defiant. If any ~ of the figu~ is shown. il will be defianllOO. wilh clenched fiSls, sboul.

Tips for staging upressions;

(I) RtsiSlIM r=pf<llicm 1 I")' 10 uilloo mut:1I in 0

""",/.a"';n8. The import, nlthing i. that the drawing br qukkly and simply read: no matte r how beaulifully it may be dr.wn. il should nol be forced into I scene if

<ieTS back. f""l apan. ~nd a belligerent thruM to III tilt related pans. Any uprcssion "'ill he ""uke~ gltllly if il i. limi!ed only I() lho f:lCC'. and il tan be completdy nulliflO:.l if lhe body or ~Idtr au ......' is in Iny ny

canl/'lldiClory .
We had learned .... hal 10 dnw and when 10 00 .... iI. bul we "ill h;wJ mu<:h 10 learn aboul how II) dill .... it . W e watched Ihe beSI OCling in lhe live oclion fiI~ III the lime . but the exprcssions ..,.,mod 10 he fa, 100 IUblie for us 10 ~llCmpl . The overacling of l""'nty )~Jrl earii(r would have been iIk~1 for us . b\ll. lit.... KiIooI of realism and fine K tOO Ilad laken ...... er UoU)'I"OOd. Ern blaa-d wilh anger , or burned with ~ioo; '" snapped w' th jealousy. >hone wilh happiness. ,"'inl:1Id wilh humor . sparkled " 'ilh enc.... nlment. dartcned ..... ,u!<picion. 0.- ""erc Illlow with love . Some KCmtd III tlriU rightlhrough )'flu. None of lhese eye e xpress~ could be dr~wn no mallcr how we lried . We lookl:d. OUr dnwings of Micke y and Donald and PlUIO MIl lhought , "l1lcre ' goc 10 he another ,,-ay. "

Q f~"..,/j",.w

~~"""'" j~ lid.!

Dttly D ......11

iI. """'"

fhaf ........

lid. WPP" lid. lid Ivow, DII

~

*"" fA.

d.

-.
s/N>w

..",.. 0/ f of,1t<- 'J"

I
tldtU)~

The Eyes
~
,
~

tr;~ - ~
. tnf jw j~11

"-

- ) ""'-

lJ. 6 1~ -----/"

"-

As we alwlYs did when confronled wilh new pr0blem. we wenlto the rcallhing: lhe face, the eytS, the brows, and tried II) find Oul whal made them.....n. The ' Iudying of phOlOllJ"aphs of real eyes . ,..," ,. obvious facl tru.1 was !.lanling in ill im~ us-----che eye c hanges shape! We knew lhat lhe r hllf-ciosc lhe eye , bullhere ,,-ere OIhrr fQItCS up from below and lighl~ning at I

nt. of .>,p",.
fit<-

tIIr

~ye

to

U "'''''' quit~

diffet"erd slup:" from 0 ...

t~prl:S5ion

to the

ne~t.

When an actor h.a< to portray a rob<>! Of .. slpnlk~r. the fi N thing he does is 10 fi~ hi. ~yes in "Sian:. a lif~l e~. gaze with no moveme nt. If he wanl< to portny an exube. allCe for l i~ ing, the actor changes uprtWons cnmlillllly with daning l<ds, ha.ppy k.>ol, II.fII:I quick looks. DallC ing eyes and sparkling eye. have I &I't~ deal of ~JI'IC'nt , ranging from wide with Ucilemenl to crink led in laughter. ~ an im ated o;hM. ICtt r $Ortlthow has 10 Clplurt these .. me elements . If the eyes .eJlWlin constant th.oughout setne . the d w. IWcter .... ill be coo.listelll and 1001<; like tile model ~ t. but he also will look like a doll with painted eyes. Thi s OfIlIity 101;1$ used purposely in Pinohio. first when thepuppet was " fden. an d l.tt. when Ile wu danc ing with the m3rionenu in Stromboli's shnw . Tile eyes pmt~ flII interQt ing proble m . illCe Pinocchio was still . \/o"OCI!Icn puppet even though he had been brought to life. and p.;trt of the devicc that made: him puppctlike wu to keep his c)"'s cooslam as possible . gi ving ~lt'Ill wide. innoce nt 51a", . Now he was ... orking with tul PUPlXt.... hose eyes we", only paint. and there wu .. fine line to be dn. ... n between the: lifcleM and the li';ng. while keeping boI:h as PUPlXts.

c..._

~~. ~.

MI"".<h

MIl llmelr f rom .~ ........ pus fhar w"rl 011 .",. T~y " /10 MM at I~

,,,,I

.,.,..... ~~ of npr

_ fI'OSlibk fltr<'f<lIh nr>t~.

fM dirUfiOll

...

.....'i",

lilt ..or"

c/(m'~Jif mor~. Or

of"

7'.:;1 '<5

OV

0000'

-e6 ~~
'(j tl

(j~ 'Va ~~

When Drawing Eyes . .

Tlrt Q~S UTe ,Ire mos' imp<>rlaM JHln ,of on txprtssion ond musl be drown wllh alrtme ror't. Any jilltr or fail' mtI,~ on 0/1 inMMun dtstrOJ' boIh ~ommuni"'lion Dnd btlloWlbili!)'.
Pmi!ion oflbe Pupil Wilhin !he Eye .

V""'ifs wi,hl in ,At Khil< ptar 10 bt 11 spar:e. ins't< Whitt cJ!JI{J/

o o o o G

J, Whtn theT' i'loo lilil. Dflltt P"I'illircming. il "'ill bt diffic~ IIIO mtJkt DStrong s,o"m,nt oj ti,/r" ,Itt u p,.s.ltm or Iitt diT~'ion in ",/rich Ih. rhDrarltr is looking.

Pupils ItOI , . omo dirte" .xprusiOll Ii

2. Thi. P"l'il i. dfilr ~nd d'fini,. for a look to th. sid.,

3. As Ih. pupil men'" oW(JY from Iitt . im oj th, ey'. 'he dirulion of ,Ir. 100II. c!rong ...

Tlrree

look 10 Ih, right:

""'Y' I() anl"",u 0--= "',

00

This is IAt

.-u,

4 . As mOrt and mtI,. ",lrilt surrmmd, Ih. ""pi!. 11r.,. is on inC' Nltd f ooling of ndltm'nt and I""nsil)" 5, Whllt all aTouM Ih, pu pil gi"n a Wlg"'<USl '0 Ih. ,xp,.slion and "",us Ih, dirtClio" of 'h' 100II. un urraln. 6. A $mIllI., lhan ntJrllUli pupil giwI a d.1ztd 100II.. 0 wilirdra"",1 fro m ualiry o. lad of .ision . 7. ThisrarlOQl/ symbol for D drunk or knM k,d'Olll charar:l.r was IlStd n l,n siwl)' in lilt .orlyfilm.s, /xol gm,rolly was abamkn.d by ,Itt mid. ,hi.. A " ""k $)mbtJl ",It bt w.t/IlI. /xot always will d.S/roy alty feeling oj ,.alism.

00

Q()

go UU

This is """'8m.

66

F,.d Moort Nul pl. for drawing d

.)~Iids.

ond bra>

d .. ,xpand;n, . same po;'''' I, t ,p dir lion a'ld ..I in tho eyes.

i.,.

Look for cpPiJm liaw pupils ir<tr/i, 1'11011 of i;

,Ir.

This placed. s pecial burden on the clean up mllJl II1II in~!wecner. who had been laugh! !O emphasize ~ chanaing shapes of the eye !O strengthen the feclil&dlife. Now. with less movemen! in 1ho$cchangcs. !IIm .... as an inc~.sW chance for wiggles Ind jinel'!) on the 5C~en , and !he drawina:s had !O be done very carefully. and !hough!fully, to keep them working .oodIly. All inbe'\""CC1I out of place or poorly drawn IDly cc! by on an am> or a lea:. b\lt ... ver on .11 eye . As Wall bad said. the l udience watches the eyes. and this is wlv:~ the lime and money must be spent if the cUracler is !O act convincingly. For Disney c moon chanoo.:!ers. lhe basic shape choIetI (or the eye was the early formula ofa circle. Thi s is IIO! the on ly way !O draw an eye. but mi s shape has &i- ~I maximum npression . Wall would keep prod. ' " \IS I<)comc up wilh more ~aJ i$m . bul we always CIII1e back!o the circle . We haye refined i! but never found . bener shape . MallY Brlil!1 !ire of lhe old . round eye and wlnt more decorll!ive design for some picItres. but often they lose more th.an they gain. Sin eye is the most eloquent !ool of communication. added strengths mu s! be provided in other 1~IS !O mlkc up for any loss here. or the c haracter is api to sI up " 'iib a li feless. uninteresting personali!y that dill ilUdience ne,'cr Cln quite believe . It is up 10 the mirnIlor!o be sure he lias not been lured inl o designitl l liny eye or one that cannot give the nC(usary upteuions. Mickey's eyn were, special problem. They had ancd II black pupil s in large eyes !1Ia! looked morc lite ronles than an eye shape . Since the whole figu re 111$ stock Cilt1OO!1 formula for lhe lime. the eyes worked .-dl. bII! when the I llimator Slaned muinl the head \iuCr and rounder . and elevaling the rinu o f the eyes 10 !Iv: stalus of eyebrows. I strange condilion arose. Thepupils we~ now considered 10 be the whole eye. a lOIid . black eye like thai on I doll . [I was CUle and IIIde I greal dQian. bul il c~lled an ,llllOSl impossibk jobfor the animator who WU Irying IQ draw a look it any direction ot her than slrai,h! out in froni. Eyes wandering around the fate lended 1 pt'odu~e a 0 IlWUYeffttl on the audience . so the animator had 1 0 awli his IltCmpu 10 make Mickey have iblt added tIIr:h of life . In most ClseS Ihe reslrictions were han dkd 10 adroitly Ih a! the audience never noticed. but

Th~ ~~ ./i~St M i(irq "Ppra d 10 Iw wrarin, h",. ,onl~s .. i,h bla<t pllpill .

Hi. h.ad Iwd 10 Iw ",iltd 10 m<IIr~ hi", I""" "".

/, ...... difficIII' '0 roll hi. ' )In 10 1M sid. OM main

lain a pl~a.ln, ~"Pru.i"".

F"dM"",.

Tht Pointer (lPJ9I lip opfHmuniw, /(1#" <"P'fsslolu.

M~'I_"""

wcrc >Iill .i"",s whe" Ihe ;u.im~lor 'l<:e\koJ II>,,,II ~l ick.. ), e)'n in a ~-..:i;lt k>ul; I.. wi,,~ ." m.)w h ~ "":00.1. 'fh,e"c ~ri"ti..n' ,,'cre I"" timi tln)! . Wh:ot if O~>hf\lt h;t<1 """n d ... wn ,,;,h a wlid cyo: 11\;01 IIad II<> pupil- O)f Dumb.. ? There "" 1II1d hlvc bn n<> ""')' 1 ,..>i )f)II. tk: . ucilCm.,n ' . antilite-..U of ,1\0: 1I v~rict ) nmkd . ""e nlll;Oli)' ~t icle{. eye.' " 'ere ch~n~coJ ~nti rupib "'e1'C addo:<I. "P"n;ng up new . ;tinll pos .. bil il~s. lie COIIld III'''' look inllllCent or emb~ .... sKd out "f.he "f hi . eyc.-or be could glance 10 Lhc ~ide without tho: upreu ion f~ning apart. OIl Winn~ tbe Pooh. we had b s uf; prob lem Ih~n " 'f h:ld with Mickey. bee;...."" be Muffed 1 ~nti 0)' ,,-a.o no! upcl:\coJ 10 have cycs lhal wande~d on h;~ face . It smcd apptopri. t.. fur him to tum his bead in the direction o f his " looks." and Ihis aclullIy ga>'e him a leu 5Ophi,.io;atcd feeling thaI WU rnotl! in keeping ""ith a " ~ar of ''Cr)' liuk: brain ." With Ihis I)'~ of ani",. "''C always could kp the e~'cs in I c~ re lationship with the ~ o f lbe ck~ntli Ihal p vc cxpre~ion . A .he mouth and the chc.-h .ni matl'(! . .$ the shape: of the lillie button eye s would be .rele.:!. and .hey wO\Ild squu b and strel~h the amo\Inl ncclled [0 keep lhe p.nicular action a li ve . Tho ugh man)'

ItIo:.~

~uhllc. io:,

""'hou.

s...

'''I'

w ".

up . III.: a"dic~.... b:.J .. Imuhle in I<~t""'i", .......- I"d. "'II> r..... tin~ . Pi~k.~ ... ;aS n-.ore of a l""bkl1l ~i",t II.: hal Mt;t rud,,,,ents of ~ l.ce . Wilt! tlnl ~' olt.lI. for t).t:) lho:n' ... OOIhi"~ 10 ,Ir w t~"'111 Ilk' c lUlioI e~ptC'ioo>. We .. h;W ttl ~-on.."" ntM" I..... ""lin!! in boldy aUotuoios" h~nd :and ....ad I"'-'tlll\" '0 C OI"p, _ f.,.. .hi;. ...... o..'('asiotlioll~ a '1 .... >t"'n b r~iliC'd ,.'0000 hu!Ioa ~y,..!>hould blink a[ lol l Jinec I......,. is so n,ud! tltxmitl keeping Ille n:ali, m of .......1 . SoI'X ,,"iM fllllfy 011 S are losiniliheir ba.i~ dt: ~i ~n if the ~ alter lhe slupe ill any .... y. bt.tt lhe)' arc thn""ing ..... ay their best s)1nbcI of lif( .... illllll.s limilalio n. K(n Anderson cxprc$s.:d il I' " ell. "Thi s creallln: h:ls "IIo,ically bccn ill\bfjtd ..ilb life . and ~ of life is the Ibilil~ I<J blink the ( )'e$ 1JIIIi gel cxfJl'C',ions. It has 1 r"l;k up I..... ~ .."" upln.. 0 me nlS or else it ...ou ld only be Itll in, hlolflife. " ComparN 10 Mickey or lbe dwarfs . .... 8m1bi I1t' <>ppCllI' 10 be "C1)' rcali>!ic . ~)' are carintum at a rc.al eker's eyes ~ .han being tanoon C1~ Wf had the: )U,Utstion of a lear dun and had I cadult d ra" 'n upper ..ycl id " 'ith a Ih id:~S$ to it lila r......'(I' the eyeball. The pupil with lhe dart. cnler aDd die high ligM made the eye .he most Ilet.i lN "'f Iud ever dra ..." . MQj,1 auditns...ou ld ha"c been hard pressed

h;." 10 be

~i"" 11

t""

".,; PI,'
I ! ~'hirh

' on 1M
OM.

-~ IfMlIJ, " 'M.,-I.

ttlllh;o, a real dee,s eye waS any dIfferent. In spi,e

II all ,his dtlall. or disguise. it was sul1 basically the

tlllOOll formula. justllXlre refined. We could 001 have

squashed it SQ ~dul1y ot/Ir .....ise . In lQl Da/"'''';(II'''. I'onllo'~ eyes had the dark cen
Ier ""itb a rol<:>ml iris only in s pecial closeups. 'There
""IS

no detail like lhe Icar ducl. bul we did carry a cmfully drawn upper lid ,hal helJll'd fit ,he eye un the 10:1. Our problem 00 ,his character as wdl as on BmIbi ...'lIS 001 in animating the eye it!<:lf. bUI in trying IOftlalC it to ,he OIher featum that had 10 affect il for
'11R!!1OftS.

r"
Ihis

~ (.in~ ,"m,~s,,,,,

r!o".up of Maid Ma, /a" ill Robin

Hood ...... IlHtl ~ s""'*"" ,ffu, IMI Sr/ IM P"P,/l>act

,X/'n",

,n

"",I"

,~/ul.

i~6.

_ ..
~

blMt

Mil

.k

,/t, For
,~~

/jul, ~i'l ill 'The Jun Book Ious i<J'JI' pwpib Ilrround,d b,' " da,t. I/"St) "'S. W, ",'IInI"/

Th~

tJ{f

JI"'~ ,~It /oQI:

,,,,It, E,m

'1)

. ,.",..

,I."w_ ~.....

... I" ... ,

It'I,wc"
"'-;".,; inl 0{ ~

Indian 'Y" "nd. MpqNlly. II "dun" ... qu"li,v as ...,11 .

I.IId!". IhT "il/aino,,, ""' ,~Ci~lJa.1...d ~s Inth

FIJJ_.~

a (oloud ,,'s. OM 0
,,,,,,11 pupil
T~ 'MfH

'''I)'

,no/",,,, .. ~
W,vll tUlIJi
_IJ~

''''"'N aNi cOl,I,u. U (TP'

'" la*u
p .....'I)IUi

..,,.

tIwtr.ltlJNs.
""II<')' .u.n..,,,,"\11

'JT .u,pTis,d ,s

I ~I ~ ~~',,_I,.

j ....

IIINl r"".p
I~

, ,wluQlly

It.< !/try",. "'"" ,1m.

P' dtff...,'" ,_Wol,.

'I I. (Hf'tf'I.u r",, /''''' .... "',," ...i,~
". ~~ .

f I"IffIM1rllkJ Aall of <IJId I, ",

.. ~
0

Qrt

~ body. , ......QI Olt' ~ Mad. owl h.. Iy':q>r,ui,,,.ars

7./~ NItJ1TflJI.

"" '(11".,.

of ,A "'" "..
,NJU

,A.

tJAIy,"""upu.

y.dlftl IK_ QIId loud 1>1'"1;0<1' --.s "'. ,IMI. U ..... ofr.~ ,. Ih, 1M pi, /IQJ tI ~ hot> il I, tlifJicw/. ,tI Wt ..'IIt,IIt, lit " Ii' ".,,,Iy IIltp)",

w.z...t .... ud"d

""",,,1

Eye Blinks
Bhnks may al fint sm hke the more mechanlC"ll ut of anlmllion, but lhey do many things to kttpl dIK IICter al i\"e. If there is an inlensity 1M a look !Iw does not allow cllanging ~ sllapc of !be eye lIsclf. I bIDI: ...,11 keep.1 from going dead, If !be eye Slan$1O 10 < like. ICnms ball or lias lhe hfelest iIare of I doll.

blink ...ill make 11 reiligain

/
81inks In: a u..eful devicc ,0 " ~,,., . he )./)ur;t of going in.o a hdd dnwinll . ~re is ah,ay.' a visual jar ,,'1Im lhe dn "'inJ; suddenly 'ops mo"ing , and lhe illu,ion of roundncs~ and dim" n.ion quickly fade, a. ;1 is held imllJovat>lc . In mr.><l cases. 2 fcc, ~ fr "",. lies. Ihan 2 .. :;.ccllndSI i~ Ihe max imum lin", a ,traw;,,!: can remain on lhe K rttn will>oul move menl . Ho,,~"cr. lhe ~im plf ~il ion of a blink during lhe: kuId m;aplurn lhe " ' -;ng qualily . kping lhe: ~~lahlfS from ruliz;n~ ~ i~ only a dn"'ing afier all . Blinb ",ill makc a big visual change ju>l by lhe <vlor al()IIC . es~iJlly if ,he pupil is cnclosed in a ",t>i,e eye , The dramalic eha nge ffnm lI,hl 10 dark eyelid 1 li ~ ht a,ain can be very ~!anling and un0 doubled ly will aUrael Ihc audiencc's lIaze . The eye. !he: lid, and lhe blink mU~I be cardully dnwn and ,imed 1 ron v"y lhe pre<:i.;e aUilUdc of lhe Chara<>!CT 0 ,,-hen .he}" h.,c bomc '10 iml'0.13 nl.

'" ioIud.J _/wotld ,., (I f"I'''/I offir'" " ",I ,~,ct~~" ,,, ., .,rltoh _II''''''' ,h., .,. only",.. ",/w,,,-rr.,. " , 1 01<'" ",,' "'_~'''ff_ /lH rN'''j_ If'" i.. M""- .... is J,,"... i.. IN . ~. rIrt ... ~',II "" f"<"~'" .... ,.. K 'T''' t>{ .. /rail.,.. .,.. 11tt... '" ",Irr, .<f" .....

,/It",

___,

pm",.....

bw,wu n ..Jr,... 1<1 (I . .i""".

" .. rMJJ,

""ot>l~I)'

",,,1 Ml flumll' ....111'

The Face
..." ....'OJ, ,h. rtlllr' '>i ,h, 1'''l'iI ,
"S/',
Ililtb 0{ di, /1rlitj, pu::l,mrnl, or "" ",I.. us""II;' "" .n""'I! shi ps make an expression n:ad. Nu one pan of Ihe ..iIII (I JilIn, "1,,;11' . In ,h, clo,~d 'Y'. ,~, "n" bollom lid

We hive found over lhe years Ihal te nain ,-"Ialion-

"'I'

o DO

0 0 GQ 00 GG C. A 'D

/. ,lit flu"" b/",t of" " ,,"n',/ (}I" halj-rnMno", laot. ,h, .....nou "" ./"'" ," i" dk(l" ,/ in rhim " , <Inri ..... r.qJOJtod ,n 'M J1attlu ,i",i." . h",,., "" Ihr rxpo.a" ....... o.l,- IN " 'Art, of tM ,"(-N}I ,,,. flJ'Pil-is ,.po>d

,h,

,h,l,f'

.. .... lid _,<1<1",,11.,- opt ... .

cxpfenion. Ihe eye. or any Olhcr pan by ilSelf, is going 1 communi<:alc if lhe exp~s ion doc_ not work 0 " I un;,. To ~I Ihi. un;ly. !here musl be a cloK n:lalion~ip bcl"'ecn lhe clUC;al piOns, If lhe: (UIUIn arc spread 100 far apart il is bardcr 1 read lhem :lIId 0 fTIOfC dimeul! lO mue 0IlC' part reael 1 another_ This 0 is. of COO1St', becau~ mo'l of oor e~pcric:ntt wi!b nprcssinns hu bun on lbe human fau . An an;m.al suet> liS an antealer. which has il. moulh so far from lbe eye. is a !uugher problem Ihan OM whose fealUn:_ rclale in a p.al~m closer 10 a human ' s. If lbe line of lhe mou,h t>as a d"... relalion"'ip wilh lhe eye. il can push !he chech up a~ainsl lhe boclom ,,~clid in a smik hereby n:la.ing alilhe t ey pam of lhe fa .

.... ...... "'...

"'
j~

,.... f'lfJ"

"",apr

Thr :animol' ''' mlot,t be vcry all.",,,, thai he;" "'min, . ith (oot_not " no:s. The lllOO lh. lhe ~"""k . tt... l.us . .. e)",,"U. the nose . the fun:hci><! . It... "","'., an: ~tI IN<Ic up or ~"n".... n Iksh I~at is b<:ing movcd ailoul .. ith .Jefinile plan . The ched: muM bc rcj,!arded as I
IGlid 11<1"" th~t r~'ta i ll' 8 certain ," Iume wh.:thc, it is ' _ hO...J Itl "'-"COfIlnlOd;otc I ..ide ...>p:n JIl<IWIl or f'I/>'ItW llIkl a 111:". shape II)" P"'lSUn: rnNII the or a <Wd IIMl\l lh . I.. ;, n e Xlrcme s mile . the cheek C\"e n ~y be rorc"e<J ..:ros! Ihe hOII<HII p;o rl or the cyehall it",I'" Now C\"'lthi n~ i , '<I u<''''~c:d up H,It.",thcr. "'........ w ~milc i, ..,Ialed. the:.o: (... m$ all wilt >Cp.! _ .... Thi. ~i'~. <lill",n, inn It> lhe ror'II! ~' they ellang~ ill ..,I;r\i"",hip In e:... h ....1Ie "'I"a.htnl; up or "Mdlin~ lllII_ and it is l h~ 00.: o r this full<.l~ mcntal pri,t<:ipl<' tIw ~i"" li fe.u IIw: f ...." . As lhe ctlf..'Cb urop away from lhe eyo . the 110M: ",iII d rop .li~htI)' . Ihe moulh . ill mak<, a la~, mn,c. and lhe ,,hI,k Iw:a<l will ftonc;o1 t ' "<:f1 ically to help 1K....~nI U~lc Ihc ,hang~ .

,"01""",

_ IA .. <'-'tri, '"
/'OW

rit "

_.

II i. ~Mn

""""n the bn.,w. ~rc rd"e,j h'r h and II .... C)C~ J I\: . ode "l"'" on a c har""lcr likc M r. Snl in I'n<'r P",. Or"""ohhc <I "arr. . lhere ,,ilt "" 'n ,n kJe$ ab","<: the ...,...,.. In lhe norm al "", ilion . the forchead rna)" It.: ;..t the '\liI<:~ hetwe..,n lhe hro"..~ a.... the cap . 1'........ .. (or,:ho~d Ixin 1)\I~ht:<I "I' an<J "Iuash"d by lhe broo,.,. ...ill he lull of ,,rinkles thai rna)' c'cn ~." ~nd up Pf>IIlt< cUre \If the ~~p . Still. thIS " not ncarl)" ~< ........, .. Norm I-er"uwn~ "~rly dr~ .. 'n" of PIUI" . ,Ih tho: I><n,,", 'I"k,n, up abo\"~ Ih.: h" ad dT""e . 11 Smrt ..,"" In ~" intn a frow" fill'" lhi> PI" il;" ". 1M: ,.,IN .... ) .. ould h''''e a "1("C fn"'3. d ~,,\! o,Ir>wn ...ard 011"'" heat bul Ihi . "....,1<1 he mu,h .... "', I.... n the I<1Ut "f!he bro ..... I.... lhey .rfino. the <."Xrre-"'~ion Ih~1 ...1 I>e ..:en. A, lhe bn, w, """ '<;cnd . Ill<: flesh th ai ha, piled up h:hi'lll I~", flatte" , (}Ul . When lhe y '"Ml act Ihc c;r<:t( til tht cle. tMy bqdn In push it do ..n ;rnd change it. ~ . ,\> lhe f...",n ........"On~ more ,nto n,;c"he pupil~ lI! .... p;tt"1iaJly C<lI'cml by t]",<t roll ' of n"sh . "J""he-re ~. ' h",~,.." . tn Ilk"" tm.>..". more reflnc,,] no" l h~n Il1o: n~ 1 of ne.h "" I'luI<>. nut slill ' c p'",enting thc
QTI<

,....,"'~

,\,0.,. ",, <'1\

I" ''''''~

""

."~

_. - ",'"
...".,. . . ...
""""~ ,,,,j,,,,,/ ,1M rOo

...... /or,

...

~jnI. (J,;~. H""

"'", diJIi<

"1;".-

",;,or "'"

1"h,';~ ....,~ ,~IiI,.\ fr" m Til< 1I.<,.,uer, "'~I ,ltul"J "'"

,,"",. ....,('/tnr ..".....s......

,~ rr""l"f'f~Ji",,,.

""

Ii< .. '" ,Jot. '~pI;lit,~ ,,,,.,......

prjr,,:ip"' .

~ toI.o mono 11:11\ "",.e hno:. ghdmC h;od :rn.l "onh ' -'" Ih.: ......., lu regi)!e, em<lIton. - lhe face nlU>I .... '" Ik Ilr'" .,~l th.. n~ "",nc,n mu'l I)( lim..'d I" ha'e ill< 1<,: li ,,~ ,,( wei~ b t. N" '" ,,"ly in :o ta ke Ih c 01" "'.

-,TIII'""",.." .. ""D~" d~,, "it ,_rlinl

,,~,

. iM,

"in, p.NI,., "" "., [ge."

0'

.t ch ..~ '~k" Q " ..II M Q fJw.J '''''.

U".

~II(I/fl ". <NJlf<i 1ry

AII,II w "

".

mr

S'.e,... Whitt .

r,,,, Moor~

On _~ d, ....,i.., ofStu py. ont f)'1 I,.",..n wid" ' ..... n ,Itt 0111" or on. (k. rk il
sq~~Jh.d m"Tt ,h~n rh. 0111", 1 0 lift '" Ih. upnu;"". Tlwbo,J wNi.,

,i."

,h yu

(,.~u

"

P~f!Y.

ll..p}" 1001:.

,ion change can be as fISt as the animator ""1M III make it; certainly Bill Tytlll made li,hmillJ dlIftFI " 'ith Stromboli in dialogue . But in each cut: !hm is a reaction afterward- a Ruling or follo:w. IhrQlj,h; othe rwise the ne sh will lack weighl alld ROC tit roll'incing. "The expression chanllcs 011 Wall" 5 fa>% WCl"f 1*Ik' "la. l}, >timulat ing as he \bcrib.:u _hi"" 1(1' lIS His actin!! st...r.-(U the ba'lic humor in the but the acthity in his fa.:c ,nspirro c'~ry IftifllljOl. His brows " 'ould risc hill h in one 3ttit. . . the. AlII denly plunge down into a deep frown. " ;th the c~ pushing against the c)c . gi"i ng an imen>c , pilll"ins qualiry (0 hi s look , The n <me brow w')\Ild shoot ~pilll nowing ship" acr~. hl ~ fO'l"l:h"ad. T his " '1:\ nllly squash and s~tch use<! at its bnI to rom_ with an . udic",,,.

,iI-.

Dialogue
'Nhtft dialoeue " 'as added 10 !he stories. an imalors !Uddtoly "'e~ faced ,,jlll I whole DCW problem . What don tile character do wh ile he is ' liking? There he!
or I dip "I that poinl. llItre wu ...ery lillie I1ttmpt 10 cl\oo:Ke Iht mtKl approprillC ICUon while evef)'Ofte was $0 dc~perlile .boul gelling anylhinllO In many pictures the chuleter sans the linu. No one remembers ""hether this was I n II~mpI 10 mate necessary expos ition ~ palalable or ...helhtr it was JU I way 10 avoid bad , l m.leurh h teling during I St long speh . Wall felt thlt a s inger ""ilh a pleUllll VeM established an immediate rIIppon with the 1IIdito , " If )'0\1 like his voice, you like him ." (AC\cr one unsuc~~~ful meetin, . John Henc h quipped. " I'm gon .... stan laking ... ~ les$Otls!") aUt , ac1u.lly, ~ was one way of drllwing vjc,""ers into the film ....i\h a posi li "e altitude right from the "~ . There "'-ere many seeMS of questionable acting thaI were c arried by I n Ippealing voice . If lhe dwacter had no re~ 10 sing, he would speak his liM S in rhyme , ""hieb 1011$ not 1$ CI'I)' fOl' the animator as the singing . bul this was bene. than tulislic

won..

betn single word s and cxclamati on~ and short phrases before. but nOw the s~hes were longer and denwodro some: kind o f I(:li ng . Wah ~ .. iou$l)' lIad mlted I mood ",';11'1 musk /'JI' inuginillh'c use of dfe<:\:S

or O('Cuional pamomime; oow he was un~ure of 1M I)'PC of lK1in,1 UrtOOfl eharacleT ....0\I1e! use 10 ~pport _ fortify the tiroes he was Slyin, . As tong as the
dt.loj: .... only ~prang from embams~ menl in f ront of Minnie. or from a boy scolding his dog for doing - ming stupid. Wah tnc:w how the charac:~r _Id I0o/I; and KI, but I S 5<>On ilS the ,,-ords bamc pan of lhe story the animllOf'S were upec te<l to find Ibc KliUlion . " Hi, Minnie" and " Watch out!" lwlbeen done ,"'jill only the m<)ulh opening and cloling. but when iI ~, had 1 SlIy , " , .. I'll be ~a k Ind you' ll be >OITy 0 "bell tiM: ",oI f c:ornes 10 your door ... napping the Io"'cr lip Ilheu "~rc: ,~~. few lo....e. jaw. I . thaI lime) did 101 do the job. TM Inimalon IriI nodding the head up W down. but s till there wa~ no feel ing thaI the woi "';os romi ng from the chara<:ttr. Something h;od lObe found lhal ""oold Sh~ the imprenion the cha~ ttl u s Si)';ns the liM . The animalon !iCllfChed (or key _(lids that seemed to be Slid ""ith more empha5i' than 'iltocbo:n and Ihtn put in an ~nI. a ;tsl~. I botooce .

acting . In $(,,,,,,', " Willy Bro",," for

"'' ' ' 'hop the clerk tells SltIta that.

~~n )~an

I hasn 't wnhed behind

his can." Both tbc drawing and the I(:lion were cn.ade but the combinacion 1011'1 S\l<;cessful in Iht !hula , Even if lhe charlCler did IlOl: qIIite look as if he we~ doinJ

the tllking , the speculars ""ere IlOl [00 crilical because

they ...e~ enj(!y ing what they were (Ioing _
The big problem was to find way \0 ICCCnI !lie dialoglle , or 10 match !he ICCCnlS already \hm; Ira the

lif_"

".~,

Jo~ ....

...... ,

.. fi"'~',

"

L
I'

11Iese weK marked o n !he elI.posurc Sheel. 1O !he animator knew where the)' came. He had I copy of the track and coolo;l liSIl~n to !he lints O"er and '>Va". but for h im 10 capture the ~ ~~ fedings In hi~ drawings and liming W a real pmhlem . He;od ~ 'mhJi hltd (ronl _<ilk $io;ie. hands ...."CTC placed on hip . arms ",'ere folded-but by far the mo~1 popular ,olu .ion .... ~ 10 hive tile index fingu point ellhe. up in the air or ,. llltOIller cllarac.er. It "'31 001 rein)' ~Iin)! . llul it "'"u 1111 ea~}' way to lIel Ih' nece;;ar)" acce nt s to match .he fu ling of .he o;IillIogue . Some animaton ~'ari ed Ihi s Iiule b)-' ui ,ng a cl~",htd fist in~Ieild of a finier ucnded . hUl i! wu lIil1lhe >I0Il KCenling the v.otd~. and . u,ually. ~\"ry """ro th.! waS ia;~ , Walt inld\C neml )',<;unai led that ~pp...>;\ch by phmning ~Iorics Ih~z dcm;nd.!d a ,not~
deli~n)' .

.0

convincing type of ICling---{lot illl the way thr1lrIp. bUI in k(y ipolS. Th~ Fiyi"g MOllu. ",lei'Sed iIII9l4. show'cd new <;cncepl of a tartOOf1 t~ "" j"g l litlC of Jial[)!!u~. and while the an it1lat,~, it onl;' tI A roughe r ",ri~Iion of the SiOttlC "Id JII........ m. ~ _ actually ..".."hc:T ~1~1' fOf'o'ml. 1'10.. ,,-I!o.,k buill on t~ f(cl ing' <If the (harlK'l ers ~rIill!IC <N~e\ thaI OCCUtTed as 1M si.u~rion~ tlewloped. The dine: t..n .... ~,.. rhi1l~ ing. ani! ,naI;ing oc'Ci,iQ!Ii. ~nd ""tlJillC

."w

"''''''''1$

1\('"

~moliOOJ.

dW1Clen in l~ mIf)'.

and. most of all. intt'racti~ " 'M oO.er The pointing fintc' . '11 100

limited for lloi$ kind of letin{;. Tile: follo"'ing year \>roul1hr a :110;1. ~Ns.an. The T"no;.., dud rl,e I"".~ ,""t"it,,'I.l tt~ 101,..,..... tIra-: acl~r d~\~ I"I''''''nt. rll<' d~.,,'~" 1 "'1J~\ l il), nJl'<-~. ... anJ llw- ,.s. sy ....: "" ilb JialufUC" )".1 ...h ....,nI. lit ,_

'iUI,""'"

Colli.." TUU("h faIled all .he " 'ay arQUnd E'"tI)"OOt "'" 11"1.llw W"". ,,'Cn! "-rong.' Why did" ... ,,-.,d ~ ~'"CI)'thmg done had "'OILw before: smglng 5flOlC III>C . peaklng In rhyme. poin"ng finger for ac~nl!i. wobbhnll Ihe head on lhe d,alogue. II had btm a wOntkrful opponunny . 100. for Ih; ~ Kmg Midis " "as no ml~rly mona~h, mean and lIlin , ilJnfl,n. hoardIng hIs gold and halln, !he " 'odd fie "'IS I h;lppy man and cnjo)'cd hi s "'callh and h;~ lifc .

1r.l!.I. T~

"",,,n,

.Ic Io.. w h,s fIo",-en and h", fOOnla;n and his food alll105-l n much as hili gold . Then afler gellll\ his WI.<h lIlat c"Cf)thil\ he IOUdw:d would 'um 10 gold. he gradually realized Ihal he was losing cvcrylhing he I(>ved and was faced wi.h $tarva "on and I Ilow death . Whal a s;' uI,ion for an Ktor: the Ihough. ~. !he: ooncem. !he despair, !he mounting panic . Then: WIS. wealIh of possibilities, hul somehow the cmoon did IlQt come orr. Mon: was

nttded Ih~n mcK gClOtPn!S, hiPPY .m ilcs, ....on icd I king ruMinll around the coonyanl for tile: lUdic""" 10 ~llte IU 11M: clw...:ta, ThaI "'i<> 19)5 and work al~ldy "'~, <lani", on S"",,' Whitt, a picture thaI demanded far more in con\incin, ch.1raclCril.alion iUld belie~able actin, than anythin, done before , Both the 1000oi!.C and the hare had ~n broId comk characlers shown in strong 5illllltions titat h.ad in~ured lheir ~uccess, but TIlt (;oIdn. T()U('h ...as .t>OI'e like the fea ture ~ing ~Iarted . 110'" could S_ W"il~ he wccessful if King Mida~ cou ld not be made con~incing? 1bc:re wou ld he no problem

loeb, and

" 'i\h lhe dWlllfs. $tumbl ing around . bumping inlo cacti
OIhcr II Illey II)' 10 d;sco~er "'00 is in lheir house, and only minor problems with tIM: q.-n consulling her mirror , since Ihal could he Clrricd ... ilh lhe strong <hmatics of !be $ilwotion. But !he d ...arfs arguing abolR whether the young girl shwld )UI)' and ... here she dloIIld sleep and, especially, cryini $inc:e rely ,,hen tlley think she i5 dtad- how cou ld wc c~e. , ucceed in makini the audience bel ie\'e? As llot ani~ors studied llot problem , lloty hegan 10 5 thlll mcanin,lets , Pnn:1aled mo,'emcnl~ of ehlUXtcrt durin!! dial~uc dc slruye<J " 'hal liltle ""nuMlil )' the)' rna)' have all.ined in carlier JoCenn , The)' already knew Illal a m<!\Ith nopping abOlll like thaI uf a ~cn Iriluqui<I'. dummy Ia<:ked wn~icl ihn and a head bobbi", _ k and forth did fIOIhin. 10 de"elop the dw antr, 1bc:y all>O realited thaI too m.....,h 11)0'=1 on lhe eharacler made il impuuible fOf the audience \U see the upre u ion on hi s face, In looking back at SCelle$ 11Ia1 had been successful bef~ , lhe animalors ~ lhe idn of phm;ing lhe aclion in ICrms of the phmoes of dialogue . When the fairy ;n TItt- f'i."intr ,IItJ<IJ'r had said, " 8 nl\'l: link tl>UllSC, ruu'"c httn kiTKItD me, I'll gnnl one "'ish, whal shall il b.:?" the

aninl'llur tl;od ...cd ~ diffc",,'" h..dy ... t'lude <In ""'.. plIO ........ ilh al'JlNPf'alc ~"'IU1'b, Th.. .... h<ottI ~ slight f"I u!oC at the end (If e""h phr:tsc, ... hk h ~ve a ehmll:t' 10 display the UI)1\:ssinll " 'hi lr till: bo.ld)' qu iet, The next phr ..."" h;,d ~ """, ~lIiIU.J.: with ~ 00:'" 8C"1UI'I:, and pcmap,. II \'ari~t it1.. uf lhe e~~. This . impli(1i:d tho: ... hok probkm of diakJr,... I Cm.. in.:lling ~It lho: nlr:tneWs 1111>"" lh.:ll h;td ktpl Iht: char.octer mo\'ing wilhout meaning , This hegan 10 fucus Ihe .ni "'~lo"5 anent..... 0111 relatiun5hip uf anil\l\k , geslure, and upm.sion, ucI ,,'ithout realizing the advam-e being made. he $lII1OII aski", queslions t i he ""ldled t'"",h ne ... K't'IlC , " Wl!M should Ih is character do 1>11 Ihis linc-leu fon.-anI! Lean Ick'! What is lhe poin t here: ... h)' is he doiq . nything in Ihis scene? Do I ... am lu ,how thii siWy grin un hil fac:e. or jU$t put O,'e. that he is haPP)' ' IIQ( "'OITied .bout an)'lhin,? Can I do il bellel' iI close-up or in a fullfigure shut?" As he 1I)ktd IIInt: qllC's tion he ... as thinking uf a<: ting aoo per,;ooal~y, and Ihis "0011.1 IiOOII lead 10 a roe,,' kind ufbelie"1billty in the animal ion , Of CUUI'K, phrasing a line of d;,Joguedid 001 _ _ all the problen)" In Pluto's Judgmrnt Du," lht~ _ ,;c,'eral Kcne s of the calJ in Plutu's dream Icstif)'i., about all lhe ,,,'M Ihin" he had dune IU CatS, very /'Wild Cit hlKI hcc:n chased ' intu the piOth ell stc.. mrol1er and httn fl:U\ened ... afe...hin, The PI "'as lnal on lhe las! line uf his lestimony. he ,,'OIIId tum side"")'s and walk off. ~ho"' i ng loi s pmlklmelll and makin, a runn~' eunlra~llo his ~ppc:an~ ifttht three opening lil\e$. To aid in this ,'i~ual rontnst,loe canied I balloon !hal !<OO1e"""" had hfcon... jotII II lhin wil00Ut !)O!Ipin8-' 11 was a C'Ul~ ga~ wilh. owpriIe Iwi st. ~l\d ~V(I)' dfurl h:ld lU bot mad.: I" \UpJIOII the illusion lllal ~ ,,':as .~~lI)' a "~f}' fal ~at ;0\ the ..... U.. m L ... kc Wall g"'en the ~ne. and lot tatted ~ ()V~ " 'ilh his ),oung an iSlltlI Ward Kimball , ..... fat line. " Thlll greal bi, bully picked 00 me:' Jft-.I hir!y easy, . nd the )' 'arce(] that lhe ~at "XlIlkI poiIII tuward the offstage Pl utu while he wa~ leanin, for 'NllJ'I,I. with a pelula nl willll~ , NO>II' he could Ihw back . nd stick 001 his otumach <ICIlht !luI Ii.... .. ". bau.;e I "'IS SO fat .' and eitl~. pal hi, tunllll)', .. make a ) "'f~pin~ gesw r.: wilh hi~ hand , IIU11he IhQ line. "Il~ ~ h~..:d FI ... ",Klcr ~ S1~:lInro! !cr , , ," :iI<lpPfd

w"

o.e

boIh of !""se cr~ali"e minds. Thoey IlM>ughl of his run nin, in pia. turning in fur . doing a tak~ at ~n imago Uy$klmrollcr. but nothing .."" imagi!uli~c enough. 10" _mcd 10 fortify !he Ii"" of dialogue . Finally Wan! !Uuc.. ed . " Wc're s upposed to do >()lnClhing diff~rcm Iren ' l " 'c1 Well_ how aMI !Ia"ing steam come OUI of his cm. "'ho:n he "'Y5 ~lC.mroller' ? 1 13m !houghl il was jU. I c.,,7.y ~nough to "" wonh a II). bul who.'n Wah saw i! in the swea!oox a w\-ek lalcr he ~ lhe r,lm with a long . slow. "Whal in lhe hell W;lO!l(hll?" ' To him. i! kidd"d I"" ch:m.cICr ~nd the lilll3l1oo ~nd lac~~"" tho: ~i nccrily "" wanted in his ~C). Many limc . he ,,"OUld laugh at a s uggestion or , bit of animalion but Slill discard il because it 4t>tTO)"N lhe MI~V3bi l ily of I"" silu~l ion. and Walt belie"ed In his pictures alld in his men and in his a~ k",c and would do nolhing 10 break Ihal bond.

Gr:odually It... CXlra"""" .". arbitrary $O;lions Mgan 10 disappur and a 1)'pC of acting " 'as ~n Ihal Sttmcd so natural and so righl for lhe dUnclcr tm.1 no ..... could ques lion!he bd ic vabi1ily . There ,,'ere .. ill some animators ,,110 felt lhey " 'ere 001 doing 1fI)1hing unles$ lhey had an arm waving or the head nip nopping Ihroughoullhe 1"". bul e"cntually they teall"lCd Ihal lhese IOClions drew lilt autiicIKe 's aucnt;a n away fmm Ihe nprusion and con lrad icted thc all ;ludc . The s uccessful !icc""s ...cre lhe~, " 'here,he anirn.:IIor had fclt the righl u~Sli ion. h.ad urwkn;tood (he pcr:lOlllllily of his character. and k""w how he would reXI 10 e,'cry s ilu;uion in his own pan k ular ...... y. And. funher. he h.ad a~oidcd making dra .... ings 11m wcre JUSt drawings . but worked 10 nplurt the fc~ling oflifc . A ~ Li v Ullman. lhe 8rcal aclre~$. has said. It i$ whal is behind {he s mile Ihal mancrs . "

""".. rott Ollir Jo/I",/O~

Robim llood.
DW"8~: 'I'",,,,,,_ od. " . "",Ie ""ndilS. ,~bbi.h . loa Ju. 1uJJ. ." Till. d'ol"tw ...... dd' .... '~d by Prinu Jom. ..,,11 on oi, of bomJ "rro!OIlC~. rol/i~l '''' "

""ItO, cloudoc.:~'IU. Til, llead _ Iy ,,.,, willi 1M

8'"''''

dri/ri'"

')IN

of """011 .." ,II

/iJs"''' ~." run., M/(Hd 'M/_"ing of <:O~""'fH. On tJv .....".1. " nd>/>isll ," Iw
lIU"IIS_y. roIli~ Itis~ "I'WtJ,d in " <>, im
I""irllC" Tit .... ",..... p"";",, IIos hH" ,ItUM willi ":..,in&,ugrtU of I~ '.flJiry. TM .,.... lias IN,,,. "Yow. Hi . drt .,lIpid! l ..... rl~ r_ "

,hro,,&_'

""mod

"w'

'''''''til'

How Do I M ake It Sync?

Ihough Ihe U"""ators 0" those carly pict ure. with IOoInd ~ a 'lronlllC~"'nI In the dr~"lng Ihul matched lilt fl1lnle "he"" lhe beat "'as marked. wmethlng !<'<med 10 be wronll w ilh the '}IlC. " 1 PUI troc squa, h dr~",ng righl wrocre you "':.r ked the X ." the anim.tor claImed n.., dl= tur an,,,'crcd. Yeah . but he seems 10 be I~t~. I hear the ,o..",d !:Iefou I see him do it. .. On Iht M""lol" the Mlund head b "-'paro le from the pic tu"" Krun. SO t"'-' fIlm "ith lhe animation " 'as ad '~"hlk lhe,.....,nd"'"lb left In the .artie pia. At font It "'as ad'"3OC<:ti JUSt one f..-. n.... but thai did 1101 .
E.~n

help 'wy muc h, Thenlwo f...~mes. and fin.3l1y thr . When lhe whole: action "'"IU cxpo:o;cd tht'tt frames ahead o f the actual !:leal. the char3Ct~f ~ppeared 10 be moving e~ac lly on the beat! Mysterious illu sion! The ""ord "" cnt aroond the animator's rooms. " ll u the llCcems tht'tt frames ahud of" the beat!" No one h ew .... hy il should work . bul somehow;t did. Then so mebody had a sce ne in a lempo of eights (a !:leal coming cvery eighl frames). and ""'hen he shiOed his :octi<Jon by thrtt frames he found he actually hit the ha trbeat and gO! no sync at all. For a jUnlp. a land. a

rIJII";~;~;'i -101 ~

. .,.,,,.

""ttll,.,. /.>0,
,A,

IHtd

r/tQJJ~. I

se,.'

, , 1'<""''''' /,I<:l<)0l; IIw>oo anm,.", by 'N 1/11,_ pirt 'k'l' ,I.,,,,.,,

his _Ad ITIrllllWi a ~.... '" IIrMdh /JW fUJI ",DtM",

hit. a ta~e. thl frames ""arly .lways ga,'e a betlOr illusion than having the e~treme drawing right on lilt beat. Yet. in this ca...,. it did I\()[ work at all. n.... Sttms to be no hard and f.>t ruk on S)'oc. "lw:tlw:r it is on dialog .... or a musical beat . One: !lane in Pinorrllio had to be shifted a rllil eight fra"",s ahead of the iK1IW sound before tile e llaracter ~med to be sa),ng lilt line . It consisted of only two " 'OIds. " 'hlch mighl hal't heen pan of the problem, but no one ever Iw bmt able 10 ""'y prcci,;cly ,,'hy any of this is so, The animr tor!; have bc\:QIUC l,r.l!;llIal1~ ; If II worh . Illey do il; If it does nOl, they e~perinlCnt , The hest sugge,tlon ilto be alen to lhe I'0"ibilitie~ of shifling nny action againsl the sound tr~~k Ylltil it appears th:ll the CharactCf is matching the sound . (Of COUI'$C. an honesl antmpt must he made to animate the ft<.:ling of the 5OUrd. the first place. or no ~ylloC e"er " 'ill be poMi~.) 'These gcncral ruks on 31lJ"'WChing moutlt~. dialogue are based on . and refined from. lhe primpks that ~bm Lus~e de"doped: I , Anticipate dialogue " 'ith helOd, hody . 01 ~

Ih ree 10 four frames .Ilead of Ille Ileavy modulal ion. bIIt mouth sync should be right on It.: modulation. If il is a dosed moulh . il will be on It.: con~l . and . if possible. remain dosed for IWO frames in onIcr 10 be seen. If you are us ing " Iwos " and lhe mouth aclion falls a frame allead. that is okay . 2. You need imeresl ing moulh shapes thai renee t IIIe per~naHly of tile voice . Look for srn.pe~ thai ,n-c: you an eUra IOUI:h of (hatacler and arc pec ul iar 10 this 0 111' I"'rsonality . You have a difrcrent voice for eadI dw-ac:ter. and you should have I d ifferent moul h a<;tion for cad voice. 3. TTY 10 show enough time on Ihe importanl shapes so that lhe vi ewer will be .ware lhal Ile has s n a p;clure of lhe word . 4. 0.. holds al the end of pIuasc: or a line of .n.!o&ue. lry 10 retain I moulh cxpre:ssion tlIat reflects the ~hancter of It.: last word . Do 001 change lhe mouth ~hape j uS! because you are Ihrough wilh 1M word or phrase . Retain 1M c haracter of the ~h ape in the hold or pause wilh a soflening aclion 10 keep it

alive.

l1Iere an: not too many straight inbetweens in dialogue . You may wanllO retain one ITlO\Ith a lillie longer and then move quickly into IIIe nUl one. Of vi<;e ve<U . Either way you w ill favor one eureme over tile Olher---bo(h in liming a nd the shapes )'QU draw . 6 . If you have a word Ihal h~s becn siretched OUI fairly treat it like a moving hold . Make an u treme which ~ the shill'" you want. then make a 5CCOnd one IhM is e""Cn stronger and "slow into" il. If lhe sound i, diminish ing ralher than growing. lhen your second Ull"Cme will 001 be as sirong. Either way. you will keep Ihe fedi ng of nesh and life in the moulh. 7. When wing the ey<:s only for )ync in an e~lreme closeup. stan lhe eyes into lhe ~ al leaSl three frames lhead of the 1CCVl1. If it is a mushy . lOfI li ne. lhen lhe action don not need 10 lead lhe 50Und by man:: Ihan a frame or IWO. If lhe acce ntS are strong . Ihen you may wanl 10 lead by four 10 five frama . Sy " Iead:' we mean to have lhe big move Ilia! far ahead of lhe heavy modulalion o f the won!.

~.

Ion,.

S. When U,ini ~ blink 10 Ilelp gel ~yne . Ille eye,

.hould close ahe...:l of

accent by Ih.cc to roo.

m<lUlh I" ~el ~'Kid 'ync and m.l~C lite line. u;;,IC>!'uc con>';ndn!! . Here arc sonl<! 0( lIIe n",llkld, ... ~.-d:
I . Rely lOYif(' on hoc-.td mo."'~~. If the lK:ad mo.)'cs a~ prul"l'fl)" " W:'C'C"I\"ffl i" ",1 .1lioa 1(1 lhe di~logue. lhe np"''''joo on llIe f",-'l: ard t1le mouth shlllCS bo.,,:omc f~r Ie ~rilic.1. 2. Charac ler rear view. in shadow (If s ilhouette. Sync will come from head and txxJ)' nUl'"e, ... \\-,:11 .. g,lOd ge~lUre . Thi s Iype of SI.g ing gives yariel)" and ct"kn mnes I ve.y dramalic ~el\C . 3. OffSUje d ialo,...., . Khanroo;ter u.lk i,,!' is IIOl shown . ) The camen miglll be on a scenic~, somedfl$ anilllll ;(>II. ",in. a p;o.norama . ",,;ome ~5 ill. room Ihll baye I spe<:iaJ nxaning . 4. Camera "on" a c har.. ~ler ,~her Ihan In. speaker. !n shuw ing one character lislen;na 10 anolhe. ellar IM;tcr's lines, yoo oflen e~po!'r lhe feelinJ . of boll! o rtMm It tM ~ time-one IhrouSh his dialope and IIIe other Lhrough h is reacliom. Thi. is. JODd idea 1<1 eonsider al any lime .

"r

f.amo:.
9. If )'O\l are going LO . LDl yOur dialOl~ on a drifting or slow move wilho\ll ... atlt i<;ipalion. il hel~ IU SI~11 Ihi . move anywMle fmm Ih= 10 ei~ 1 fra,",, ~ ahead of 1 aca;,n1 . m" 10. TIlerr are limes when all your dialogue will haw 10 be un "une. " When w'lrk ing will! Rre. Fo~'s volee in SOftg ofrh~ SoU/h , we found that the: actor talked 5(' fasl we coold no! poss ibly hil the at~e nll wilhou l animali ng ,II L he dialogue on "001:5 ." Some of lhe w0Td5 were 5hun as Iwo expowrtt and no! many ~ o,-cr four. I I. The vowclsotmds. A. E, L O. U. alwa~ will re.quire some O!)ening. 0 and U are aclually com plete word 5OUnd. at lime1. ~ acton each w ill have lhelr own way of saying Ihese ~ound~ . Snllle wi ll draw them OU I and I500Im will c lip lhem off. 11. The consonan1 ~rnb. M, p, S, are all closed mou1hs. Keep in mind \hat 1M mood of lhe ct.arac:In will determine !he shape o f L matllh . If he is he pinninJ whi le talking, his elosed mouth will be If M is pouling, il CiOn be very "poochedup" d oiCO mouth. SlY the ,t of the consonanls over 10 youm:lf. always remembering Ihal in sequence you do n01 hear !hem !he w.y you do individually . BUI in saying Ihem you will gel a fed for tbem--where!he L ongue is and how much lhe Ilh sIIDw Oft cenain sound . All IMse Ihinp giye a color lC~ture 10 the matI!h as lhe sounds I re mlde . (ienenUy, lhe ones lbal have the E IiOUnd show 1CeUl . T Ind G liso can puder like I U, and Y and W eln!!-o into y ~ery .m~1l 0 or U s ha)'e . V and F art oflen heil shown wilh 1 under lip LUckw under m, llIe upper teell!. BUI li Slen c/ll'tfu ll y 10 your In.d Il!Id d.aw lillie lhu mbnail matllh s lill you havc a serifs Ih.1 works logelner and is enlenaining . 13. IJe SUTe Lhe IUlh /lI't not painled whitt or they will flash . This ean be especially ... noy in& if the moum is ovenrticulatw.

"'ide,

Listen to Your Track

Carefu l study of lhe sound Irick wi ll reveallwo very importanllhini'!. First, thc: overall phrasing and lim ing of Ihe li ne , Ihe a.:cents. the r.. 1 move~, drifl'" !TlO\'CS. the~. And,~, the personality IOUdIes of the chll'lCla" shown in 1M ~fit Wly a ...n is said L1UI! will be ru ffe",'" from the WIt)' all)"{*" die would do iI , Neither of lhese Ihings shoukI be_looked.. for bel,,'~n lhem they offer lhe key 10 Itow Ihe eh.racler i5 feeling. The expression chose n is iII",,,,,u/'11; 11i~ 111(1li~hrs of Ihe ~ h~r"",er and nol rh" words he 1$ sayin~: Lherrlort it ... ill rentain constant 00 malICr ho... mMy worti< ~ said . For each ~ingle !hoo,h!. then: is OM ktye.1jlm$ion . and " 'hile iL can change in intensily if will'" ch ...,e in f~ling . When the: characiet &flS a .... Ihooglll Of hal; a realimion abou l SQmt'llIint doai:c lhe '<!C 'Ie. he ,,'ill change fron, one ~ey nprcuim 10 anollK'r . wilh the timing of lhe change reflecling ..... he i. Ihin~ing . If the lhou~ hl l""'lCe" i. ;, sudlkn reali~alio". lhel it wi!! be. quic~ cllllng~. If it inY"lve~ a .lCn.mintllClial,

Other Ways of Syncing

Elecau>c of lhe limilations in !lc. ign illlpos~<I on us in mIIny pN:IUres. we had to find Olher wa y~ be side! Ille

WI/It /oj

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rastotu

Dit>lo,~" " W,II, ." on ..'i,h il! Uh. . rominu" my d"Ir." A!r/4lrill, J C"I'l(Ii NH 001:, IHnf MtJJ "';,h th,iu for r".,NI' on P,It, PaN , b Irying to ('<XU Jrom a j,,,I. """ Ti ~k,r 8,11 th, ...M,., abotds of hi' ir<JtN /Hh." .
~ry .

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allIN, ,h, ''1'''''"'''' ./rapt", chunS,,/n

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..

.;n b< "0",' Th< ip Cipdtrtlla, Prince John in Rubin 11000, and Caplain Hook 't~, p~" were all schc ll"" r~ w ho wok Ii"", to:;how . . e\-il thoughts . A c hange to a smi le or a puzzled look may also lake t i~ because all of these thought {I'OCt'lSeS ore " f a more de liberate nalure; the u~s UrnD>n moo:: gradually across the face and i. likely IOItfI\II; n there longer, In pantom ime. the only ke y the Vlirnal"," will have to the timing of these c hanges wi ll be tllt parlicullll" personality of his cllarac ters. With addition of dialogue. much of the IUtu.e in the .cI"tS in hi, sne will ~ from tile [i[(k nUI~S and ihad in,. in the sound track. whi(:h wi ll sugaCSI
tile ~d

",p~h"

"'''S>:. Fm~l TIrOl'lll' Cill'krt lla.

of hi. actions u wcl l as ho.... broad or

...un

Olli~ JoIt~SII_

Robin Hood .
To W wlin""bI~. ,,", II", m o'lr~r had '0 M much
s'rai~h'''.
c",I",,~ ,~ .

R:SU1IiIOed they mighl be . "Iller will affect whet~ he IIIIOYe$ continuously or pau~s and then con1inues . Lislen to dialogue carefully ; "'l im 10 tht thought. and idras-chey are your d",,,*,le" ,. He is thinking them. IIId you mu>! Cap!UR them. ~aps then: is a manne ris m thaI wil l fit and .w:I life. It cou ld be a thoughtfu l movc o f the cytJ. a .rnl glance. the tong~ moying across 1hc lips. lhe WnctC1' pull ing on his clI in. or pushing lhe hair OUt Iof his eyes. Any of lltest and OI her similar aC lion s , an become pan or the u)lrCssion if chosen ,arefully . If tilt JC1Q1' doolli lhe V<.>ice h.s d<livered the lincs as lhouJh he ....as thinking the:m for Ille firsllime. lhey "i ll suggesl express io ns. As has been menlioned be tn. il is absolutcl~ essenlial lhal the actor gi~e a S 'II' _ ptrformarv.:c. If he sU~SIS laki", his pO lines bomc 10 praclice. il is a good lip-off lhal we may nox have Ihe righl actor . lie is alnlO51 sure 1 gi~e a 0 poIGbtd ptrfonnance inslew o f 1111ering the: unll~ual lilde $OUOOs that make il possible for 1hc animalOl' 10 visu.lize express ions. Above all lite yoice musl be belicyable and il mUSI oommunicale. Our standard for a "0'( voi sptn "" ilh .pontaneity and ,d loc:ting a llIOughl process . as !oe1 early whe n Luo:: ille La Ve,-m, was Tl",ording Ihe lmes for lhe wilCh in Snow While. Bill COIlre li . SIOf)" 111M and dircclor. "as in cllar~ of the session and said Miss laVerne .... '5 50 convincing lhal when she Iud from Ihe sc ript. A glass of ....a ler-plea:o;c !-a ellIS or waler!" lhe OWiistlm dirtor ~aped 10 his I ~ and dashed oot on the stage wil h a brimming cup before she cou ld gel 10 the nexll ino:.

and

lito.

I", of"

P,itlf:~

Joltn.

me

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-"!
~,

\,I

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, r'

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Il""" fit4lll N""'. ""'It

jilltJlI, llid~ It> '''~ ...-NT, "" roI/,.d HdM a"J IWpnlIt" IIi ,., ........ ""'I bid"M "';IIt Iht owIIII""'RIoo"llhr pirl"" . ,..,.,IJ Ihlnt '" no ~,.,,. 10 ,,,,a/jg.~ "'''~. 110(,,, 10 pwf! Of! "is pifH a"J /0I.t .,.., i..iltJlN.

,m" fl'''''

,.Ii" .

The Total Expression

Tryinl 10 Illonl; of e'"l:1')1hing at Qnce can be \'CT)' ('I)IIru~ing . Wh ile "'..:.nying about [he: sllape of lhoe mouth or ~yroc;n g It.. ",,[ion 10 the dia logue, ;1 is easy IOf<>rgcllhe auilude or the esse nlial uprcss ion for 1he "ooie Stt~. To overcome lheK obsl\IC lc s is lhe dai ly challenge animators must face . All of oor rules. list and suuc$lions haw COme

from Iry inS to unify our message inl<l

, 'alernenl

1M ""n. , Q "lOk, ' OfHn. 1M ... WI',

,,",w ,h., F"d Mo,"~ I"jn"il'/~ fi" "Im;n~ Ih~ "'/wi. M"" to Ih~ f"'- UP'''';'''' , II /""K'n ctmrpm,u. al/ ;"/

""""reM: tk
Pinoxchio.
,Iti$ ~".

""III

lIIaIlw in.pac . Someday. ani""""," may be able to illlo tile areas of hidden mc:anings. sly suggeslion. c,'c n dooble c nlendr". A from Alfred Hitchcock re minds us that 1hen: arc Slill some exciling typn of ~Ol11municalion 10 be cons idered. "Peopl e don ', . I"'ays npre ... their inner thoughts 1 00""' an -

'I""'''

OIhcr; a c(NWCl"Salion may be quile uivial . bu. orlen

11M: c~. will 1'e\,(Cal ""hal a person !"(Cally Ihin ~$ or fee ls.'" A sequence overloaded wilh dialogue can be<:omc very di sturbing 10 the view~r . bu t hopefully this Can be

llil '" 1M'" ro.ld didltJ,

III llot '/(Iff, llot

... -.
1M vitHml.
licipol/(M.

Fi,...,I1''''-u

IlIId

, . Fi6<m>', IHII~' IIwr if

..,.,., 1Il-..

, 1""'1' iItIo <lot

discovered before too muc h of it is anim ated. On more than one occasion we have tried running a sequence wilhout the dialogue track and have been surprised to find il played beautifully wilh just the right pantomime md the music. A key line may be needed here and then: for explanation. but the idea of the sequence lClually is communicated better. "l1Iere is noIhing wrong with dialogue." T. Hee once said. "You and I are usi ng it right now. Hund.ms of plays have been writte n b.""d entirely on it!" But somehow the canoon communicates better through elpression than words. If the line of dialogue does nOl require a strong. ckfinite phys ical expression. it might be a warning ~t the =ne should be handled differe ntl y. II shou ld be reappraised bolh for the wriling and the aClor's cklivery, and steps nlust be taken to im prove any weakness before more lime is spenl. Many of the sce nes will be entirely pa ntom i"",. whkh gives the animator a chance to build the emo tions of his character in his own way. This i, more clullenging, but when done well these moments can be the mo.<1 rewarding 10 the audience. This point is nicely illu,tr~ted by the story of a famous Greek actor ~'OO lo't hi, voice on Ihe day of a performance . He went on anyway. but acled only with ges1Ures. People liked it >0 much that they said. "Oon' l tall any-

I. Show the express ion change'

more""
In ,umming up. here are some of the rule, we have learned over the years:

a. Avoid making a fast move while changing the e xpresSIon. b. Change you r expression before the move. or at the end, when the c haracter is mov ing slowly enough for it to be seen. c . Do notlosc the expression change in an active secondary action---,uch as a hand wav ing, a bi g ann action, or follow through on doll>e' , 2. Avoid looking up for a frown. unless it is a sinister, domineering one. 3. Do nOl hide a smile with the head tilted down too far or behind a big nose or moustache . 4. Be sure you have the right staging (0 show al/ the expressions in your scene to best advantage . 5. Have you the right expression for what your character is thinking? Arc all pans of the head and face related to this one idea? a. Do nOI change shapes tOO much all over lhe face. b. At ti"",s. hold oown ac(ivity on the face so that j ust the mouth is movi ng. 6. As we were told so many ti"",s before we learned: 11 is the change of shape (hat shows the character i, thinki ng. 11 is the thinking that gives the illusion of life. It is the life that gives meaning to the expression. Saint_Exupery put it so beautifully in his cla...ic line. "1I' s nol the eyes. but the glance-nOlthe lips. but the smile.

,,'

17.
~'jth

Acting and Emotions

"In uwr (mimation we mllSI shol<' nm only rlre oNiuns "r 'euClion' 11/ (J dUl' acter, hili ..... masl picrare "Iso tlte al."rion _ 1M luU,,/( of thou c/rartJ<"lers. Wall o; ~r.e1

Lropotd Stokowski rerognil.aJ Walt ', Il\I ly unK!1J<' tal_

cnl when he co mme mcd, "Wah had the imagi nation. in~ighl. humor. and sense of o..ig n to emer in to the f..lin, of life of any man. anim31. lree. or .tOM and nute us red with him,'" From the '-ery heg illll'"g. it ..z oo"ious till.. lliesoe flings o f the characters w'OUld be ItIC' !lean and """I of rhe Disney pk:tu"",. storiti. which at first had been to ld through bits of businc.<_' lrld iocidenls. were !O ld 1lJ(): and 1110re through Ihe ruclion~ of the char-dCters to (hose incidents. The: ioci.OIS rMnlSe)..." rcmai.-.:d viral 10 the Slory . but how die ellar.IClcrs felt abour whal was happening became

n..:

...-c imponam.
In every an form it i . the .moIional conlcnl fhal miLl rhe difference bet ...'ecn mere tech nica l skill and trIM: "" . The poet. scu lptor. dancer. painter. sin ger, lrtlJ- all eventually can become proficient in their <.. rlS. ao;hievin8 dazzlinll mech:lnical perfection , but tllrir " .....1; wi ll be empy a..... me.ningl0:s5 unlo:s~ the prnoot.al p""epl ions of the anisl communicated as well , This thooght waS stated most simply by """ ~udi" alli.t when he noted tha t ma ny of the young ..... ,1 "cou ld a nimate beautifully. but that isn't what Mrs )'OU laugh and til;,l isn't ...hal maku lhe tears

-.
I
I

In the animated film the~ is actually a double JIOIential f<>r th is type of pe rsona l e' pression; firSI. in the emotions of til.: charac ter. in the film that arouse addi_ tional res ponses in the audie"';", ~nd, se<:ond. in I"'" anistry of lhe " 'ork ilsel f. It ""'ill show in I"'" writinl a..... lhe choitt of the material. in the design ;ond pre' sent.t""'. lhe staGing. lhe pkl u~ mak ing. 1M Y'Oice tale nts. Ihe co lor, the musk- and especia ll y in the animation , The re are the individual drawings with their elu.ive senS<ltion o f life. and there are the relation ships of all the dnowings in mo>'cnw:nt and limo: . In Ihis book We have outlined the basic ... ills that must be rnas.t..,red if strong. clnr comrrHlIIicalion i, 10 be achic>'ed. We also have pointed out many eumpks of fine animation that becal1le memorable bc<:ausc of feelings the allbt had atlout the l'haractcr alld the ~itua lion . There WaS more than jusl frowning in anier, ~ Ihan a ~ingk expression . .... e>'en one lone COlI Yineing onc . Tbcre was real drama wilh I"'" full range of emotions. Too often there does ~ ....-.:m to be any real reason to prolJe thb deeply into a char~cter. bu t anyomi"ion he", is :lOOn ~iced. One cri tH; complained th~l a certain animated film had ~lIina more than a gallery of paMlOns. II. the character 5 " flKC t .... itched tlll\lUgil

- ,'- --

'" I\"",C'! "'pen".", of ~'im"e'c, '" e, a'H! "'W _.. G,e,,' ,,:~nt" "'we new' 1",;11 Illal "'"Y h Ihnc a mag;'" formula " -c h:ow !ea"",.! fo' buil,l,nv ,,',n,, ,'f ~"'al e""~in,, into m" l,i"WI,"" nf m,,~ "'~ ,Ir~wing, wilh """,,,nal fcc!in II"" ,',Hl U"mlllil Il,,' ,,1I1'" emolion 10 ~n 3u.!icll<"c? _ n "'>Ionbhing n"", ... I"" of people in Ihe "eld ~rt: 1101 ",,-are " I' Ih" I"Jlcn1iul. '10', acluaily. urn!c"tand how ",,;mallon ,,"orh _ Even WBh n,,,'.r n;aliud whal made >ome s<:e~~ more ~uc<e_"f\llihan OIIIMS. hUI he was such ~n uU llandi ng .tol)Ie1ler that he Imew ",h31 ,hn"ld Dc shown. whal would hold an audience. "h~t "'ould gCI a C'Cnain ~:lCti"n. and he could afford to pay f'lI" II", fumbling errors of his art i,,~ ;<.; the)' learned. It w.s lhe supervisi ng animal<)I'S ,,'ho had 10 lind lhe more effe<:li\"e uses C>f Ihe an iSIS' limited ahil ilic:I. WOfkin~ wilh lhei, c rc"s. Iho y .searched for easier " '3)"$. simpler wa>'S . s tronger way'. trying 10 find tl!.: essence of the emenainmcnl in the . .. tnt) Ihey Wt~ doing. And Ile,~ the)' ~i~t""c,,,d that intre~~ ingly their problems were in the field of acti"il _ Seve",] people It the s1udio e"",lled in :\<o:t1ng dassc . ;e~~ing a great~l understanding of the di sc irlin<:! of tile 11le31er. L~o Salkin. from the St<:ll)' Dcpa"ment. repo"ed his c~perie,,~e: I besan to ~,,;;e why cenain Copk. good aclors. communicate and ma~e 3 ehar.lCIC. bdic,-abie. [" "C >at and walChed yO\ln~ student actOTS . .. arnlthe~" re $a}'in, tile lines lhe 'ny they "'er~ writlen. and Ihey're uying 10 be angry. or tl)' in~ 1 he sad. or 0

(,yin)! I" h.: humih"lc,l. I,~'ing tl> 1)<. aHr,'~i~c . ...., tllq'", d<Jin,.; "II Ilw", thil1,o;>' and ii', I"",),! ,\,,,1;1 lic ' there I"~,, ;.Ikr h"", ,,,,,I ~''''' k"",,- it, n'" """kin~ allJ )"" Ihink . ""II"", ~a" ~"" ~CI it" 11<,w , -an """ ",A, Ih"t ~~~lI",t?" AnJ IlI.:n righl .... ,1 "f n,,,' he,,'. "'"WI1, " ill "" ,"-'ill~ a ,",ene. "",I r".. " h,ief. ",ayll.:. -0 >c<-~\IIIIs {t", 1,Iamn {hil\~ ,,,m,,, 10 life I SUlI,kllly Ilmt ,,,",.,11 b a woman in Irouble. and Ihi. guy is being "",111 and ~~',e rcaclin~. and you, "hok: [xing i$ """ denly f""u.cd ,hal. ~nd Ih~n suddenly it di,I;' palc . I n~an . """ ,,-rong "",,,d. 0"" "rong elllj'ltusis. and the thinjl i! go""~ ( Ihi"k. " Whal millJe IIlI1! ,,"or\;'! Why dict Ihal happen al IhM IT\I,),,,,,m?''

"n

That ~o[d.:n momcnt is our goal. '!"hal is "'hll _e muSI understand and rreate in "''' own rn.:-diulll. (s il possible? .... s .he animalor s i,s al h,s oks~ Ilil-'" ping Ihe ,jrowin~' and Ihrowin~ th~", "way and nuting new ones. he probably sh<>uld ,,"onder 31111e3ll' daeily of ~n)'one proposing to duplicale an actor't ani~lic and tnO"ing ~ rf"nnarn:c " 'ith <tnly a roIlecriOll e,f dra,,-ing', The :lC!<Jr and the animator sharc rtI.l;ny intW:;: 'hcy both use symb<)l; m builJ a ,har:>Ctc, in th.:~~ laro, s mind. Cenain geSlures. altiludes. e~~"ioAI. and liming bave come to ronOO1e spifi~ perwnloliliel and enlOliont . S<Jm( regional. tJlh('j oni'"Cr>ll . II)' usin Ihe riShl ~ombinalion of Iht>t in Ib~ pNptL' Sju(n.;e , .he aclor builds a oond ,,;tb III<: ptOpl< it! Ihe audience. ~nd lhey are wiln hi",. lhey u~

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bim; and if they like him they will be Ct>/IUmed about "'him. 1'11ne are tIM: an imator' s tool.:as ,, li. ~ ""hile the aoctor can rely 00 hi~ inner feel ings e 10 build his ponraY the animator musl be objecIi,'Cly lIl. II\IIy!ital if he is to rea<;h O\I! and tUUI:"h the audi~ nc~. Kath;orine Omlllanncy. in her book on acting for ~udc:n1~, hiS <kfined the ru lu arwJ the uen;; S/:s thaI ... lhe . ICps for lhe beginne r.> She a~ks the pel fonner 10 ron.i<kr 1M", '1ucstiuns liS he tries 10 communicale ilh an audiellC(!:
...Igt ~ns

Are the t hamcters inte re5ling. li fel ike . and vivid?

I)u
1)0

> beromc emotionally in"oIwd ""ith them'.> -ou

the p'sturn arwJ ~lIXnt~ ~m sinn: . Wlwincin&, clear and properly nl(Jli""ted1 l)roes lhe actiun help to delineat" 1 charac 1M: ltl> and lheir s;Wali"n for you',' I) the ao:;tion clearcut. realistic. prolonged suf fICiently, and eu~cla!W ("""gh to be seen by lhe "''-ok audie",:.,?

*" ur

Undeniably . the,., are the criteria for judging any pe1"flllTnallCc. aninlaled .... live . They sou nd ,;0 si mple 'riUen thi~ way . and an; elL'y to pin up on "",,' , o.>k- bu l Ii<) diffic ull to achieve . Tho: demands ...."e q ui te simple in tile carly films . limited Illain ly to gestures o f anooyaro Ih~1 Iried 1 0 lie " anger" and a kind affright that wished il could be " fn r : ' G radually a kind of formu la developed for nW.ing p3tOOs the: prillX ingredient in a fitm . MlCh r ... Uti), OlKtli"t' an aPJll'al ing lillie chancier

wants very much to achieve something and fails ill a way that hUlh him; the other C~teB ridicule him; he I.ks again. fails again ; lhe .OOien feels the IMor1 and Slans 1 pull for the liule , uy ; .... hen he finally 0 sUl:"~e~$ in a unique and heanwarming """'y, c\l'Cl"}'Olle feeb like c heering . It ;~ an (lId formula and the K ting c~. ,..., ele me:nl al. A. long a~ lhe cenl",1 figulc i ~ sincere. his actions can be broad and louched wit h humor wi!bout upKuing the patho/;. The ugly duckling' , mournful cry of rejection was a ludicrous hook . which only increa5(d the 'w:lf(no:s~ in lhe ~udicn thaI this poor lillie: OUtcast did. indeed. ha,'C a real problem . Lau&htcr and sympathy were ron>bined in I ..'ay that or fe:red a high potential for e ntenainrncnl and for ""r 5OfI~ lity deveJopllX nl. bullhere wer( no greal demands in acling . By lhe linIC lhe >llIdio belj:an 5"Q .... Whiu. 1M ani malON " 'ere lM:ing asked 1 depicl much II1On: lhall 0 jusl happiness and sadness. Now. tMY ..~re fared with the tM of rommuniUling ~uch subtle etn(l(ions :as love . dejection . hate: . jealous),. conrn. and fc .... "The firS! real e Unlple of an entin: sequen ba.<;Cd on pure emotion .ho\\~ the dwarfs c lying be. ide Snow W hile 's bier: il was a trilical detis ion even to allen>1'< this t)"" of sequence: . The supervising director was cono;cmed " that the aud ie nce would IlOl react :as we hopfd il woukl . It was IlOl a mailer of \\'hal roeld siz,e we used . o r panning . or what Chlll'a\.1er we: Cut [O-.-~ was lhe mood in ""h ich \\'C wanled our audience at lhe lillX . It ..-as imponant that IhI: vie""eB he involved

completely in th~ fulings o f the dwarfs_ and no one knew how this could be done with mO"ing drawings . There were twO enormous problems. First. the animators knew of only one way to com" municale an)' emlJ\ion: shu,,' the change of expression that wwld re"ea lthe charaCler"s thought process, He had to move to Stay alive. and a series of drawings mo\'ing from one animdc to another was the only way kIlO,," to establish the emOlioo . If he w~re secn to <hang~ from a portrayal of concern or WOfTY to one of desp;!ir, or from d"spJir tu fight ing ba,,~ the tear<, it might Ix: [""sible to make him bdiev~hlc. But that ...oold ma"e too much movement for thi s ~"(juence Ob\'iousl)' all the dwarf, should Ix: o"crcome with grief from the beginning to Ihc end , with no change of ani1ll<k and as little mOve mem as poss ible . There would be good impact on the initial picture. but whal would ~ "p th ~ Ow.,rfs from goin g nat an,l lifele" afte' that" n,. OII>"r probl~m lay in the fact thm the audicn~~ h",l become co ndni on~d to laugh at the dwarf> when,'vcr Iht)' O m >!

wCTe being asked 10 respond 10 these canoo" figures' a new " 'ay and 10 share tlleir feelings of desolation. laugh 3t this p<Jint " 'ould ha\'~ de ~ll"Q~'ed the concept. In the original version of this seq=. audienc:<: had laughed at a crucial $Celie of Doc Dopey. AI Ihat time. Dopey began the scene s . bleakly with mi,ty eye_ at th~ uffstage $0011' ~ before turning away 10 b<lr)' his face In Doc', der. It was a touching m"ment: ho\\e\,er.lhev;' ""p<Jnse 10 thi, ,hot of the usuull}' jolly Dupe)' .... 111 .., anticipator)' laugh . un. that ,!uicl l)' tUflk>J I" cUDltl' s iun and th~n cl11barrassl!l~"I. bU I by (hen (he spel hili been broken Fortunately. thi, was ea,y to COIT<d ~ CUlli ng off the first part of the scene. How coold ,~.t un~ have known ahead of tim.? Yuu canllOl alwaYl' tIi i, righ l (he firsl lime: many thing. do rIO! the ,," I they are "'talked," There wa, an unexl"'cted I"!nll l fmm thi! CIll. ,'au,C now Grumpy was th<- onl y dwarf with ~ . . bod y move , He had bcm the la,t tu giw in to1hep!. ],,,, he '''3 )' ha'. had 'he d""[l<'I' fe~ling,\ for her, WIit.

wm

on the M"re("n . N,)w . 'he ' i"'<""ta'n"

1:0.11 Gn"np) ",,,,,1<.1 be lhe one 10 >Ob openly al her bin? Ik could 001 tI;,,-c pul h,s head on someone's slIoukkT h~( ~)'. Tru~ 10 hIS I"'rso<lalily. he must 1UIJI1,,'ay and cry alone . "Tho anim~w.. ,,hose a,sillnmCm wa. to make this al l conIC to hf. _,a id: It j~>I felt h l~ they shoul<.l ~II """ 'c a~ lillie as p"""blc TlK"" guys "wc consumed wilh g"cfand ,,'w ldn'l be moving around Tht)" d ha,.., strong tnI) a"'tude, that could be held fOf lhe moM pan. and ma)'be a sagging "lOve on lhe head her<: and I ~r\:. Ju'l enough !O ~cep il alivc. E,"en a "Iiff ~("",d 1(10 much act,on for the mood . !'rank Chu,dllil hold ,,-riHcn a g..,~ t melody that really car nt<! the ~""ncc. and "'Y problem " 'as more of 001 brcalmg the "f'Clithan cstabll~h'n~ how OOdly any """ fell Sad eye . slow blin~' . nd a few Icars ....ere all thai w", needed , So "e drew "cry carefully and packcd in"! ""ny inbct"cen. as we pos"bly cuuld- we didn'1 want

any jilteD. bul we didn't want any shoe1.jerI;y mo~es cither- and ,,'C matched tlK unung of the teal"!' 10 thor rontOllrs of thor f~s . Unfortunale1y. my fi~ tear.. were W well li ked Ih~1 n1()'" teaf"!' wcre asked for . nd then c,'en SOme 011 alilhe chancte .... SOOfI it lOOK li ke the worst hay fc,'cr epidemi,' of lhe ed century. II'hieh w~s 001 helped much by lhe uger Erfl'Cl> IXpaIlment addin~ highlighb and r<:1kc11OrlS and gloMC",n, effeclS. unll l each drop looted more like a mart>1( lhan a tear . At tlus potnt. ""<0 bacl etl up and chminate.:l a fe'" To me. there " 'as more value in a te~ritained roce than in all the>!' rhulet. soa king their collars. 1>01 no one could devio;e. way to cr<:a~e tholt effect . w~ >!'ttled (or moiSl ~y~5. ,,tlkh they could do "cry eITli,-el)". and lotS of 1o'~I~. shinong tears running do"n tlK c!ltt ... _ ...
llIc"" dc<-i.ions pro,cd to be: righl for lhe ~lICCncc. especially the dedsion to Keep the dwarfs in nearly

.. held " posilion . 11>eir su!ldued attiludes rontribuletl more 10 the " 'orking of the ~uence 1han ""e ",.h/.cd

It the time . Undoobtroly. Walt was a big influell in this 11$0. for he had " 'riuen in his famous meroo to Don~m in 1935,' ""The animators(\on't make the held pos;t;on~ and the reluro i'OS;tion~ exp:ss anything , 'IlleY try to <k> ~II tile expression with the parts that an: rooYing- whereas tile body should enter into it." But the dwarfs did not let Walt down by making My rllse IOOVC$ . "The .ud;"ncc cried for the first time during In animated cartoon . '!lie film Bambi contained anutller reaction to death -{/lis tillle v~ry real- as tile young f~wn lost his moIlIer to. hunter s oollet , A sccne 1001$ animated of th< dI", Klual1y being shot in the middle of a kap, Ihrowm~ bock he. head and crashin~ to the groond where she lay col1~psed in the snow, hut it was CUt OUt when we found that the sequentt played bene. in the imagination_ EYeryone sensed tile dln~., knowing tho: huntcrs were near; and wilen the shot "'as lleard II did not mane. wllethc. you knew the mother was do:ad or ...'lIetller you wcre IS innocent as Ibmm, returning to search for her , h was powerful eithe. way. TM tiny figure in the midn of the huge t=$ helped I'" feeling of oYCrpOWering loss. and the Quiet of the forest al this point contribuled 10 the: se:n~tion of loneliness. The best idel. howeyer, catlle ,bout by lICcident. When the stag appean:d. he was too much uf a s hock . visually. We wanted him to be impressive with a feeling of wisdom and com~sion . InslCad.1Ie somehow looked ominous and threalening. He had 10 be in the SCQIIC'ntC in some form. so the decision was made to CO,'er him partially with faliing s now. lightly at firs!. tllen Ileav ier and lleavicr. so that in the final scene tile stag wO\lld he only !lalf vis ible . The snow al$O added an immense emotiooal dimension 10 lhe " 'hole sequcnce . We looI<ed at each Other and ~id. " Why didn ' t we think of that in the firsl place?" Twenty yea~ later there was another ""queocc of clwxte~ crying over the appare:nt do:ath of a young girlu the thrtt Good Fairies bade a \Canul farc .....,11 to Aurora. the sleeping beallty. Here. however. the stot')' SlnlCture: lacked the ingredients that would h.a~ allo"-cd this to be a scene of Strollg emotion . The chalKter relationships were not as imponan1, and there was lillie concern Over the fairies' attempts \0 thwart the: tvil prophocy. lltat point was not fdt to be the impor. tant one in thi s later film. The animation was as well

done as in the dwarfs' se:QUCntt. but, sira it illustrated wllat. ha~ned , il could not i nvoh~ audience . This is a vivid o flhc i story Structure: in i , These "ueial feelings of Ihe characters cln trayed in many different ways . Iksio:b usin, the r.tN!:' lUre: of the Story de~nts. there is the gJ11p1tic prnn!.lIion: the layouts. the se:tTinp. the cuning. the suglJll; and lhere are: ali tile fllCe!.< "r the animation: the th~ expressions. tile dialugue, the attitudes. StO!)'. graphi~ pre .~ntation. and auimation arc import_ enough 10 be eoosidered .~paralely .

1<1"".

When the Story is well designed. the emotions characters " 'ill be so logkal and natural that Imk dtor should be needed 10 make them ... ark ""ilh an .,., eoce . The wise: storyman, ho,,e,.., also " ',1I1en how to uSC animalion rT100fe effecti"cly. ~od [11'0"opponuni!ic~ for dramati<.: g",phies in the ""':;tnt..... The best example of a great sequence crated tf1tI'dJ by story is found in Cind..,ellu. as ':::,::.~:: a~lItS. The girl has run inlo llIe ~anlcn long ,hot and is oow ..-..bIling wilh her head In arms: her friends. the mice. are staring dumbly. ...ith the horse and the dog. and the I found in the tiny s panlcs of vening on the: spot where the Godmother Yet. everyone in the audicnce has I I and it gets bigger and bigger as tile sceTIC This is all due to the: ure:fu l story preceded this point in the: picture . The people audience know this girl, and what she ...'JIlted. how she feels at this time . They al$O know' ~'~= and what they were Il')'ing to <k>. aod "'hen th COmeS tllere: is nothing rIlIJr<: to be said. scene of Igirl..-..blling, the helplt",neS!i her friends. Ind the magical 'ns"'er 10 ali Quietly forming before lIS are all that is wanted. Anything Il1O!l: ,,'ould be an ;ntTUIIOII Another sequence that re: lics more 00 1tory

of.

in~::~

animation is the one of Snow '::'i:,,~:'~.::':: ihroogh the woods after she lias left the This revcals more of Walt's se:nse of hovt. I should play and includes . ,"ery dramatic ""_"

IhrootJ>out. but it a,ks hnk of the anllNnOl'. h 's an dfoxm 'c ~q~ncc. arou . ing grcal em~ion in lhe ,'It",er by thrusting hlln into the . ituation along ",ith 110: ,nl 11 .. lhe (veil!' that oo;eur r:llhcr than lhe ",.ng I~ ,n"olve h'''' ,n lh,s KtW'ly. bulthe CQn.l(!. milK.'" are JUSt a, ""la,led arKI romplicaled . flow kIn& <Joe. it take 10 build Snow While ', lerror'! fbo,. ...."y ,ncidenh do .... e nud tQ ,hock and scare? Do""(C IO!IC or ga in by .ho""ng. '" her ",,,,d . the log .. Ille "ate. Ihal appear 10 become c"",oo ,les with ....k-<lpCn moulhs~ The fao:s ,n lhe t=, are terrif)"ing I(lbolh the awhcoce and 111.: gill. bulilmo.' lon& should II", be allo",~d 10 go on. beyond making lhe point of .1Ia1!he ,s '<' 'ng? II" .... ion& ,hoold she be on the JfOUnd. oobb,ng. after lit<: lem)r and p,an,e m the .'OOds. bcf,m: , he see, Ihe eyes", lhe dark-eyes Ihul JD'oIualJ)' become innocent hllie an 'mal s~ The 3ud, an IS more Illan ready f"'the hU1I\"'lllal wmn as. n:1..'" "'hen lhe anllnal> arc cunou. aboul Snow While. arKI even a lou ie frighlened of her, Thi. is an cumple of lead,ng .he aooieOCl: Ihrough COIlln.,;hng rmoIoon<. and 'ng Ju,t enough lime 10 titCh. wnh ('lUI movins 100 fa.1 or becoming redundanl "IlIe!'. are ""'n)" "a), a char""ler nlaY be Iland~ ,n I film. arKI ' lIS largely lhe responsob.lny of the story 1 delcr",,"c Ihe mOSI effcClI"C u<c of the role. If 0 11101)' call> for the !IIa,n ellaractc. 1 be threatened by 0 d d..ome k,nd ofl,ller must be ,mroducc:d. but "hal .. typo: of )X"1'ltI'n he is will <!epend upon Ihe way Ihe laOlC> are (:{)IICe;ved ~ Hum sman m Snow Whu~ bcnmt ~ real by hl'ong a wn:c:stion of persona II I) Hu. a'''gnmenl "'"10. more Ihan he rould do. as ,I lIomOO OUI. and ther~ w"-' more drama In hi' mner

I .... """'I JWN ,,,wliM. ,..-n I",I~ ..""~..~~, i. tlu,I~,1 W",,"om ,h~ mocd, Cm,I~"lIa' J/, i.ndJ ~""c~ h.lpI,ul.,' ...

h'a",d ,,,1 b~,i.. ht, h.",1 m Iw, a"~S, 1'h. "'mn

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Imlll",1 Ihan lhere would have been if he were only a vISual 'ymbQt of a killer. The executIOner ,n Robin Hood had no such role 10 play. so he ,,"35 ~ omi nou, by be,ng complele ly im~r!iOnal. His Judgn"'nt ,",'as not in",lived IIllbe tlttosion to chop off Robin's head or 10 let h,m go. and lhe ~ he ""Is presented as only a profc.~'onal. With no emotions. and not even a face sbowina belund h,s mask . the greater the erroGtional ,mpact he Ilad on e'-nyboojy . ~ JlI,n. the sequence had n01 been built for nld"dram~ up to th, s poonl. S''''C th'~ lighlheancd vers,on of lhe populu

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legend reqUIred only a momentary s iluauon " ' ilh the hero as a ("apli~ , lIo..-e'"<'r. lhe ~inisler fedings Ihal lhe s.eque~ did ha,'e ....'ere almosl solely dependent upon Ihi$ chuao!;lcm....lion of lhe: C1""III~r. Klilors can ~ pRscnled in many other "a)~. each c()rllnbuting ib own values 10 lhe Slory. If the ~"" i5 lhown enlirely through the k,l1e( ~ c)es. re"ealing c'"Cn more ofhis own fechngs (or lack o f feclings). lhe", is MIll anochcT dimenslOfl 10 the: sequence . I1lls pel'Specu~e ,s often used. especially on li"e aclion. because il can sIIow how roldblooded. how methodical or diabolical the killer actually is: " 'hich. in lum . builds more roncnn for the ,nlended vi<;tlm . Qnc, approach is no h,mer !han aOOlhc:r. since lhe key factor is ",-hat worb best for Ihe specific ~ilUation and what re~tion is ,.'anled from Ihe audieroce. If a iCene calls for showing tellSe emotion~ such as angu,>It. scorn. h,llemess. or cnvy " 'ilh only facial

e~pss,on.

the

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feelin~s in .... hal he doe> and ho"" he does ''''-'~~'ooJ the clO!;C-lIpl only for cn.phasls--tbc ~no:~ ~ Irlppong and cnleruining

lhe antmalOr ",n be qu!!e hmned is bu,lt so that the chal"Kler rel'eals

inner .trogslc. becau( There is an inherent .:oroc,( rommunicauon cauj:C Ndly and lose credibihly MOIl: t 109 and c1pen analySIS often ,s Jleeded to keep

::~":'~"i';'~'~1~~'~'~::~~~

feeling of s ioccrity . A spedal effort on::::~ fW1 is ",qulred to find JU>! the rilhl =1Ie$1O the Ilt'e'ded CmotIOllS. bul II is ..-orth !he dfon queen inS"",,' Wllllt'",-u ~ndled was Ihe stepmother in Cm<ltrtlla. and ("Ited ,,cll. Roth depended on can:ful ing animalto!!. and fla"los iCene lhem coo,.,lCona: but " " til the

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11 00II. IHlsn
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,,,,di

D/ i,II. D/.

1~"dJl~xibilil)' ill 'M ""1J Iris /H"""alil)' rould H

d4ill~4. Th~ ... il fiai'J Mal~fi~"'. ill Slupi",

.9t.ldy. lrDlall oIDof.

-.... .,..alII)' It> hn tkJi,,,:

if sIN IrDI H~" """" oJ "';,Ir 'M - - ' ~J ill ,""'" sJoDpn ,...,. t I r - r
I~ _14 Iur.e """ ,." .

on Ihis meliculous Iype of work. Ihere was 100100 way 10 do it . As the anilTUltOl'S slid. " No fun 10 do. but nded for the pictu~!" Makrlm\t.\he evil fairy in SIffpi"l 8~, ~ lief redinp in a II'IOR dramalic mel flamboyant "''lIy. ~ Ihc: "yle of w whole plUeflUlion relied on design. roIor. and ~geanlry. This WIS renIN in her _menls, which gave the anilTUlLOr slighlly more lIIilude and freedom. bul it was Sli ll an e<jually demncIi", drawln, assignment. The J1IeS were impres1M wilhoul losing believabilily. JUSI as muo;h inlensity "ellJ(llion Wlii shown by Prince John 1R Robi" H ot;;d, IuIllliuequcncc was Slr\lctured for humor, 110 \he aniMar could oonccnllllie on \he upres$ions and IIIli-.b IIlOre than intricate dnwin, . .... s I rewli, il was _ fun for the animalor. Thrsc chl~ters ShoWN haired Ind 5OOn'I in their OIIo'n way, bul in a convincing manner. They were equally enle"aining, bUI they were in no way inler_ dWlgabie. which points up the imponance of the !IOryman's knowing his thanrK:tefl Ind buildiOl& his 1lirNtit-$ through them .

~depended

the \ksl,n. the settings. the tolor-all of the pictorial oomponc:nu. Their goal is to build I mike-believe world around \he viewer. makin, him feel a o;enain way about w... he ReS . EVft)' Kelle must say its ~ (learly with no oonfusioft and 110 00Illndictions, but it mu5( iQve something to be imapncd. In Bambi. there is I stirring fi,hl btI_n two mile deer . Beautiful anirmtlion Willi done of the battle, perfect in draw;n, and movement. but IIOmehow it was not e.citin,. 'The plan had been 10 draw the audience inlO the fiaf\t by showing dose.. ur- of horns and hocwa and $trlining muscles. yet iC'eing I II this tended 10 make it m.lller-of-fact . Walt had the answer: trellle mood. make \he scenes dark and drunati<: , kt everything CO bI..:k. ~ the lillie pltU. and define the characters only by "rim li&htin,. Use the music: and wuncl eIT" instead of all that dn.wing. Immediately Ihe sequcnce became tense and thrilling.

Graph ic Presentation
Most of the examples we h.avc di5(USS/:d $<) fill' have menlioned that each required In uceJlence in lhe ]ft:SCntation of the idel in addition to !he story work. So:ldom is emotion C$t.blisht4 on til< ",reen only *oqII Slory, graphic an. or animalion by itself. Here ~ are Iot.,...tin, them in an Ittempt to undtrstand the u_ of the oonlribution from eadl. " Gnphic pre_ion" covell \he cuniOl& and uqinl, \he planning.
IlOl

cal Ways I Can Build Emot ions tions of the Audience

R"i>l 'he '~ml"a1i"n '" m" f\ ''''ph;IIg /';gX'" a",1

,""'0

",," ""'''8
,i,,"_

~"'g""''' "'h"n ."""

..om""ml,-,. I . RI;;A R VIE W
~k c p L n~

Bcaul)',

The I"'Q im"",' look ()ll ;'''{) lire ,/"""", an" ,/,NIItI IMt !"i!'(lle ,irl''''"', Sill"e Inti' fuling. are be"" 1""'8'''' Ihan Ib ... ""uid "'" Iw ,ho~-n ill d~,,,i1. Ihe ~"di",,,, d,,,,,,,, a lo"~ with tMm

4 , OVERLAYS
Q~'Q)' . Ha"i"~

The Ju ngle Boo.

]) R A ~ tAT I C

LAYOUT

The

U~ I )

bu,-khng ,

B"/",, i, ,/e>,I"''''''-/y ,wr,h",sj,,' M""'SIi " 'I", hw jU>I ,"" Haloo p""jally em'",d b\' in Ih. /xl"kS,,,,,"d ml<k" a more "w"rdin~ .<C'"' Ihan In'lng

'he ,,,,,,,,h.,

O\WII<I~'I'''''X ,'h~ I"'" ",,,I a 1'~1h oj ~ction ,~owx J."'n drt hill J,m" ~,I<I f{) 1M julln8 oj dep,~..io" as 'ht U8",DIri. /in8 sIQ~'I,' ~'"Iks a~-a." Th, !"mmmi of h;, j",;"~, r.w.

10 rim'" his

d;'''m.~hl

jaa .

on ,he 10,'0'" th,,' mali him 1",,1i

>m~1I

,md d"o/aI,

8. HELD DRAW ING WITII CA~ I E R A MOVES

~W"'

101 D.lma,i.n,
,""n~lhe""i

I"Slrad oj'"''''inS Ii" ,'hamu", ",;,""/w,"julilli( "jau;,. ii,' ~..,. ,whl"',,, by , /(,,,'/.1' /1101'11111 1M """,r,a _ III ,'u's "IS' , ",'k;n8 ;1110 " dQu, .,"" "j 'he ,i,,~ ' ,. co'n,

np"";rm,, wm,OI he

h"

1II000~me"t,

1. SHADOWS

Sao" While .

J . SIlAIXlWS OVI;R TilE CIIARACfER

F,,/j~, k''''rh~.

Bambi.

SlNuJow. a,~ ulul/II)" as,M;m~d ~"h .u.~~ ,~ ,wd dmmu. r~q caa ruM ;au,e.1 ,wd '."';~'). ", U co",;nu;,}" ~hil, ",,m, ,h~ tom, nud~d /(J d"", all ,h~ dm,,/ on ~..ch elul,

"'rt' .

"l/Mfi",d as 8m"h; fighl$ off lhe ;nrrwk,. of ,10, .';Ium",n IS Mil" ron.~)~d by 10" ,,IoQ/~ "1"'Oi~. "';110 110 Io,,,/.. ,,s .. Ih~ ac"on pass;ag "'"'I f h,r. Ih"a ;1 <.. uld h",~ bun hy JU" e.. nu'acJnp'~J. ';"n ,,~ her file.
Th, ",dU""al

,h.

6 PICfORIA " Sl tOT

Cindcrdl3

7. EA'-cCfS ANIMATION

Bambi.

CmJ",II .. nwi been pr",,,"d f'Qm lIo;nfl w ,10, ro}",,1 ",,/I. 1/" tua '/)HII'PO"""'"nt U besr mmmu"i,"uJ h.l 110, m "",,,II<;=ed '.;'M" '>/ Ih~ e",,/~ ,,hu, .h~ 'nM" '" M . A 1><".(. t"",nd ,,-i,h n ." ,ong mQr,J nm "w, difficull "m","'",a,

Fine an;",,,,;on of for",s fro'" nalu" caa ,,,abU, h a mood dlh" b,. s)'mbo/;sm or ./ww,ng "'10", 110. char",.",,, JttJ. Fol/jng ,ain. a flo,m. app,oaching fiff "'ill quieti,. <I"'ng f lings, Th, "a,k <0/'''' of ,lots. aulum" Iw.'es ha,shats. of (lI'prl}<1chiag k'ialrr, forn,1I

Uro',

,h.

,h.

9. OFF STAGE SOUNDS

Lady aad (he Tramp.

No animation i. nud.d on " c()mpr~h.nsi,'~ .hOl of 'Ilt10t."()1~ 'J Dpp'oprial~ ,-ounds con Iouild 'mugts;n 110. i""'gi am;on, Th~ em'ana 10 110, dO/l pmmd in Lady o.nd (he Tromp loots for/",n ,lad mOl<,nfu/ ,nou/lh. bul i, ~,"" 11m,. ing 'M h",,'I,~g and ,10, />a,klng and ~'h;n;ng 0/ 110. dot. Insid, Ihal "oily 1Oi<llh. Jlory.

Ih~ rlWrboal of llie

III Th. Re''-''Ns. 11Ie", ,. I' >-cry IInr"rlanl >:110 on li ll!c ~;r! kaylO~ the min oJl~

!.i.,"" " j~",~, ..1

,,,,J,,,i,'

So,",, """W,,,,, ""c"me mo,,- /"-,,,w/,,/I>I' ,h"",,,. ,,1I11r< ' J,'",,1. TI", ;, I~",;,- "I"d, '''". ,d,,,~ ff"'~'C '"

",,1.,111. ",., ",.,.. ,m old ,

lI"~ "H~ ,,,..II,,,,,,'~I ""111~ 1/"

~'IIA,-,,',I ~

," A

'I""""

"U all"IC".s Medusa aoo ,1.,,.-1)' .. ~Il"'j! up the >Uin 10 ,lie ,.....; k . Slie h3' ju,. h.,,,,n I>;Idly hUll by Jolcduu'. ,,~UI)U ' remark ... WI." ",w~ld ",;"" a homely linlt rill like you?" "00 is tl~h"n~ i):Id tile t~ar< as..t1C .."Ib "", inll) the nig:hl. II w~' (k~ ,d(",1 thai lhe n",,' .ffe<;. tive way I() pia)' the .<ccnc " -,,,,1.1 1>0: from ~ rcar On the d i ml~' lit ,("ir . rcaturi"~ her ,.~'), yoon~ arc: a,><J her helrl""".", Once ,,,, ,kcl .he i, bailltd" 'o()fl n.o.... hghl_ Whc-n , lie r"""r~ " -3' ~ompkl~-J "e ,.-oodernl if OiC h3ll made lhe he,1 dloO .. ..,~ Would ,( ha''C: ~n bc1"" Ihe .!aINtU had ~n ~"'nl'!(ld~' d;lft . ju~ I/lI:kk ofhghl commg down Imm aOO\'e. "" Ilk (1)( girt" i add ,ho"'n onl)' In .ilho\oc(lc! Tlie "Ioatlon called for lhe: ",,'nges( ,,,....-xl ,,~C(>ul,1 cn;'<ic . When we <3'" IReo( _'("~ne, comp leted in <<,In. 1,00 in c"'''inully. tilry did IlOl ha" e lhe "i,,,,,1 "'IP;"," .hey cnuld haH had. n.e, ",,'(I'~ dark ~nd "d""m)' . bu. l1l)I IIrJmaloe _ Pertup. wa. nul a 1'1:>0..... 10 be IIK'' drJttl>"c. and ~"'" _ ,ilhoucm' lream",,,, .. ouk! nul have ~en lilr be>! "'IJ ",Iher. hUi ",,'e ,(ill ""<lIlIk, In co",m,1 10 lhe bc"",fil. rd leuin~ I~ >p<ctI. 10<> ,c~ cvcrylhing. lhere m\' OII",r (ime" whon forrin, Ih~m I,) loo~ aI ccna i" delllCIl,. mihl <",ale Il"IOIe ,i"lal excUell",nL \\'h~" th,' 'I,oecn in 05",,,,' W~jlt IIra"~ II", ",!lion, Iha. ,han!"'.! h.. inlo an ok! ..... 11",,, '"'' e mo. io",,1 in,"h'cll",m Iw:~au,.." or lhe: In! <>1 It>t unk ....wll . Wa" ' hm Ih" .Jr.",,,'oe ct..nrr lid"" )ou. ' -c,) eye, hekl you '1"'lIhn"oo;wd a li"k oppe. Ilcn.,,c or "hal you m,shl "..., n.'~1 Wh:1I "'ill w tum InlO1 Will;1 he "'n"'th"'~ hllle""," Will [ .... Olla look at ie '("hi, sectiun "a, Cui 0'" uf lhe ric'u", I. ~"'~tk:n as bcin~ t<Xl f.ightening for c hildren, ",'hich pro\'(, Ihal. right <II' ",ong. lhere ,,'a, a Siron! lIonal upori.""c in lhe pre;':n,allon of tho !Nterial. Another frightcmn~ sencs of sc.""s ;" lou..! .. P"w..chio in !he "'-"<I""ncc on t'1(:l>ure I>bnd Oibm on''''re("',n~ boy. are chant-..'1l mlo d"nle)" in pay. . men! (!'Ir a mgh! of run "fhl>" a ,' be ... he", e.cc1leit i,ni"'J""" added e'~!'1 111"", Ihan had Ix..,n rx~. hut II w," the cOI"bin;III"n ", II", ,,,,gin~ and pl"nn;1ll 1!l al lIIad~ Ihl> im[X,,,,bk ,~lInation "" bclicvobk and ," """"Y , The n...... lhad I>,,~n "~IIC,I "'llh lbe ""'.... ," ~~ ~ I,,~o,.t ,t.;'l"'le", ~II bl..::~ . I:.,b" "'.km ....

.it,..

,r

t.

"r

<_

iV, ~"trhM />,nouMos/,;,<ul I...",p ... k k tw,,, i~ t"" d""*q

riPt 1HftK, 0." ""S.

"-en: dos ,ng ,~ gates and <;r.I,ing ,~ <k>nkey~ . nd

miN. /'i#h.. "'~

/ .. "","'m. ,h, /aulus ...""Ur. "" PI.IM,,", Islaltd ""'.. 1>,,11>, ...... JOt/II "'" SU ...-100 ,Iwy """t.

Ihtn. greal voice IntCk. along with t~ realistic han dling of t~ backgruunds. lhe eff""ts. 'he shad(>ws. and all the oktails. kept the audience so in"olved that Iht'r e)'('s never left,~ ~reen . T~ woole film would !Ia'e been 1'0 much ,,taker and flaccid without this nnouon.1 f;U'g<: to give" ,ho: necessary importance aid 10 make tho: fantasy so S1imng.

Animat ion- A cti ng

The .tOf)'m.n can devciQp tho: right business for tho: dwxte. 10 perform. and t~ director and layout "Ian tall srage 1\ and ma1<e ,he presoemation graphically Alwyong. but;t is the animator " '00 mUSl thinkdecply ,nlO I~ personality of ,~ can oon acl0rS. Each must be handled differenlly. because each individual will upress emotions in his o wn way . The ~If ppoinled Ie""'r of the dwarfs. 00<.:. would r.how defiance in a way d,ffercont from that of Grump)'. He " 'QUId hase blustery. ""'""ou, movcmmu. and take shoner ~tep" . He never w(>Uld , wing hi s am'~ ,.. GllImpy did in his defiant walk after Snow While had kissed him . That walk. and t~ gradual stop as ~ sm,led. showing his true fedings. were pan of the an ful deloneatl"" of a pel1lOllahty in boIh S10f)' and ani. matK)ll The COO<:\'ptlOfl was thorough in all respects : tile stag,ng of lhe e xJ"l'"''''''. the use of fundamental prlnc,ple, like squash and stretch . the amount of time u",d to soow cach emotion before moving Ofl to the nut one-.~se soow anima. iOfl at its. bes!.

h,.

'The audoentt became involved in .~se scenes because of it~ unde~landing of the chanct~~ and tho: f",,'ing~ .ha. were so familiar everyone:. Bu here an: other way. of involving the vie ,,'crs bcsi<k$ get. .ing .hem.o identify with sympa.be.,c cha.ractcrs. The (\evil in "Night Bald Mounlain" was anything bUlsympathelic. and his feelings"~ bc)'Olld our C(M1'P"'~nsion. yet the 5ttne5 invol"ed the audio ences. drew them in. caused t ~m to react to wh hcy were SC<!;ng, To poin' up .he difference. one ha~ ooly !o imqine lhe I'I'nsalioos th:J! would have been arouCd if. during .his a wesome ri.ual young boy and girl had bttn $Cen as t"''O liny figures Il)'ing \0 climb.he inner walls o f that vokanic mountain w'!hou. being di5COvcred . or Jl"map:< progressing deeper into thl' fiery cauldron on some importune quest. Your ~an would be in your mou.h as you tried to sca le those: s.oocs wi.h them. and you would jump at each sign of possible dete<:.i"" . You rex. /0 .he evil el\arx' tn. but ,... ,h .~ sympathetic charxreo;. 'n.e ",me is true of C rucll a deVil in JOJ Val",., ,;am. and she is a comic villain , ~w ofuscould share her comJRIlsion.o skin JRlppies .o make a fur rea . yet we wen: ron'pktcly involved in her sequeOCC$. Because of OUr fa~ ina.ion ",;.h her uplosive Jl"l'SOrullity and our enjoyment of ~r .... tlandish beh<lvior. appearana:. and x'ions. i he was funny wi.hout losing ei.her her menacing quality or her audience . Whe.hcr people lhought s he was horrid , <idieul(>Us. or wonderful. they all Sa. cnr~plured . In t~ "",x. example . " 'e arc involved through our

.0

,.",,'m;,,s

on

s,,,,,,
nuld.

.(U~ ~.,

Jut"
Q

khaM

Cr. n~

(/9491 b.\ Jo. HI

J<N

hud

pai, fo,
~Iotl ,

bold. drolfl6llC" .,a ~ m (("Ill

..... Id "",k. ("<I"......

(I~,."

\' i

'''m,'''''' ~u r mil
U

fir inlO Q"'Uomn

U

",lIy.

3f'p.....'allon "r ~'tuatl"" ~nd ,h~1\'" the <i Ihe ch~rJC.er, Ilut wnhmll .n~ ",n"" o( K1enllfl(1lt.. wnll hll" 'In"" the c:"~ "ill, Ihe ralher UIN'r)r)' lch:lhOO CI~ne ., he rKk,' lhe 01..1 plo"",,,,,,, 1010 tho lerror.. of Sleepy Hollov. Thai ""lUCoct ,""'<Ie ....... tur Blaine Gil>-.on OC"':IIJc 1<1 k.,c Ihe l,ff""1< l)qr.In nrcn t rur the dram,"i,' dla llcngc< or characl.r ani",, nun The ,u I"'Ninuu, khal>uoJ ~~t' i"'rt~I~P7 'lg1l31r<J the farther he prl~n:.,..:, m,o ,he "'~\oorI. th.. ,Ic.:py " ,~~d IS b,,,d~ al~n cn"u~h 10 ,t3Y awm, k reminded BlaIne of h" o"n e~I"'ric",e a'\ a boy ill C.Slern Coloradu, "kh.;d..Id, and Ih" I'rorse. ud .. gU) "h".hn~ - this" ~ ,'moon. but I can (n~llIa ,,"h Ihis gU) bttau!ioC I' "C bo:~n on a horse OIl' on the farm al ni~hl wIM::n I ,",'anled to """lie. b....,.ulot I'~ he.,d S<.IIlloC' ""''''' and I wouldn', kilO" ,,11M" ,,_ and, ai/), lhe Wll) lhe horse ",em ~ Somebod)'lOOllll! lrouble 10 .n.l)'le , "hal ho~~ look lik(. liloottd hke a horse The"" an: II", lhmg' .hdl, to ""', /NIle .. d,ITcrcne" betw" ~ood and 00d an,1fU11OII II's UIl Ing lhe lroobk 10 pul Ihal hnl" Ihl"~ '" !~~ ," Tk ~n;llIalOr ,)" Ihal parl,,'ular "ee!i"n had 11ldi.~ kIlO". hor..:" and hoc hood sullered " ......, than h.. .~ rI mISt""'''' ",~n~",,,. In tryin~ lu gel un~ve nag~ to behave like Ihe ,",'orrd.:r hor"" (\f I~ cov.bot' rhi. po,nl In the poetun: (cn.,nly ILao.l bn.n wei loIructU.-..'<l m the ,'ury <I<,'(;lopm.."" dn.!ln. prt\ftIl' "orr ""ell "1Il~d h) the SltU"!I,,", bill It "',. tI,,: :mtnmion iN:lf Ih:LI carned .,hellCe, aloog, They sa", 11M:: r"ar ,n kh.ahOO '. ~Y'" and In hI> ""holt . . lude. 300, ;0., he Ii<:h'<l h" hp> an.! .""al/ov.'td. 'iItJ cI!utd f"..,1 lhe >Cn,alton of the dr)' moulh r".... ILiI e ~!",,,,,,, apl""h~nsion The ",US"""",, 011", WJI/iI:( matk an .. roormous comnbuhoo '" hen 1M: 'tt:Oi<ltd .. !)'A'n ,,'h"lhug for khabod' ~ f""h'" an(mp!~ I() k':qllp hIS courage U~ he nmc closer and closer 10 pame,lId 1M MOry ~ke.ch man Joe Rtn.. ldi I\;l(l dono: " ma!4CIf.

""n>aI_

"'''''ie"

w.,

"

A"'''Ar'''' f mnk T""-J_

khabod Crone (1<11" ("Om hm,d ...lIh Mr . Toad j

T~ 6 ft/ _
I",

cam',

,~

id,a. " ' ''P f~"h,. ..<lh mo" ell" l/iI,n 10 siu T,I~liOltJhlp. and .,~cijic
bt..!,It"J .

'leri(, s of drawings nploring every possible position for a tall . skinn y man trying to hilk on top of I hr.ne . So the animator had great help in gelting started. oot the burden of the development and the (nt(Mainn",nt in the acting ~s\(tj o n hi~ shoulders aloroe . ()nc(, the lIeadless .I<neman appeared . tilt ...hok Ill()(ld changed \0 ....ild. tumbling. comic panic. with both Ichabod and his 00rs.e frantically defying all tho: natural I."" of weight and gravity-in a very belie",, ble way . The sc rn fairly exploded with their fedings of d~spe,ation as they $ Iithe~d and scrambled on thei, bellies. the IIoors.e ~ low thaI the ,ilk, was half.riding alKl half running hims.elf. The viewers did 001 !"tally care whether IchabQd gOi away or not , but they we~ complcldy caught up in the ucilement of the cI\ase

iii ~K!or !It ';1<1 'I' Iii. H~<J4i,..

j 1'<'~k

oM '"~Kf''' ,,~
By 'hi' rfmc. W .'0 ih' fl.'

."

M,

,.,

,
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a~d;,",.. "~II/d

btU,,, M<
Q

h,,,,,

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Jll r;"~

and were thuroilghly involved ill the whole .i1lI31;,,,.. Such ~uel1\'cs arc I"'rli"ubrly ,,;ck y to 00 OCc. .e oJf Ihe need for Ihe lemf'<' 10 be maimai....-d .11;1 tbi:' nclion 1U be,'""", an<! m",,, len..: . '"-, lhe r.cc"" will buil,j "oJnlinuously 10 ~n evergrealer rilrh ;:/ cxdt~mr m , An ,Io;I;On thai i. juS! h>O ,low. or a cOOi:e of hu.inc"" Ih"l is too ordinary. c"n Kill the ovd "fleet. Story SlruclUre canm" do much I" help in Ibis ,a,,", The la)'OUI~ "nd S<!lting.< an,j Ihe cuUin~ ploy. ll'klre impo!1am I"In. al,mg wilh the conSlan! e'pm' memalion. ",..,.".,(jnn. and revision ,'f III<: "ni"",I;"". The se~ucoce musl bc keplloosc until il re.Jly~ In Ci"derdla. (hccre WaS tile cI."i, se<.Jucoce of!wo mice Irying (0 carry a larg~ and heavy ~ey up (wo lonil l flights or stairs in order (0 frc:e Cinderc:lla from ber room before (he Grand Duke had left wilh tt.e gI.m slipper. The characters had lxen well embli.,W so that (h~ir determ inat ion anoJ emotion, w"re quilt de..:, but the (ension of Iheir (r~m"n,jou; dfort. wlIichl:)!_ hau'l~oJ (lie audience aimoSI as much as (he mice._ all in the animation, No one coul,j ,lcn y that lltt~. taro", shared (he sen timents of IOC cartoon rtwacJtn comple lely , Back in 1935. Wah had asked <om" rr<wocatil'll ~ues(ions about jusl thi, Iyl'" of action_ "Wll<:n_ one is lifting a heavy weigh!. whal do you fecl'Do }'O U reel (hal <,lIlll;:thing is liJbl~ til C~.lCk any ,nmUle" and ,jrnp <lown"! Do yO" kelllM t.<...."u"" "f(t.. pres sure tt,, -, go\. he's going 1 hlow np. Ihal hi~ l;;ce i 0 going to tum purple. thaI hi s cycs "rc going [()IM ""I "I' It",;r ',lI;: kcts. that IOC ("""k'" in Ill<: ~rm is lerriflc that IIe' s going (0 'map'''' Fifl"en years Ia(cr. (heS( qlt~Slion' we", "'e n iQ swered by Woo li e Reithcrman ~ he animattol .

"">re

sequence, 'There ii no doubt that tM key was too for the (wo litt le m;ce . (hal the preur: 011 mentally and physically. was (remrndous. t~"' 1I

3 hn

. JCM S;blt)' -

MltJN> 0; khabod

,,.,

,d ~'ilir i'"'' b,;,h ;J rid"

iclli" I,; ~""", 1M ,,,,,r<i ofIk H_i-

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GUS'S e)'es could bulge OUI of lheir SOCkc:IS or . . J",, 'J fa could lum purple . The timing of liIcsc lCliools pvc the franll<; (jUlllily . and 1M sucnglh or 1M .lIIT.... drawings ga"e 1M in. ponsion o f effort and t.lhMlMion . n..: m()~1 importall1 cle mcnl in ma king Ihe $equcnce III outstandi ng . however. w~s the fOCI Ihal lhesc lillie ~ "'e", doing all of Ihis bccau~ tMy car-.:<! very ..-b iIboullhe girl's h.appine'n . Uwally . Ihis ft"eling ~,m"~'_ ~ stJ'1,lCtuml in the Story Dc:pan. _ and mUSI tlepend enci",ly on the animalor for its porIl'lyal. bul it remains & very mercurial ~nSl t ion , A note can not he pin..w h.> the slOryboord saying. "Gel nRmh through here ." oor e~n il ~ " 'ritten as all lClion on the upo!>U"' :\ht . "Ani",""1e 3 fect o f ......... h . " It cannot he a..alyzed. or acted OUI. or f\'PI\'Knted in the Jar"IX way ItS an u~ion or a pzing thoughl. s, nce it mon: of a sentiment thai POW! wi thin the viewer fmm Ihe spec ial way the busi ~ h~s been animated; actuall y. i. grows frolll Ihe .Mili"ity or lhe animator ,,'110 makes lhe d",,,;ngli. It is .ttdoobtedly one of lhe nlOSl impor1anl fX I()I'$ in bringing lhe audience clOM: LO lhe characlC~. Desperation " ' ill not he di~ayed always through frJrtl k ..:1ion or panic . Atl im.es . il is numbing despair. and that prescnts an even grea ler challe nge to Ihe ani_ .... or . In /0/ O,,/maliotU. it bccame 1tC&Sary to h;t ~e ..-cry tlel .... te. s irorc. and CQnY,ncing 5eq1J1:~ mow inc the upectatll female dalmatian Perdita !'CXling 10 tht III'W' Ih;tl C n.w:lla tleVil i$ planning 10 take all of be. puppies as !K)OO as they a", born . The ) toryman lqd (dllh3t a dog 's norma l reactio n would IX to hide somewhere in Ihe house. in so,,~ location Chat o fr(red tiny J<'nse o f pnxe<:lion . lie made a dra wing oi her Itnder (he kitchen ~1O>'e. way Nck in lhe c~r. This .... Perdila ' ~ emo..on~1 response 10 the near-~nic ~ fel( at lhe thoughl or losing her puppic$ 10 !his hotribie

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W<)fn<ln . She could do nothing but ren"",n ~ ..ive . The mice in Citld.., ..//a allea~t could temper .heir pank by doing somethin, . In lhe,r desperate plight thc~ wu still a t hane.! 10 !'Cverse lhe s ituation if lhey ju~t could gel lhe key .he", in li me , Fnr ",mita. the", was 1>0 s uch c h~nl"e . On Ihe s.oryboard. (he drawings were in'pre~ive and ga'o"C 3 good. s ubdued f""ling 10 the touching situation. The >'Oic:a wc"' rtCOI'ded. and they too. ""ell' effccti'o"C. adding s ine.!rity and~ . BUI lhey were "straighl ," The eharaclers the~ l vcs ,"'en: "straight. " Al .he story lI1<'CIing. Ihere was a~hension ex pressed about lhe difficulty of ~nim~.ing such a se quence . The", was nothing.o get hold of lo"ricalu", . The Yoice lalcnl had gi'en . beautiful. dramalie reading oilhe line'S . ch:arged wilh emotion. but!hatlypc oi tension is difflC\lll 10 represc'" . Even the voice of Pongo. lhe n.ale dog. though iIOOIhing and cornfoning. could give no emphas is or strong all it ude 10 suggest an 3Clron Ihal could be animated . And. to top il ~II off. the scene was set IXnealh a $I0'C. in an area 50 t'eSlricted thallhl: charactCT$ could not even ni~ tlleir heads Of shift posilion 10 atnt the won.b in lhe dia. log..., . Ilow could we possibly make lhe audience IXlieve the dog. well' ta lk ing if ,,'e cou ld not move lhem . and how could we make the sequence convincing if lhe ani mation did not hold up? II was all (00 subtle and delieale . There is . I,,ays this problem wilh tM ".Irtlight " characters who IK k the Ik~ibility in des ign and pe'. sonali.y 10 allow much more Ihan a rigid 'lIu""'lion . Thinking back on The Ugly Oltd/;"K. we recalled wj ~. fully how th~t e harICler did not have 10 IX " straight" and thai hi ~ mournful hon!;ing brought laughs along " 'ilh the tears. Now. (he s iery material was o f a diff<'T' en! wn. Fnr Ihis picl"re 10 be UCCessful. 1M", h;td 10 IX u tremely CQnvindng. heroic action. not from a

queen or an evil devil but from four kgged c~acu~s wich animal facn that werc 1\01 desIgned. even by nature. to communicace delicace e~l'R'nlOlls. Perona was 1\01 flamboyaJlt ellOUsh co have feelenSIi Olhcr than moIhc rly corocem . ~nxiecy. and occasional hop". " "hile Pongo was simply Mr. Averllge Nice Guy . crying co

get along III a d,fficulc s nllllllon " 1lIe" rolCl ,"'crt btiIcally designed to hold che >lory together so lIAl the broad chanctcf$ surrouoolng them could ...t Thr;c tWi) character~ had to be convirn;ing for tbe It>! oI'!IIt C~St to he emcn 3l11ing. A Mern ""gnme nc !lut Irno one: believed lhe s.rn;crjly orlhe dogs" concern" 00_

_OIIk1t1C'loe'"e CT\lelia And ,f 110 one took her "",OO)Us I). >lie ,,'ovld 001 be M"lIa,n" The ""'Iuence had 10 tIC' !he pt<1ure Fin;tlly. one antmalor thought toe oould ! I ""Y 10 do II Immed,atdy. n w"s dumped In

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p'clonal value of the hodlng pl:t. "lIh onl~ such acUOfl .~ w'"" needed to gel lhe dol!" on posouon He eho$/: an angle on lho: s.to~e so that lile leg ~1>Ua1l~ would ""paratt the.- hod,ng ~fllol" from Pon,o. ,,100 "anted 10 he.-lp betl did 001 know 100" The prl'scnl" 1100 " 'as ~,mple and un<lerpl,,)w. lenon& the poclUre of

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the (log under lhe SIO' ''' Iclllhe Siory The: nexl $Ccnes fUlurtd Pongo's difrlC:ul1y In gClhng under lhe SIove. whICh forad hIm Imo imere!.lInC and dlffcrcnlllCllOIIs . Thc: audience became more aware of hIS allempts 10 gel near his male Ihan of his mouth mO,'CUlenIS In ph",s,ng lhe d,alO!lue, II never (>Ccurn:d 10 anyone Ih~1 !IllS .. ;as a rcSlrlo;lw or subtle Kene ~ cOftCcrn of lhe o:Ioj;s for each Olher, and for lhe,r unborn pups, was ,II anyone: saw, Once the came", was under lhe SIO'" e, il w,~ poMibk 10 Ilave a hnle ml'IK rtIO\-cmcnl on ~rdlla SnlCe ihe new angle 'IS no( so rcslncllvc She ... hflw her head 10 ,"Ilalc, Iookw awa)" and ~k oo..-n In do:fealw ligh . Pon8'l rcachcd 0\11 and hckw her

genllyon lhe ch~ The: ~udlC:,," Mhe~cd lhern bodI ~Jld fchihe warmlh of lhe" rdallOlllhlp. 3'i "cn II lhell cono:em for "halihe fOlUre nughl bnng OePlCllnlllove bel ..... ""n I,,-ocanoon ClwaciCr! 1$ .... more dimcull lhan w~rrnlh; II is possibly lilt froOlIt elo.i ,-c (",Ollon 10 ponray l. i~c the ICnlllllOli III waoruh.Io,'c IS buill alnlOM 50Icly Ihrwllh lhe aruJIII lor'S personal fedlng<:oOOo1 lhe dra"' Ings he;1 mUing_ No one <:all j.3) cuclly ... hoch dr:;,,, llIg, or .. bdI ,;ccne, or ... hoch :0<:1I0Il Iw wid lhe .dea beaust 1ht\ an so ~ublly ~Ialed 1 " only lhe sum IOU! of .. Ingred~nl~ lhat CrealcO lhe 1110-..0<1 There I~ one p;ortlCulu component In our JII<IIlm

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..... 100 small 10 reach up 10 ,he one ...indo.... in .he ...cap. and >he "'01, chaIned >0 that she )!,lId no! tome ~n)' cI....,r [0 hIm . Onl)' tile,. nllnh could reach fl( enough 1o touch and nfC~S . I. remains one of the om. Icndor $(:qucnce, c"cr animaled. yel One of the ..... , unlikely. With noIhmi: 10 drJw bUI a couple of \I\lNI1h~c trunk< groping abou\. i. would seem Ihallhi: 1III1N10f would t..a,c been complclcly defeated ~for" ., brian. but Bill T)'lla h~ lh.s assignnKlII and he fell tile: "moI""'S ''''ry strongly . It" tlandhng of Dumbo Imfully hugging his mOlller' s .fUnk and then gently \ltinging Oil il made Ihls seq uence oulslandinl!\ for .. n.i",,;,)'. delicacy. and good juds ment. Every move is ~ full o f 10"0: and lhe lU'1hf. fedings are ~ g~nuine doll nobody laugh'_ nobody qve>lions. taJ). ,,,'" 1/'" Tra"'P ....a. anothel pICture wllh 1InIIg'! SCI of mgm:\;"nts lmol hiid 10 b" broughl t'lgC'lher

....ay .hat sa,d -w>"!. Two dogs eating spaghem b"lng ~Iena<kd by a couplo of roman.ic dlefs with mandolin and accordion did ,~ ~m like the mOSt appcaling situation for a romaace. Beside . lhe comedy i"'pllei. in !he whole broad "ory concepl. the "ery thought 01 dogs digging into a plate o f pasla . """Adm unallrICti~ and crude E"~n Wall WlI$ not wrc: this would not ddeal lhe main >lory poinl hereIhallhe dogs ,,'ere falling in lo>"! . The rear of lhe leslauranl wher~ Tramp usually goo a bone or '''''' ""as not a romanlic seu;ng. bul;1 did fil thor realbm of lhor dogs lookmg for a handout. ~ surprise tlegan ""horn Tony . lhe o ..... ner. saw chal lhe sewnd dog '"'ellS a lady of dass and ~ed 'IOf'I1eIhing beuer Ihan a bone: . He ordered his assiSlanl 10 serv~ them "Ihe beSt in the house." complete with tableclolh anti di.he . Ne xt CallI( lhe lIlu,ic. and willi il lhe challenge 10 the animators . Could the human characters convince lhe audience .ha. Ihi, was a real slillalion? C.... ld lhe xillai ealing be enlenaining? Could Lady be made af'PC'aling and aurIC""" and <faiRlY ,",'hlk consuming long strands of spaghc:lIl~ In
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does il and the mumenl passes . S"mehow . the animllllr hLI to . IOp lilll<' while he captu~S Ihal elusive moment. dissts il. ",c"" I"s it . and gelS il ~ II <lown on paper. The live aclOf ~ not ha,'c an u s)" Ii"", . ""'I al it .... he can waLk Ihl"Ollgh a pan. 1,,$1 ideas . Iry diffc:mll approaches. sironger al1 iludc ~. l"Iil. of bu~inch . md make hi, chan geS a ltai the .... ",c lime. When an . ni maiO!" "'al~. Ihrough a scene ." il will br IWO .."ftb befOK be COIn ~ a ~"' : and when lho: dim.1(lf says. '"Ni\..o-o. il', not worting:- il i~ much nlOl"l: dirr,ai( and "x l"'"sive 10 Iry Ihe se<:ne ;mmher way. A ll of lilt aninmor' ~ ski lls ~'" bmu~hl to play iro cf(lI1 in~ true eonotiuns; his k"""'......ge of Ibf fundameniaL of <tOry. chancier dc,dor fnelll ....1ion lIIIIIy s. sis. aclin~; Ihis is the hi!;hc' 1 fnrm "I' lhean .

Tr.unp's gifl of I~ last """aIN Il . animated 1 way 1M: i. was. i~ .channing indQ(ion of hi. lave ror her. II l~ 001 a sure-fire me.sa~c 0( affection. bul the gen lie way he pushed it (oward her and hi s expression ~~ he

II make.' liule dille rence whelher lho: <.-haroc'(f"!> ",110

h.a'c these reelin,s ak humans. M nimals. m;>kebrl~ C"'altfI(CS . ... e'-en i n~nim~'c ,,",,;.x1S ~i,""n a per>Ollllfo I)" . In each case. lhe p"-.."C<lu",, " f c.. ah1i'h;n~ audio erII'C ident ifical ion Ihrough a spo.....;ullypc of con,nlwti c~lion a~ the r.;Imc:. o h l>ou~h lhe", is oomitlc<lly fI"I(ft of a problcm in ~...~ting p""ple 1 ,-..... "",,,,,t ~n oW 0
~ or ~ garbiogc can. To ~( I ,ndi,idu,l. ,.... lI:e,1Itd atJoul lilt ernuli,ms o( a fantas)" <.- haracter i, also !oOmCwhat of a c hallcn~e . I\-L.os, P>l'le h:l"( ("d ing' of >OIl ... "-Jr1 3hout.

looked al her left no 60ubl abo"l his feelings. Th is de~ion of his love was set up by the UI"ICxptelW
oonlacl I S lhey chewed the ir way 10 citCh OIher on a . ingle su" .nd of spaghelli . The c ~tiremenl of thai RIO"...nl demanded a reaction on hi . p"11 . II relied on the buildup in the ~ing ~cnes. aoo on the flOCl thllllhe dogs belie >-w i, .lIlhemselvt'lo . This "'lIS actuall y I big evening to them and not farce or j;ag. Once thl t poinl was eJlabhshed, every! hing else in 11M: rnI of the picture follo ..'w naturally. If v'c II3d bi lo!'<! 10 make Ihi. relaJionship hel ie,1lbIe for the ..... in """ . acters. none of their later action s ,""oold 1Ia,'c !lad lhe ring of sincerity nceded for this Iype o f ' IOf)', Sincerity is the key word when conveying emQIitms through e hanoctcTs IbM must be believable _ Moo: lhan one an'mator ~s hatl ,mai i" ' live sUII~iot,. for bus, ne~. and actions Ihal fi t the per"", . liti .. , and Ihe situ,,

Ii " jng ercalUIC lil e a do~ 'If a I>c:ar "r nCII ~au'" the...: ""imal> d" 1"""-". defini 'e pcr!>Ollalitie$ o( 'heir o ""n. But '1Ulsi<lc or a \-~r)" PCN>l'.) (lperi. "nee or IW mO.l people .In ",Whaw lho: ""n il: fed- J O. in~' ~bout a ..... () ..It,,,,.'" r ... /,..-" ", ...1A/i,,. 8 /",/>toMfIk or a IUltboat (Unt.. T,... .,I. , .... car (Sf";'-. f~ /JIrk
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ANIMATOR :

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(,9

PI

Fantasia 's "Sorcerer' s Apprentice ," it was important that they be living and active , but have no feelings and no means of communication. In others, such as the doorknob in Alice in Wonderland , the specific personality and suggestions of the friendly but unhelpful doorknob were very necessary to the situation, In many cases, the personality will be suggested by the job the object normally performs, A steamboat whistle is big and authoritative , It is almost impossible to think of a shy one. A rocking chair is matronly, or gossipy, and a bench would be robust and healthy , unless it is an old , decrepit one outdoors in a park . Some objects have potential faces in their basic design , as in cars , with either the headlights or a divided windshield being the eyes, while on others there must be a face created and superimposed (M usicland). There is much more charm and conviction in a character if the eyes and mouth can grow out of the natural appearance, such as the telephone in Thru the Mirror, but when this is not possible great care should be taken to make the additions as believable as possible , Sometimes the character is more provocative without a face at all, if his whole being can convey the pantomime to show his attitudes. The magician's hat that Pluto encounters in Mickey's Grand Opera needs nothing

more to show its reaction to this big dog intruding in such an offensive way. A face would have been wrong, because it would have destroyed the elements of fantasy that made the hat so entertaining, Many people insist that most of the machines in their lives have personalities that are clearly apparent: the elevator that works only when it wants to (and goes particularly slow when its occupant is in a hurry); the car that will not start (or seems to sulk when not treated just right); the door that always sticks when it can cause the most trouble ; the typewriter that continually reverses letters in the words- we are surrounded by objects that do seem to have minds of their own, To find the face in the design of these objects, and one that expresses the feelings that we already have sensed, is the problem for the artist. To move the parts oJ this design so that it has a suitable personality and seems believable is the problem of the animator.

The Illusion of Life

In the final sequence of The Rescuers, the villainess Medusa is being pulled behind the swampmobile by a rope. She is bouncing and splashing around as she is

~ alon~
~

and Ialu quue a Maung , We all s ug-

.,,,,,,1011,

iOUdluonaJ gag~ that would maJ:e the ~Ituation funnIer, but the d,rector he~u~ted : "I don't ...... nt _ g.gs; I Wam to know how ~ is fe-ellng about ~ u"$ put In a dOSC'_ul' of her face as .he comes '" OUI of the water- the acnon " funn",. If "'e'~c seen ",'hat shc'~ thlnklng~" nus locident illu" tr:ltc~ the dm'c thai has run Ihrough all ~ !),SrlCy rilm~, the "11)" of th,nkong about cnte. _ n t that led [0 Sl.lC'h a hIgh degrtt of an In lhe An onteNlewer .,h: " What' s funny about a hal Snc" ~ ing up on adogT'
!'t~

., It depends on the hal's penonality-.. lt.at kind of a guy he is , ,. " Then ho,,,.. do you make I hat into a belic~.blc character?" .'11tc same: ..'ay you made a crude; canoon!los into PlUtO, 8y .showIng the "moIlonS , How d~ do)"O\l get lifc into anything?" Veteran an ist Mel Sha"" added a thought . " It is. personal thinl ' You 'll' tlkong the ..'hole personality and dwactcr and making tlw person bchcv:ablc ;n moIlon and E-molion, That ', (he an of animation for me ,

-_.
,~

'" ....... ,

DjsM'/dti JHNt of lifo

Will! all of.he fonn~ of oumand"ll C1IlCftaIQmtIII dcv,;;ro by Wah D's",,) . he mml onllm~llnd ullIIwal conmbuu<>n 's shl1.h,s quall.y of hfc ..".h "h",h ho endowed all of his eh"mc'ers Irono.he firs. ~hrul MICkey. hoping for a k.. ~ from M,nnlC. OOvo'n lIIrougb ,he: gro"''''1 fcar and p<ln,c ,hal KIIlg M ,obs fell. ho ~Ihl.ed he: w~s gotnllO SI"""C II) dc:~,h McaU5c oflm greed. lO.he dram~Hc nchoc~. of !'even ~hel".. moncr~ fa lhng in love Wilh an innoccllI young girl. ,t lw bn , he e haractco' cmoHons .ha, have made tho Dosney fil ms ,rcat lllc anima'or.; at ,he DIS"") S.udlO ha,-e =-d many grca. chara.c,ers over SOI1M: fifty ycars of P""UI'C-

maling , charac:tCI'll that h~,'C lTlOIivatffl ~tones. brought ""Iuencn to li f~, and ~ndeare<l themseh-es to aud;. ences around the world . 'Then: is something o f mallie i. Ihr ..'hole process that Comes from the vcry a.:t o f ar.JI;v;ty. individ ....Uy and rnlle<.:tively. that tr3Il= nd. Ihr single stcp.; of production. It is more than a dl"llw, itlg and more tllan an id u. Possibly ;t is the Itw~ ..'C ferl for cllarxters so heroic. "" tender and fun ny and eI ciling-ali of them e nt~ na ining . )'(1 e ach different . neh thinking hi~ own tOOught . and uperieocing hi ~ own (motion s. Th~1 is what makes them :\O real. and thaI is what mak es them so memorable . It is al, o what gives them lhe asto unding illusiun of li fe _

Points to Re member Whe n Ani mati ng Emotio.ns

I. Make sun: the cmolional flalC of the dwac:te c learly IIcfined .

2. 'The thought process n:vuls the feeling . Sot limes il n n be shown with a single. held dr ing or a simple mOve . Other times ~ she be gcslure~. bod y move . or full action. De minc wh ich is besl in cach case . l_ Be a len to use of cuning and camera in llel ~ntuale the ~ moI ion . 4 _ Ask yoofSl' lf comta ntly: Whal am I trying 10 Jay lIe,d What do I really want to lbow? How do I want the aud ience 10 react? 5. Us.: the clement of wisely: to eSlablish 1he emol;OO of Ihc eharacter, to conve y il 1 the viewCI'll, 0 10 leI them U vor the Situation . Don ' t be ponderous , but don't take il away them juM as they sIan lu enjoy it.

,i_

18.

Other Types of Animation -and the Future

. ..0",.1';1111 here. Ir)";"11 to xn '
a"~,)'

f ro", 1/... em ",.d ,fried ha"'l/ing of ,/,inKs "II Ihl' "'' ')' ,hmughn"..rythillg_ IIII(I 1/'" (m/,. 'my to do it ;s IV 1,-<1"" IkinllS o"en ",,,;1 ,,"e hal" '"fJml,lrldy ('.,;p /o,..,/ "wy bit

" II'~' re

<if it."

Walt Disncy

""01 all lhe Ili.nc)' films dCp.!mJcd on ,he illusion of

life for Ih,,;, succe... Walt was imere'le<.! in en lcr .ainmem. and lhal bmad field included more lh an
,!<)rics ,,,1.1 through bclicv:obk ch:orac lcrs . He loyed to s a'-tio"s Ih31 mpw.J in p.:rfC(:t sync wilh musk. flowing or le""'n ling Or .urging. " 'h,',e"cr the sound

led. 11.. sought beaut),

~OI)' leiling

1101

only as a

bac ~ground

for a

cpisudc buI fOf ilSclr. in d<:r.ign and colors anod mood . He cnjo}'ed making lhe comedics rull of

gag'. and he li ked to cr.:alc new characlcrs. hUI he

abo wamcd '0 If)' film, ",hcre Ihc ,lory was subordinale 10 Ihe graphics. piclU ..... S withoul gass .....ith jU>1 lhe good feeling he gO! OUi of ..,..ins. g ..... 31 ~n_ "Ol~ . lie told hi. cre ..... at an carly mccting on the "NUlcra': ~cr Suile" sc~ucncc in Fall/mia . " Ii should b. somelhing ""auli ful and .Olllcthing f.ntasl ;c- a "ill.o lhe ..... isp feci ing . I! ..... as IIIe audience . ..... ho >'Clected the cutc. round . 3mh"'l"'m"'l'hic anilllab ..... ilh rich ~rwnalit;cs a, Ihe t)pe of char:tcl<'TS Ihey li ked hesi . Thi s may h.,c repre",nlcd Ihe most difficult and highest form of Our 3rt but it ....'a.s by no means Ihe only product of either tho sludi" \If Wah's fertile imaginaliou .

The notes frum the Slory mecl ings on F,ml<lsi<l Il,,'eal lhe ..... ay he ..... ent about Irying 10 capture 3 rlCW and illusive cO~p1." l f we don't ,"cn'plto wcavc Siory here . it will be more enjoyable ... . Our overa ll efful is Ihe mOS I imporl.m Ihing." In lhe "Nu lc rac ker Sui le. Wa h d id nOi ..... anl to ..... aste footage ou showing the Nu lcracke r and lhe girl walching Ihis >'Cries of da nccs (as ..... as done in lhe original baileE), but, in_ sicad. he wu look ing for somel hing in cach section imc"'siing in itse lf. .. It s the fairyland thing wc are picturing . , lie had thoughl of lhe Chi~ dance as somelh ing wi lh a sroup of li1.ards ....caring f1o"'ers in lhe shal"'of coolie hats. and the Russian dance as mOl'C comic. us ing tu nics with thcir heads going in and OUI. Several of our finesl an isls ""~rc .....orking on Ihis and we",. daily. prc5Cnting idcas and drawings. c"crylhing from lhe charac l~rs' appearance 10 lhe ""'hole visual tOn cCpl . A ll hough Wa lt liked ,,'any of Il1<:ir suggcstion" there was sHIl some lhing missing; just handsome 311 work was not e nough. He had often said. "When I" m interested in ,;omeand IMI ex_ Ihing. J "" am 10 5CC ..... hat"~ going

00:'

presSoed as ,,'e ll as anythm, h,s <iiss:lllsfacIKlll wllh

~.!O:'

urly drawing"
IlOl

on." There was

pic.u~ ~n,

'I'hc~ "'u IlOl ellOUgh "gom, enouGh of an idea, yeL for a

10 be scan ed. one day he r,aw a dr:lwlng of a mu.tlro"m .h~. Elmer Plummer had made Wah ImrMtlialcly saw a poIenhal far surpassed any.h,ng coukl hI'''' bc:cn done w"h lhe " lAmh, I Ie ~'311ed .~I ~l n, of huw a mushroom even looked Ch lllese. how II could do a cenain Iype o f dance. alld soon he had added allOlhcr nluu,n)om .. ho W:L' always ou. of sle l' alld causing rouble for.he whole group. ThIs did IMlI haPl"'n In I day. or all m one mechng, bu. II did bome a solid. UnlncU lIka .ha. c,'cn .. ,,""". a s.ory ,... oukl hold any_ one's mlcrcst Wah r,a"I, " people ~ nlC m ber II-eVCry .ime lhey loo~ a, a musllroolll af.er .ha. 'hey'U try ,0 sec lhose Chine..: A. lhe same 'ime, he was developm!! h,s lhou!!h'5 011 lhe 1lIh<', d:mccs . searchIng for i<k'as .ha. m:llchrd lhe mu51C lie li ~cU lhe !my fames moving from plan. 0 plan, making C>'cf)1hlng sparkle and ,"'lcn as lhey .. a,ed 'he" wallds, finl lhe dewdrop falrlCS "ma~e lhe 'I',dcr wcb loo~ like iI' s made of pearls-ihcir

.Iui.

.h.:I.

Own IIg hl foUows ,hcsc fa iries around_ all that lIght> il up IS lhe falnes ," Then Wah began 10 wOO<lcr If lhey could rqn>nI en, and group cenaln cffrclS logC.her 011 ... basis " ThaI's "'here we bnng III FaU- and bnn," ,he wind and lhe ..."d pods bill don,.ry 1(1 !til' Slory- jU.1 lhe lhree scasoll> Those bIg brovon leaves drop down and "h"llIfOUnd makIng p:i,,<,.01 movcnlC:nl agaInst lhe " 'Ind from lhe . ky_" RIthn,han a .. ory. II ".-as. a proJVU.~M)d of odc<>!' ,hal boolh II) pK1u~ and 1I1O,..,men.s. "h"'h ....,'" IntR:I>lngly ""'"' inlere shng , The muSIC w~' helping the Idea mon: Ihan an ",~l i~cU, by gIvIng a SlrUCIUn: ~nd;l. de_dupm<", .heffi311C mau:nal ,hal. in llself, carflN 1hc auoJ aloog. PossIbly Ie"",r mus .... would .... ,.., lacked lho: SlICnglh la sustam SO moch poetu", roou~; rUIn/} whcn f unt(lSIa .. run w"ho\Il ~lUnd II 5ttrn~ '''rut and lackmg 10 I"'l'fI05C 1)1" direcl l"" When alllhc righ. inllrcdlcn.s hod !>ren f(IUnd.lI'ctt ,,'as an ama7.ingly rempil:lc unll of C"ICrl;l.In_ Music. ~Ign. acuon, ;l.nd color.1I WQR:cd~. n:flee""g a Unll Y of lhoughl lhal comboned aulllorll) Wl,h be~\I'y. II " 'as noI ,hallow Of n",,,,ly "prtll):' and lhe ,lk.. we", noI ~a"c",d in a hOOgcpodge prt. senta"on . h was c. c ltmll . Even n>OfI! advenwrou, was.he vi<uaIIlU<rpttQllOll of Oach ', " Toccal~ and Fugue: ' "h"'h ~ ool'qlR' ~n.a.1OII of ",al forms . OIIly colors :and !JuJa..:l movemenl 111;01 m;l.lehcd lhe flm,oflhe mu", 11111: had " aled. W~ don' , wam 10 fallow ... Iw ")'1* else ha' done In ,Ilt: abSlntel We have fIC_c, deal, ..

sc_

,,,II

lhe ab!.lr:IC'; "" have g"..,n Ihm" reason for <' 111'" and lned 10 ConVII"",C lhe a.... w:1IC:C lhal II could IwIppen . or .."5 poss.bIe " 1 N"", he had 10 fel'l IllS..,... "''lIy 1010 Ihl~ ~w are.. and find I""'u= llw .......Id" more 'han JUst dazzle or "mlulal(. tbey ,,(llJkllll\~ I) ~ach an aud",,,,,e and ""Iii lIS Inlcre;.t AS all lhe pan. began 10 rdale. Wall beN,,,,,, enlh",".,11C over,he pt)'."blhlle~ In lhese c~PC""1t lal odca~. "hlCh wcre far allC:od of anyorac'S lhml ", n.. am~1S II:Id c realed SlanhnK ""... ',su.>I cffect<. IrchnlC'~M ,,'cre I"'",n, Ihln" on film could he bel",.'cU. lhe mu.oe lrac'k< " 'Cre nC"'IIJ . Fanl:L'<)\lnd , .he ""''''. sound ,y~,cm dc,..,1oped for Ih,S 'bow, was a whole upericncc in IIstlr II'

I'" "'..

"",,,,,f

us fa.sc ma!ed, . ,f wc call gCI ... hal ....., ..., aflcr n . on ,'''' ...:rccn. wilh !tw, muSIC pul ~r lhe W3Y '"" no> pili " ""..".- 1 \:0.:1;",.., ,, '~ IOOnl! 10 lo;nock ('nybody 0111. ,'''')' JU>l won', \:oeloe"~ II . II 's an cnmd), .." roehl upcncd up for OIl' medium .. RUI had no chanee 10 kllOCk everybod)' 0111 Even 'hough II r~n for a reu>rd . l:>rcaking foft y.one .... ~s m Ne"" York . and Ihiny-nllle '" 1 Angcl( ~. .05 Iht ~P'X'al "", nd l"lu ll",,,,m n'quircd Imliled il 10 onl)' f. .. 11Io:~len. OCrt"" Ihe counlry . and ",os l of lhe .. gular lhealer !"'lrons had no OJIIlOrlum!), 10 sc.: il . TIle <>pC"'''g, 1~le on 1940. """lCidcd ","h lhe .scala_ oon of lhe ..-~r '" Europe G ..",... ng len.'"", in Ihis eo'Ullry. akll.g "" " h lhe studl<)'s los.ng liS fOKign mar_ I;cc 1113<lc II 1I11p<,,;,ibk ' 0 eA!"'.1d !he pnldUCllOO .deas Wal! cager II, II)' . P"",,,,.i,, 1 1. ,.h,ch was ""II [la" Iloc .,'a~e. w., .h:II"'"ncd. and Ihe 1 '0 scg",c nb al ready III " ()f k. "Cia" de b .ne" and " "i'c1C'f aoo lhe Wol f." were rewor ~ed a nd USl..'d in bIC'f plClure> Th,~ " ':os a dl","ppoomlllCm 10 Wah and '" I"" staff 0( 1:!(Xl emplo)'o:c.., all " f ,. huon h;od been c)e"ed aboul lhe Inmguing fUlurc 0( ann"."on We >1111 ""onder "'hal " 'e ......... Id be wOf~'ng on hlday if Fun",.,,, had b.,.. n .s popular as Sm, .. Wh,u . fmUdJ/(I I.atl ~,vcn OlIr 'Mi.-h lhe beM "pl'o"unil), 10 usc bo.~11 Ilocor IIl1agi n:lIIon, alld dlfferenl kioos of ''''r/lIC'. hul cven ,,"-"" " 'as alle",pic..! O,'cr lhe neU It. Y"a" The . I",,,,ca...: for """,c "r Ih lS Ul"'rinICnlaI>0Il .... . lhe " p""'~agt' pICIUrc. Th~ Thru C"II.. / ... Inm . M,,~ ~ ,\I",~ ,\1,...... and MrlO/I,' T,,..... " 'hich coon/)on.,,1 """cr~1 dellghlful I.......... Inlo one fcalul<' f,lm . II~~ a ,.. rlCly .ho.l", The)' l:""e lhe .,aff a d'"nee '" If)' .....1 mil 'I;:u"'g ,dca. Ihal "" cre 1101 "rong e nough 10 ''''':lIn "~M~ 111'11 I~II '" fo flccII ",,,WIC. , Man)' or lhe"" ,dca> on",,J""cd :1 ''''w " , yl~ IIf draw,"g "",I de " K" Ihal ,,~, an ""purla'" I);>rt "f Ihc w.....k c""",cpc . lJoool.mg lhe SI)I~ for a pIClure fulk,,.< lhe: s.3me ",dehne. :t\. ~hot'''ng the ok.'gn of lhe: char:occen n.. >I)1c mu,1 empha."e 1110: ..lcn"'lIls Ihat ,,,,1 III<' >!Of)' 111:'<1. cro:",~ rhe mood . and ~.!abhoJl!"" degree of " .... crlly fur Ih<- comple.e Idea . A .om"".. Iup'C .... ,11 be halldicd '1u'le dlfr.... rcmly from ~ 1'''''01'1U1 one, ,n all g... r/I,c "'1 ......'1'. and lhe cho",~ of ""hal 'S \:oeM for lhe .. bjfi'l m:lller ,,, on., Ihal must he eo."Kkrcd carefull), . Wa ll "~ ~"Ied c""h " f OOT realu"". I" ha~r an ,00._ ..dual "yk- Ihal " 'oold bc d,fterc", from any of lt1c

P"'''''''''

w" >"

1'''''''''''1.(

Olhel1l . Sn ...... Whil~ was done: wllh sofl walereolor ",uho:$ 10 reminiscem 0( old book iliuSUllliorn<; Aliff i" "'O<td~rl(ll.J combined a nlORe nlOdc.'m des,&/, wllh un"lUC: colno' combinalions. II) make il look slighll y " 'dnJ and u n)'; Uuly UM thr l'mnv. ....:a.< "o:o(Ic of noslall:;~ . like an o ld poe.lcanJ. wllh bn ghl. sunn)' colOf. aoo sofl edges . 10 / Ihl/nomimu used a $lloog linear Ircallllcnl, wilh Oal ~wa.clICS or color in lhe backglOl.nds 10 match ItIc handlong of lt1c characlcl1l . For Siu/>inll 8 r<lut)'. lhe "f'I""ile .... as tried: I..... design 01' ,he charac;.= "'U ahered I" fi' , ..... "vCfOlIl Ik"gn o f ItIc b:ockgroonds. Slyllst Ey",nd I'.ark.' had done ...... IlISpIr:oIion;o.l s kc.chc:J Ihal eaughl Walt's e)'C'. and now lhe: s l"'rl:l"'l! "').IIh. lhal Canoe from lhe: Oat col,,", uS<.'4 In 1..."<HlilllCnSK)!Ial panem, ,.~ u lling for a new Iype of dr3wing in lhe ~ ",ma1l 0n . Even Ihou~h four and five h01l1'l' we'e rl"luircd 10 make SUllo.: o f lhe drJwi"gs. !he eoo resul! was a gorgeous la~lry of colors and pleu"'g ~hal"'s-cold and 1""'dcrou~. bul ~1:u1ring . The: p;og.:~nlry of !he: Middk Ages " 'IS e apturro with a nl:lgnlr"",nee lhallICver will be duplicated again in lh.s form; aoo "hen ~1C ..'ed on .he "'ide l\C""'n ""lui,..,.j by lhe 10",,,, lilm used for Ih, s 0fIC pmduc!ion. il is c~ lre",dy InlpI'C"""e. To ",~ke lhe: " "", cff.,..live uso: of Ih.s v;sual malcrial. '''''Ylllan Ed Penner "",,,~cd .1U1 an ",vorved S1.:e-

......,. Uan,~ "root Ptt MIl It.< Wol/

fi~ ' m",kaI

F""",,6<'''_foiuri

I"'.

..n ...,

/"'"118 11{ ,

'""'l

mlIi" Ih'" relied n<~ ' " much on d,,"~eler idenlifi,~(i"n as a bu,y seyu"nee of evems Ihal rOIllf'<'d ~I"n!! wilh good pacing and ,urpri,ing (wi, I' The 'I"'y. heing highl)' romanlic. called ror warmlh and humo r "",! dra"'alic "lUll'enIS Ill"", Ihan al"lere dc'i~n . and un ,!ucMio"ably we surrendered ., ome ,""dience involvc menl ", Ihi, ,uong ,(yle. Slili. '\'l" ha"c n,,1 made a comparable fcalu", wilh ", mOKh !>cauty in holh aPl",,,ranee and color and ,",,'h "o",istcm Irealment f,,'m , Ian 10 finish--which W3S just " 'hal Wall wanted for (he piclUre . Careful alieni ion always should be gi,'cn 10 the valoe of (he graphic, in any film. for Ihe whole pmduci r~p;d!>, Can become barren and ,lull and earthbound ,.,ilh"ul some ex,cllenee in drawing. design. and coli"" This is easy lU f"rgel under the p'ssurc 10 PUI a S(o'y on tll Screen that will live 'Illd build and cap/; ,'ale. Good design. in i~",If. will make lhe 'Irawing. clearer and the idea~ hehind them u,ier 10 see and un.Jcr stand: lhe Siyle will Sl",n glhen lhe comnlun;cation. bee;(use i( has b.!(n eho>.o. in the firsl place. as the best \\'a}' of pre_"'nling Ih. idea. It is. difficuh point to pUI inlo words. si nce il ;s made up of ta,te and jodgmenl and lalcnl and ",ns;ti\"il>' While Ihe ~ud;cnccs 'llay no1 seem 10 notice. lhey stnsc the differen' . and they ..~ drawn IOlne object with the belle. design, h is One of the differenec~ b.!lwccn Disneyland and Ihe "wrage amusement park, Wah ', ",arch for Ihc ,,,lid. unified idea Ihat made Ihe g"'l'hics h"ld an alldien~e is pmbahl~, Ihe dO,"",1 we ,'In gc t 10 an nplan~lion of what consl;lules ,u, ~~,ful visua1 communicalion Today. most people rerer to Ihal kind or an ide" a, . 'Slory , .. BnlO" 1l()/~ctI". (he Italian aninlalor. de signer. and produ ~ r. stres~d Ihis on a visit 10 the .I ludio, "The fir't thing is always Ihe story- fI(}l 3 drawing Or" ba<:k~rouml-but a ,lory ! w,nl 10 tel l. Then I eh.."", the medium," He wen l 0" 10 emph"~;?_" (he importance of making that ,tor>, as strong and as rich as fX>'sihle, "Disney was a fan mSI;c ' lor),lel1.L he ,aid . "Th,'r(', IIel'er a mOlllenl ;n hi' films in which you relax: the _lory is al\\'ay, ,
"l<)"i,,~

good \\'Ofk '" memorahl( , ,\11 of Ihe

__' lory. ,har3Ctcr. lk,ig n--mu.,1 conlrihllle to the ,,'''' 'l"lentent. all ,one,pt.

p"'~ntcd

":::.:'::'.:i::;",::~,~;.::j

~le rncnlS

Still Pictures and Limi ted Animation

,\ piclure lh'" h~" no "''''(11\0:111 \\ ill!'" ",(,:",," OItJa ,,:re'en in only" fcw "".""",,. "" m"lln 0<,,,, oompe! lin~ i1> d~II'~n1S. ,\lol'in~ the ~all"'r" ,1>0"'1 \\UI ht:1,. h'" Ilnl~ 1\\" bcl"" rc"Il)' ,-an Lecp the foolage

Whate'-cr Ihc idea. ;t \\ill Ix 1<,ld heller and in " more in leresting way "'ilh a Siylc that i, ,,,pport;vc an.J "()II'p~libk . Like" g,~ld ~ari,,atu'e. il "'ill hell' 10 achicv~ the c~,e n,'e or " particular ide~ Ih"l mah,

f:':;::.; r ' ;'~~101)' Kk~ that moveslhe audience. a

Of

Ilia. has meam"g of Its o"'n .

tf Wah!':olw ~ s ketch or palm,ng Ihal he parhcularly he ,,'oold tool: for way to gel il on the KIl'en U>l (he way il was. and then figure OUI how 10 keep ;, ""'" tung enough for 1m: au()icnce 10 enjoy il . 100. In Th, Thr,.. C..ballfros. Mary Blair. channing .",ungs of .he Muican ch,ldren acting oUl La<! !'osa_ In had only ,1M" mo"~menl <Jf the: names on the can lb . but1her hdd the: audlcll' s inlcrc~1 becau>c: lhey Ilu'lrlued a ~lOry . tn anolhcr pl,ltt in the same pkture. I"IOfl' of Mary's painting. wen: usetl Wi(1I00 ~I"ry or "","nuily: h"",ever. a ,;.ollg. telling of the "'ondus of

Mexic<:>. m~ an app:aJing W\lOO lnet tllal ~upportcd .he fi"" arI,,'ort. Jo~ Kitn..,rs """m Tr..u KI IQ musk by OK.., Ra~b;och provided the sound track for a film wilh 00 animal;on Ihal made: e xlens;" e use of Came,... move men!. genlly probing 300 searching. moving in and OUI and uamining the details of p;.intings, Dick Kelsey, slylist and p;.in ..", had 3 remarkable taJ~nt for dnwing IrttS tllat had !;Irenglh and beauty and a unique design, combined with a color sense that was e~1remely I"'r. SOIIal and (~dt ing . TIle sound lntek (in M,IQdy Tim,) offered li!tle variety in eitller mood or tempo. 50 the camern 'noveS .....ere restricted in the textu",. that "'ight otherwise haVl: hc:cn mon: inte!"e..ti"g. but this is still an nullcnt example of ,,Ilal can be done with only still paint in&!, and imagination . n,., litkS for Th, Ruru"s were done in much the same way. using Mel Shaw1i pastel ",ndcrings as illus tration. of the journey of a lonely boItle. from the swamps along the Gulf of Mexico to New York har bor . It waS felt that fun animalion of this subjecl mat ter ,,'oold not be: ;1$ effective as the ,Io"ing colors and ri<-h delail in the pastels. n,., OKhestnllreatmeM of the song. "n,., Joorney ... anowed a greater varic' y of camera moves here. some even suggesting nlI)vcn1l:nt in Mcr. superb dmwing . 'Baby WUnls," a short film from The Re/U r/,ml OrUg<M (l~ 1). was ~scnted lhe way a storyman might .cll hi~ namuiVi: from the s ke.ehes on the !;I"'Y' boards. Si,," it .....'" m~ up of IiCparntc sketches. there was neither reason not justificalion for any move n1l:nl. Stil l. to ma~e the picture dear and nlI)re imer esting. limited 111(),'emen,.' .....ere ooded here and there. just an arm, Or a leg. or a simulated walk. or I"'rhaps a rl"IO'oing jaw during dialogue . It ..... as effeet;,..,. econom ical. and soon picked up by other studios $CllK'hing for a cheapt" way to fill the Saturday morning TV de mands. It becanle known as " limited animation .'

Animated Des igns

Mos! of the scenes of .'n,., Nutcracker SUI'~" in Fa~ . ,asia had little mon: tllan the animation of designed shapes of n()\O.ws and frost and snowflakes. or the changing light in this sl"'cial wonderland as a fairy

I
<bnN b) b..,n lhe", filII) aoomalW characl= ....cre !uho",linalc"<llo Ihe p,elorial effech of t~ <;ceneS. ye l lillS ".-a, "nou~h to SII"am ncarly fifleen mi"UI~S of lilm "TQlX31a and I:u~",,:' al"" frolll ,..",I/DJil1. prnbt...J In ~l01ll\:r direct ,on . combi nmg ab,'r.tC1 design s and undrf",ed , hal"'< .... i' ll pur~ ",u,ic Once again. lOP ""lily . eel, a"",,:lIIo.. ,,~, ........... 10 INIeIl the ,,I00<I oflheU-.K'~ , In b<"h S)nc :Uld f"",',ng, All of lhe lceh . "ocal ad"ancem"IlI' "'ere l'a lled upun h) l',..,,, ,c ~""al "'\:j~< lhal earned lhe -a"", deplh and P<>"w ", lhe "'''~. TIw I'ltru Cu"',l/rml cnnlainro 'nore ""reo, "",nl""on ""h Iii<' an; m:lllon of de",ns. but due to bWge l reslricllon, durml1lrn: ",ar il is k" prelcmiuu s Ihough J"'t as ''"'''OOI''-C and ",,'oIu1lo":II)', "" h I1100tc nnpliasts "n Iii<' chang,ng of ..!tapes a, lhey an""aIW. ikt:au ,,, of the ~ kx ,C:m hac~ s round '" Ih" pan of Ihe f"m. lhe de"I1'" "we ba",d on Me"call aoo loo,all moI,fs. and. on ""me cases, Oonald Duc k "' 1m .... dllCed wo rking Illrough lite evolving patterns, Whi le he:t<kled liule 10 the anisri(: "",ril of the ~ucnce, he bro",ghl lhe a"dicnu inlo the film on I " 'ay ,hal the geomelric dei igns never could h.,'e by lhenlsel vu . An ;mriguing ;dea Ihal 'le Vcr reached complelion WllS Sllh'ador Dati', viS<Jalwuion of a "o.,.UIIO." ,,'r'llcn by Armando Dornl"'l""'Z_ Work.ng .... ilh John Hench, Dali had pul logelher a whole ~(oryoo.nl of lhe s~m:alislic drJwingi Ihal had m~dc him fan"",s. bul . unfonun:nely, lhe rroJ"t " 'as c~ncdktl " ith tlllly one ,;cene ever pul on fitm , ,1.5 a >hon Interl~ In II.. fe" '",~ f"m ;, would ha'.., been prov"," UVe, "helh'" people followed lhe idea. Of undel'l<lood any of II or noI 0:11. and Wall go! along ' -"I)' " 'ell. but the picture "'a~ not be<:<Jm'ng "hal cuher of lhem had hopal whell III\:)' St" rled, so il Wn, ab"ndon~d. by mUlual agree",,,,,,, l'mb:lbly the most chamllng of lhe filrm lhal ,,en: cssenl ,atly lhe ammalion of des.gn .,kn.. ms ".-... (ound in the imroducl;on to lIaia" in Thf Thru C,,/x.l/f

-g.

'I"'''''

Strong Design
With Animated Characlers
Usually Ihe animalor mu." !;i"e up h,s beSI 1001, of comnlunicalion if he Iim,ls h" drawing to ltoe tt-;!ric lions of a .'Iron!; design. but in . 'Once Upon a W'nte, lime:' in lhe fcature Mdo<ly T,mr. Eric Larson. ~~. ing wilh director Il,m Luske. animated Mary Blai,', slyJiled ideas with sreal .>ocee". He bordered on lim ited animation where he coold. mO"IIlS the ,,~lechar a<:lI:r ,limy. but limed it "', convincingly Ihat ~",,}"thmg ....orkcd. It ....'as ,mpo",ble C" 'er 10 bee"",,, rea lly mn cemc<;l or involved with either the eharaclers Of tho >tory. bul il W"> emen:oining and deligMirl. and.sbotttli Ihat de,is", ,;ould he animated "'cce., ,fully when lhe "hole idea Was pwpcrly unified, There " 'as allQ\Ulgic song settin!; Ihe mood. and a simple 5tOl)'!t13t called for a 'loai"l. unreal 'l'l;Ilily. '" the 'I""',al k,nd of animation fit in perfectly. withoul los'"8 life (O" wannlh or the needed communication, Me/oJ)" Time offered a"",her venWIl: illl0 pon: d6ip animation. with a popular rendit,on of "FT of the igln Bumble Bec" done in Boogie Woogic mylhm CalJN "Bumble Boogie.;t featured mosical symbol! I00\I.

ros, Mary BI~ir had made a dazzling skelch of lhe IIr~1.ili;," jungle wilh " liny, colorful lrain jogsing along 10 a s~n,b~ oca!. Lc, Clark ."i,,,.led Ih" Ir.in, keeping Ihc drawing so Ihal il malched perfectly to M ary's overall picture. There were nn <le'''"nds un Ihe animalinn, Olher tharl 10 I;;xp Ihc design d~n"n1s in the movc nlenlS, ""hile lhe liulc locomotive chugged along the Irae l; 10 lhe slation al Ihc ernJ of [he liroc, It mel sever~1 problem, along the way. which kepI the idea alive arnJ added interesl 10 llIe progression lhrough lhe jungle. bUI the out$landing design in lhe original concepl conlribuled lhe moSI 10 making Ihe sequence memorable.
mutt Mary liI"j" "",,,.,.,,.., /:",ic La'm~ _ "Om'~ Upon a Win'u timr." Melody Time,

..." ..... 'OIU

F.rd

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F.c'/ Moo. rI~ ,"

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Make

~hne M~"c

ing in a wild lurnlOil 10 malch Ihe ex~ilcmem of Ihe SCQre. 11Iere was linle SIOry, Oilier Ihan lhe plighl of lhe b Irying 10 escape this nllld world of sharps and fiatS and mrf signs and OOIe5 III dashing abolll in a ~y ab$1l"11Clion , A pllf1icula.ly rasci~ing devi ,...u 10 painl or dnow lhe piclures as needed, ju>l ahead of lhe 3Clion-a son of "Onw t i you go." 50",,,lime$ lhe main charKler woold Ix in I"" scene, progreuing dQwn lhe >llCel, or climbing Slairs, or viewing Ihe scenery, wilh all of Ihis background malerial being addeil j ust 81 lhe lasl I'I'I011lenl. AI other limes, I"" enlin: screen would to: "mply, and I brush "'QUId painllhc piclure t i you . 'alChed. l1le whole SCelX could to: flOlw on from

0""

magic brush filled wilh ,,'alcrcolor, or lhe brush ac1U~lIy oould paint each delail while you w."bed, II waS always surprising and often uciting . lITUIginativc """ of this tc<.:hnoq~ was rombined wilh an extremely simple slyle or dR"'ing In " Alilhe Cau Join In. '' done for Ma!;, M,~ M.me , l1le >lory line was ,i mply thai. group or lna~11i gOi ~Iher II lhe local drugslOn, 10 dance to lhe j uke box, 001 with Fred Moore's animation il 5C1 a Slylc lh~t has inn,, eneed olher filmmakers ever sinee, The clean, simple dc:.ign of IIIe characler.; , the appeal of 11M: drawings, IIIe sirong oulline, the dirttlness of approoch combined wnh lhe syne 10 lhe music and lhe crispness of the hming "~re worth ropying ,

V ic-t",,
PH" Of.

"''I.'"''

Th,..~t~h

Irani Kiml~,11 Air

Styled Animation
Ward Kimball found ,In excellent "",dium for hi, brand of humor in the styled animation of Tool. \VMs/It , Pluuk . aud Boom and the latcrTV specials he directed ahout man ami his varied activitie, in space, The term "~tyled" means that the whole ~a has been cooceived wi th a dominant design that will innuence both the appearance and the action of the characters. Not everyone can adapi his work to this kind of thin king, Ar1 Stevens. key animator on these films. said. "Give SOmC guys a styled c haracte r and they don' t know how 10 move ii_you can't make il move realistically_" If the Story concept is realistic. then the animalion must be real istic. too, Bu t if il is a styled concepl. then the c haracter must move in a special way thai is compatible with that sly le The Iwo do not seem to mix. This Iype of animal ion is only illumating rather than sustaining the story. 0;0 you are free to engage in a completely different form of caricature . !:lol h An and Ju l i u~ Svendsen became adept at animating mO"c"",nts that fit thi, type of design, The chief reason for selecti ng a strongly designed ~tyle is to use a wonger type of caricature. Which is particu larly ""ell suited to sat ire and commentary on the world we live in. These character> are created to do a different type of job and are not interchangeable with those from oIher styles of animation, 11Ie caven",n in TOOl. WhiSllt . could never play the role of the puppetcc r in Pinrx(hio. and Stromboli would be JUSt as wrong plucking a harp string Or blowi ng on a raspy reed . The desig.n of each was determined by the need~ of the story and developed through 1he re,!ui rcmems of

1he

It is uni4uc to that one p"r1icular , how. An with this thought : "The charoctm in TOOl. IVhi5t1~ . "ren'( n~,h "nd blooo.l . They mo,'( in a more ab'tract way-but you aren't &lOying (hat one isn't as cntcr1aining as the other ." View,,' Through Air I'",,,,'r hegan wi1h a ,lion his_ tory of avialion done in an engaging ~tyle created by T, Hee, By removing the reali,m of a~ri"1 warfare, he ",mo"ed the hom" and was able to bring about I humorous treatment of the subject. When the design;' this dominam. limiled animalion will suppon itlxtttr than other types of styled animation, As is often the case in lhese films the basic humor i, in the drawin, itself, and the animator mUst he careful that his addi tion, do not weaken the communication al",a<ly there.
St~"~n~ condu<.l~d

r<ll~ .

Imag ination Unlimited

M(1II and lilt M,x",. directed by W.rd Kimball. fea tured a simulated flight to the moon long before NASA wa< ,ure anyone really would he going there. Sets ....ere built and C0!'1ume~ crcmed. but for the rockel$ and the big events. only drawing' could give the illusion. and to be convincing they had to be "Cl')I special Ken O 'Connor, a lOp layout ma n, was given the assignment. His experiencc~ "'ith back~round. col, and the labs. dating back through S,,,,", Whil~. made him well suited for Ihis nacting job. With tech. assistance from rocket npert Wcmher von Braun. the whole procedure from bun"h 10 circling the moon SO ....ell concei"ed Ihat ",hen the actua l flight w". ' more than twelve y(a" later. many of the details "'t JUSt as they had been ,hown in the tilm,

N,... ,,s Ar~ . ..,leas0:4 in 19S9. "'~J rn:o<k by R,II Atencio and fUlurW lhe asloooomg eano::alures of anm.als o:k>nr by T II- 8,11 dod doe stop mol....., ",'00. ullOdrr lhe carnrn, m..... ng the Imk figu..,~ ,n >pl'Cial ",a y. aoo T . c..,~tW a whole Jungle
JU>l~ ~oo Xa~1tf

or ""probable ammals from the wnp!.! ilems found '" allY ,-ariel)' , Ion: B,II Ju,lIce (camed up ",ilh X AtenciO again. 10 design. Co. NNCI, and nKW" tl><' ~..,Ion:d p;lper c""",,, te .. u,;cd ,n ~,-eraJ TV .t.ov.'~ MO"cnll:ll' by ~top 1lI0hon ha' bc:cn a f3,'OOlc or film",",~er'5 for lIlany ),"ao., bn:au~ u "",..". ,he Unll: of nl:d.lnl n.ra dr.I .... Inl!'- and full) uu lo7.eJ the appeal of one ~-Iool"'l dc.>lgn . ",.,.., I. a faSC1ll3110fl II> lhe n""'cn,,,m .. hen lhe "Icwcr ,an .-.xoglll7.e ~nd IIknllfy lhe dcnlCnl. belllg ,,<ed. whether they an: made "r paper . .and. nuts, vr "hale"cr The three film, about 1 1'",,,i, 1',,ovJ, noad.: ron >lant ..,f"rence 10 .... book from "h",h the ep'~ wen: amrniued. pnd. IQ ~eep Ill 'dea alo~c, shOb or [he bool. IIsdf and [he pnll~ lel1"" on lhe page ...."., used repealedl)' WI><'ll the bk""'1lg ,n HI~s len' II blc .... llle type ngllt orf.he page When ."" Il<x>d came latcr, the waler o,I""'I,....'tl .he Iype and w",hed II 3"'3Y. Often the !oC<'nc, were deSigned as illuSlralOoll_ on.he book. aoo Ihe figures nK'cd aboul ' " ',Ih,n IIKI>.c IImualions. or IKIppcd :teN... the p;Ige 10 a new locallOfl II ...U onlY:ln In'-em"',, de~IC". bo.Il II fil the lllOOd or lhe films. keep'", _ of the whimsy of.he orlgonal >lorooe...

,h,

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dr~~'in,

The al.ck Cauldron F.,Vry<>M Joou looI.nJ 1m" ."..,.". af,1t; boI, ..-IwI, dIN. lit, bollom 1001: iI~, ' Tit" on, " ",'an ,nlmncr ." ~n U'''/N'

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IV')' pI"~,,bI~ .

NI,m Ma,., Blal'AI"" in Woo<le.bnd.

Mary's draM'ln,< had (J " "_

dill "1'1'",,1 for Wall. ,M ,/toM'S It., uniqu, "P '

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""itt"f-d TIIII")' Wood.<. "'/to ,Iu .......Id /wI',

u"onJ cf ritt" MI'""", II> a as" ~'Uy' S...-lt d'(J~'n,. ~n,d up "''' IIt,nk"'JI ",.J "art..J IJ IOWrt /",,,g/n,,,,,'. "1""()(J~1t I"
"''' IJ"'n .......t .
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ill t~ ,'<lSI play. "" 1M ..,.._ u ', i"'''~i"mjon by no' slw"'inS hi", ...,r",hiflgjr41. ~I~/'" Au.. lOst''''' 1M wtOOJ ..1Id IIw1 .... of IIw fo'n' "rnlf~'u.

Ii",

X"y NirlHfl ...., _ '" 1M S,wJiohMl '-Sit '" ifIIj1~ . "," O1tJny pk'"rYI. INtI ".. /rnJ " profoultd ,1!rr' "" tltt d"iS" of bollt 1M "A,,, ""d " Ni,/t, ""

,.,,,,ia'

"II """,,' >1M, pTObl,... /.. prod"",;",!. but lit, 810ry uf.lrls roMrp<fqr ,It, 1Cr,.,
math "
'n)'OI"

ill Fan,.,;a. TIw ,1..... c/ 'M ""IIdI" CDTrird ,.,. .... IN10tHdfi,'''N "..,.wll<> bt

B "''''''''11'''-' '''I,.iII.US ald

kp'ryl",.

a mm was bei ng made aboll1 the Loch Neu monslcr. school chi ldren " 'ere asted 10 dr:aw their ideas 0( how " N<:S$~" should look . ~5C deligJuful tin ..., in,s .... ere inoorponlled into the Style of one !Iioo of the fil m. with :nain of the drawings going into

W~n

movemenl. Considerable in'cnl i'c....ss ,,'as

~d

10

animate susgeslion~ from . he schoolroom. but;t made clumninll bi t of cn renainmcnl .

Strong Personalities with a Different Type of Life

living up hi$ for~rly pre_ of a human ~N, his ~Is [)onald ~nd Goofy ""~~ de\'eloping I wilder. broader Iype: of comedy. w~re lhe incidclll ...15 more belie\'able llIan ihI: ~haa<.:ler. 80th lypeS or .nimalion ~licd primaril y on personalily. bul ,,here Mickey suppor1cd hi s since rity wi lh belie\'able aC lions hi$ buddie~ cng3gcd in t~ mosl improbabk aclivities. While Mic key
~Iouse wa~
po>l~rou~ ~Ill ies 10 bc<:OIn( _

They could fall 2000 feel . be elccuoculed . blown up. CUI inlo ~Iions. burned . n~ucned. drowned. even frozen in a cake of ice. yet be right back in fighling wpe in a manrr ofscconds. ~ only thing Ihal could not be destNyW " 15 lhe penonalily. In Ho ..' To Rid.. " Horu . the firsl of the long Soer1es of l""uoJo.in$ll'\lClional films latring Goofy . a formal was cSlabli~hed Ihal opened anolher door for the ani maton . Any !levitt Ihat a teacher miglll use to del1l(>llstrate I point " 15 used wilh Goofy as the ~ub.i1. He " 'liS dra"n 15 I dwt in ...lIite lir0e5. u>oed as I di1v.am . Shown in sirfMllaled slow ITIQIKM'I . run backward and f"",,,rd. and through il all he could $I ill reacl lO ,,lI:.It was bein& done : Even lbe role of lhe nal'Talor l was caricalUll:d to be an inlegr~ll"'n of the comtdy . He would speak about

Th~

...,.,,,.,.... /I"".,,,,J h'i" Pi .... EI~pJw~"-Dumbo .

Goofy. e<JnUnentin, on his actions ("You will noti th~t the subjt raises his k, high . . .. ) orcom:ctin, his performano;e ,No. 00. 001 that ....ay! .. ) or t..... ght. leuly IeaYin, him in an a .... k.....w predicament .... hile upouooin, the philosophy the .... hole subjt . Th is idea o f PUtt inl the Stlf the picture through weh riJOfOOS t~atment led to the development tech. niques in the use of held dra,,inp. limited animation , and li mited lire. unir",d only by Goofy'~ ind<l1uitable personal ity. The fi lms .... ere highl y e nte rtaining and. , ince they hild practically no Story. rel ied o n SIrong gags, etear tagin , brisk tim in,. surpri 'in~ actions. and I fMS( tempo. All man~r of Camer. tric ks " 'cre uscd to heighten the efftds . When tlK first combat film foota,e came back from the Wilt' wnes in the early fonies . it reyealed that the camera itself ....as,ianN by the foree o f nearby explosions. Practically the nut day, the eanoon camera would he j atn'd .... hen Goofy " 'al ked into a watt (actually. the jar .... ;\Ii s imulated by moving the pep back and ronh a brie r moment) . Vibr.l1ion ga,s and animated effects had ~en used for several years, but the crew .... as looking ror now ' riet, s that would give more impact. When the Goofhi( (hat wall . (hey wanted (he audience '0 fed it! 11 ... IS 001 necessary that any_ ooc believe in (he character as a s incere entity. only (ha( the belting he took was rea l. Thc Pink Ekphantli 5oe<juencc in Dumbo called for much invcll1ivenc:" frot" the animators. No mailer how peculiar or ;mpossibk the picture on the screen . it had to move conYinc in,ly and in keeping " 'ith the whole weird dream .he liule elepllam was haying . Instead of mnYinS the ct.ar.Jcttn in terms nf a bdieYable personality, the emphas is was put on the anima tor' , abi lity to surprise the audience with actions (hat are cnmp1etely beyond anyone s e ~ pcrience . Ward Kimb~11 ... as a maste r of this type of inven tion, u t(}Unding the industry , first . ... ilh his handling of (he title fTQl11 Thr Thrrr Caballeros. ond con tinuing that special type of mad~ .. thmogh ""&.1 Bilt in MtlDtJ, Ti",.. . Ward had a ... ay of disregarding logic ""hen it suited him and of getting right (0 (he heart of the m~l(er . He "'as caricaturing the whole idea of his sequence , not jUM tM action or lhe character . which enabled h im to m;d;e a very direct and pu~ Slale_nt of ""~t he considered funny . fils scenes

or

or

or ne,..

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-

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spawr.ed a whole wave of preposterous "",(lOllS and briulc liming throughout the industry. The Brazilians have a bird that is considered com pletdy cra,-y and apt 10 do JUSt about anylhing---IDe Araellan bird. To animale him was a spial challen~ 10 Eric Larson, for if the bird will do anything what is left for the artist 10 contribute or caricature? Eric rOOM a way that was light and uny and so uncx pt~ 1111 Walt laler had a whole short buill around the charac teT. Clown oflhe Jungle . Pan of Ihe craziness ""... the fact that the bird did nOI eVen follow the rules of pic(Ui'l: making. defying pen;pective , eWing. and sa:,.. planning . He would walk any",'here, a'OIInd the frame: border.<. in and Out of scelles-----.all the things (hal nor mally L",,"fuse an audience-bul Eric SCI this up!J() adroitly that the audiences merely gasped. and lauglled. "Illey probably would 00\ have bc<:n surpri""d if the Arlellan bird had wal ked right OUt of the sc~n and irno the theater beside them . It was a singularly invtn tive use of full personality animation.

Combination Li ve Action and Cartoon

Walt alway< had fclt there was a special fascination ;n comhining live action ....ith the canOOfl. as he had dont in his "CI)I first shons back in 1923 wilh tn. Alire pictures . Together. Itl.! IWO mcdiums creale a differtnt kind of fanlasy with a potential far beyond whal any one has done. New restrictions are placed on .1I1lIe panicipanls. because they are ~ simply adding anothet dimension to ltl.! familiar product: they are now worting in whal is actually a third n",diu,". It must bt planned more carefully. conceived wilh cwn mort imaginalion. and budgeted realistically. but tn. rtlulij can be pure magic. In The Thru C(I/J<lllaos, there was an .Iaborut display of lalents and technical proficiency in lile sec lion titled' 'Baia ... The Bra'-ili an singer and entertainer Aurora M iranda. wilh a chorus of musicians anddanc, ers. worked on a stage set that combined aoima!ed buildings with real streelS. drawn props with real suuctures. painted illusions wilh reality, It worked lar1y well because the .. rear' pans ""'re only llIeatrical SCtS in the first place. and had Ilttn designed I<'ith fbi

pan"'._

,
"~I."".rO/f E,j~ Ln,_ _ The Three Cabal"'..,.

... rface~ ami ,imple ,hape. >0 they would match the drawIIlg<that had 10 b." pan of the wholccompo,ition . WOf king in ami '1Il1 of thi . "'ale of a<:tors ami props and bac~ gl"O\llKls w~s Donald Dud. with hi' ne" found f""nd J~ Cart<JCa In >OI"e case, lhe animal;un willi dotw: fi ... l. and the I,,\: actor< had 10 ",...,110 the IIm,ng and achon SCI by lhe ("".moon chaJacler.<. In OIhe .centS. AIlIOfll and her tOI11p.1"'on~ " 'en: photographed fi ... t and the amn,;IIOO had 10 match thel' dra"" nl!'~ 10 lhe 11"e tharatte~ . In lhe fin-t ease. the "lInunalion " "2'1 pnlJtCled OOtO lhe bacl of Ilf"lln,lucenl "'!'ttn. "hoth became lhe bacl ground Ixhlnd the actOf'l' In lhe !ICC000. lhe art,,1< matched thel' dra .... lIlg.!O phoImlal s of lhe actu.s. and Ihe tWO p,ece, of film wtn: comb,,..:.! laler III II>/: opt'cal prinl,'" In clilocr caM:, ,I "dlff,cult !O kfK)w how Iloc final ple<:es ....111 oli fit logether and 10 Judge IIow anyone s.ho<lld act ("l1o: ll1o:r human or canoon) in any parlleula. ,",cne .lIlee half the )Cene is Mill in 1110: Cn:all'c minds or n"lny otiler people The: andienc" an: 1tC,'er a.. are of the problems or dlffiruliots. or the diSCUSsooos that ha"e bn:>ught Ih,. all to a ma~otal conclusion. (or If ,t has been done ...-eU ther an: enth",lIed. Ixlie"IIlJ; that >Ol11cOO ... , all of It is n:al and happemng nght bdon: lhell ert.

.vnsr Mory'
"80;"."

Th<Th= 0

il. KtJIrJ_

..,,.1;

"'n.o-,. ..

of'M Sou/h. produced In 19.16. l~p!tllr Cartoon scgmtnt~ scpara1e and compicte fOf lllr lnoo.l p;an. I>u( tn(egraux' them SO "..,11 wnh tllr few conMclIng ~~nes and ca",ful stor), work that the "'~ult wa. nne uf (he .tulItO'~ n\O<l "ucce.sful. It w," al...., oue {>f lhe favorite fIlms of the an,malOflj "hQ wnr~cd on lhe .o:q""'''''''' for II ",,,,b'ned broad ,h~r.loCtCn; w,th .lrOllg Mtuation . tn a ;:cuing lhal ....'a. pur" fJnta~y I'an of th.s can~ from B,n Peef s e~cencnt ' tory "or~ In :oWp!.ng the Joel Chandler Hams da~lC~ ~bout Uncle Remus . p.:an "f It .... as tllr design of the chano<.:lcr). "hlth oO'e..w ma~ ,mum eommunlt~11Otl 1001< to tilt ant'". and J ''''ry large p;an .... as the ma ... ,ooce trxh. cQ"lnbuted pnmaril y by the wunderful. nlull.talented JanM:. Baslett. n.... fact that all of the X lIon actually W IS lakong pi""" 'nside a young ho(. nllnd. as he was betng told tile .tory. adtlc:d an extra louch of hf~ (0 the wh.,le "'}[Iccpt. Mil", l'0l>I'I1IS. produced c;ghl~"Cn years I~l(/. 111 1%4, once again placed the I,,-e actor.< '" a CanOo" ....'orld . coonb;nmg backgrounds lhat were panly real and p;anl y drawn. ""h story 5ltUahon, (hat put all lhe actor. together. No ",ar proJ""uon "as u",d lh .. tome. ho..'cvcr, SO all the humans " 'en: photographc:d bo;,forc ~ny ammlllOO was ""gun, S,11CC OOQne "a. a "",nodary charxtcr. the lKX1llal problems of gettIng a >IX""

$oI!~

..,Iou.

10 "play" tool: prccc<k""'f O,'Cr plannIng for the toW <!ffect of tile see"" In It, " 'cnlUllI form The !".~ at11011 director had h.. hand, full )u.t .l~glng the ac:tlOOl'fOIl" crly and l1-~1l,"~ the charocl~r~ 1" cunlt to hft, no. Idea of making any all""'''lCe, for ",n... hu le dr.,,', mg' thaI would toe addcd Imcr wa. the la~l thlng he wanted 10 hear about In fact. Wah ~ncoural1-cd lh" "ttnude by (eiling lhe d,reclor: "lJoo't "otT)' atloul "hal the ammatOr>:ft gOIng 10 do: Just ma~e )ou. ov.n Muff as good as )011 can. becau"",, t~ gU)'" .... ,11 top )OU' " rrsuh, there " ...' ne'er enough room In the ><:cne fIW f_ penguIns, (he camera "3' never al lhe n~ht an~k 10 ,00..' 1.... 01 off to the """ alh.. mage. and the art"'" wa, ne,'er ,t~ged "" the) ""uld fit ,nl0 the poc-tlm Nor "., lhe", e'er the n~ht .n"->tLm of"."" lefl lO <10 ever) thmg call1"<l 1".. In lhe ..cnp! l'cn~Uln, ba"e '-C'l) ,lion leI!' and cannot fly, '" II " al",,,,,, In\[lUSslbk for them 10 kl"C[> up ,,' nh r.,ng_ICl!ged dancN like 1M, Va" D) ~e. pUllong f""r of lhem In (ach >cent I'tlll) compoundl"<l lhe problem or cour.... Wah ~ne .... ,,>""tly .... hat would ~n The animator .... ouToJ fu'> ~nd n>nlplatn and call. rt.. names . but In lhe end he "oold hccome """" IU' .... 11", and nK>rl' emenalnlns lhan he ....'oul,] h:t,,~ beta tf " 'ef)thlng ~ Ixcn ITllKk U ' ) for hIm '0 a,nmatOr

A,.

,',ould back aWllY from wch a cluillenge . He might SoCl'l'am and ra~ a bit. but he never would give up and admil defeal! And Wah knew thaI. too , While tbm: mi&ht 1Ia~ been ~ inventioll in doing !he S<;ene Walt'$ ..... y . a better ~It o~e raJl ...iII be obI~ined if the animalor ~OO the live Ktion CIl'W can coopt:r~te, Withoul adv~nce planning the animalor is a~ to be Idt with long cQIIlinuity scenes to animate simply because il was comfonable cuuing for the l i~ a.clion . lie is faced wilh the awkward job of trying to .ltll'tch his action. k~p his c llaracten alive . and in~nl appropriate bits of uselelS busine!.s. JUSt to fi ll tJUt the: footage gi"en t<) him . In lh~ animation itself. there are many new pmblelm that arise whon lhe: dnwings al'l' secn . ide by side . ,,;th a Il'al person on film . TIle cel animation ~Iways looks flat and shapdess by com parison . It is nol economi~ally practical to make lhe perspecti~e absolulely accu rate in boIh dn .... inl! and aclion . and it il> rumpletely in' P'O"Sible 10 match lhe lighting"" the: he action figul'l' . If a broad action is used un the <'arloon characler. it .... ill $tem out of place and un natunl . ...hile ~ Jt1OIl: subdued '~rsion may go by al/ll()$;t un~id . Tl!e characters come from different ...-odds. and ,..:cd ~pecial con.ideral ion to make lhem ,,,,npatible . Worsl o r all . the:~ .... ill be a lack o f we ight . no m.ttcr ho .... carefully the aclion is timed . "The sublieHes of the human form in mo~cme nl cannot be matched. and the caricatured aclillru lhal .lm SQ Il'al .... hen ,ie ...ed in an animated fi lm npidly 10K credibi lity alonS, ide the I'l'allhing . Such handicaps ralher easi ly can be ""crc,,nlC or minil11 i7_ by careful o rganization o!<l uf lhe mate ria l_ "" that lhe aLidienee', atte ntion is led off ,nto othc:r aas . H......'e'~r. mhc:r tllan ""aSle lhe ~~ i ll aoo talen t of good ani mat"'" in doing this . the ",oney is bener spent pl~nning jusl how each thing 5hoold be presented . Technicall y. there al'l' a number o f .... ays of rombinin, tho li~e aclors .... ilh lheir cartoon cou ntetparlS. and the choice depend .. on the re sult desil'l'd . Es.<;(.'ntially. ... haI is needed is t....o seclioos of film. each ",ith Kso",n separ.l!e imalf. but SQ amnged tllat the: t .... o pieces fit together ~i!iCly. If you have that . the wiurdry of lhe process la~ c~ n combine the: IWO into OM impec cable print . Fonunatcly. that technical aspect is not

e~er

tho prublem f.dng the: animator . or the layout man. or the color consultant. or lhe background painter . All of these people muSI search for a way to produce uerieS of dra .... ings on the ",,,"n that .... ill ..... tch in weigbt. lutun:, shadin" color. and perspeclive thoe li~ dIU' a<.'lers .... ho are shari ng the bit of film .... ith them . "The color almosl al .... ays comes OUt 100 brighl, tOO flat . 100 intense, e~n if [hoe live bllCk, round hu been p.ltinted in gaudy colors and lit .... ith. very nat lighling 10 bum Out all shadows . In addition. lhere is texture to .1m(l$1 everything in the real worLd , and the flal , lhiny p.ltint on lhoe s heel o f celluloid rot.''Iff quile fits in. There .... as a scene in Song oflM SOfllh that sho .... ed Undc Remus fis hing beside an o ld bullfrog. and, for II brief moment . everylhina: was perfecl in lhoe matching o f the two mediums _ "The frog .... as s mall . bul .... ilb enouah detail so that textun: was not a problem, !he perspecti,'c of thoe drawing was identical to that of !he live background . and the choice of color .... as j llS! right for e~1)1hing else . TlII: whole ere .... had ......,n,cd just as hud on each ~nc: in lhe s~uence. bitt forture smiled on lheil effons a little I11OI'e .... annl~ on ihisone IIne . and it al ..... ys h;as been held up as the uampk of ,,'hat is poss ible in rombinatioll footage .

Educational Films
Durina tho second World War. the ~Iudio had u~ ilS animation skills 10 make training film s, educJliollllt films, ....,ientific films. and health films for various government agencies . Whon peace rdumed. WaitOOl\tinued to probt: in to ocher uses of the medium, e~n having a special unil make commercial~ for lhe emerg ing TV maricet. and induSlrial films for a few <XlfpOrations . Of allillne. onty the edunliooals became III important di~;sion of the company . Animation is panicularly wei! suited for teaching. becauSoe of its ability to aet iMide: thoe mind of the v~~ , as "~II as inside any object or subject il is roveri ng . Wholher it is a philosophic co ~pt. a nalUT1I! pbeTIQmenon. or a complex machine , animation can make;1 all rome alive in thoe v~,,'Ct"s imaginalion . The series of weather films that expl~ined the anatomy of clouds and Stonns to Navy pilots showed the pow. erful elemenls lhal ....,ienl isls knew well' then: . which no one ever will sec.

In S(:riu of films on I;>cha"ioral a hemalives . and

again in Th~ S/Dt") of MtlU/ruorion. use was made of animation's compelentt in handling hillhly personal wbj!S in a very impersonal wly . lbe lise of real people in eilher of ~ sensiti~ sllbj~!S would have had tho: '"kids reacling 10 other kkh" as actors. whereas drawing lhe figures allo.... ed lhe audien<:e 10 see only the idea that was being prese nted . Wall ~hied .way from Irying 10 lell 100 mu.;h in a film . sly ini . " We are 001 IryinS 10 leclure and leI thl:m Ihink we know a 101 and h.ve discovered 50""" thing-ifs all in I ligh( mood. ,. This philosophy kept him from the usual pitfalls found in educational films . or ~Iy iIIuslflling a dull 11ure. or !,lSing only dia gJam5 to explain lhe poinl . DOtUlld jn M o/hmagic /...and had begun as ~n attempl 10 expl.in arilhmel ie \0 the beginner. bUI il changed to a more general inlrooU<.:tion and orienl. tion . which wO\l!d remove ~ny coneern or worry .bout the subject whi le arou.sina e uriosity iknd crell in, I base for fUlure untknl.lnding . Educators ha" e acc:laimed il IS one of IIIe mosl j.UttCSdul films on the wbject. lllt fICld of educaTional film~ has an alrtlO$lunlimiled future wilh very linle of ils potenlial e KpJored .

eyes

Audio ~ Animatronic s
One lasl use o f lhe animation principles to achie ve
OOJNnunic.tion and entertainmenl mighl be "", nlinned. even though it went far beyond j usl the dn"'ings . Wall alwlY~ had bun fascinaled with mhanital <!evleu .nd enjoyed doing fine model ....00 himself. >0 it was on ly nllural thaI his intere st ,""OIIld be aroused by lbe auto mated whislling bird he saw in Europe in 1948 . He houghl it immediately Ind broughl il.bae .. 10 his machine shop at the $tudio. livlnl it to Reaer B,onie . lhe I.lIeMCd head of lhe shop. Roger had w.y of makin! Ihings wor1c . no miller ....hal they ....ere or ....hlt llley ....ert: supposed to do. and he had g.rown 1IOO.ISlOmed to Wall 'S tequeMS not only ((K lhe impo!" sible b\llthe unt hinkable. Now . W ilt asked him 10 ICIt apart tlte linle bi rd and find OUI how il worked . Before long. OIher engiOtt I'S ....'cre Jdapl ing lhe prin dples Roge r uncovered 10 ~Iter mechanical fig.ure~: old Granny Kincaid in he. rocking chair. a 50ft s hoe dancer. a bafbcrshop qulT1CI . Chinese head with

bl inked and a moorh Ihal !llkeli ~nd lips th:a! (0IlTlCd lentn. 1besc were imprc~ve addi.i".... lO!hc .... o.bhop. and an intrigllin~ hobby for a cn<lli'~ lNII. AMad o r Abnham Lincul n was built .... ilheres lila moved. and .eetil behind lhe l i~. and suddenly Walt was talking aboul buikling I whole figure lilal would walk up and down and duplic llc lhe famous gcslUfn of our si~ tcc nlh pre~i<.lcnl ~nd sir in a c hai r and be j Ult like IIIe man himself. TeChnical and mechanical probkm~ forced him 10 cu"ail some of these idelS. bul to everyone's amaze"",nt he did COOSIrUCI tt>' liea of Lincoln thaI has . ,,ed mill ions of people ift repealed perforrnancn. That ....u onl)' lhe htlilled&Show .fle r show was buih around the improved fog lire. now dubbed Audio-AnimI1l"un ics. 10 fin the Oi! ney Ihe rne [l<Irb and a",l7.e the eT()wds . The: url y e~perimcn l5 had t>n program~ by the tcchnician! who knew how 10 make a figure perform, bul they lacked lhe kno.... ledjc of ... hal it should do 10 be entelUlining . For Ihis. Wah lOOk tho: men (/0lIl Iiris animation staff. " 'ho could adlpl rhei. nperitllCt ...... drawinlS to Ihi. SWlling new mc4ium . These mecfIa. nilm~ moved in a completely di fferenl way. but. die unIC principles of commun kalinll with an alldic_ did apply, and lhe highly ~pedali ~ed lraining liIeK men had received on Ihe canoon s made rhem uniquely suited (or this assignment. M an: Davi~ had lhe rare abi lity 10 make Ihwinp of characters in silualions that captured. living pmIA"",nl and st imulated endleu ideas o f ....1\at miglrt hIP' pen I)(" t. lie could upture a ff\O mtnl. in time , j.II " 'hen a rclalionr.bip of chuxlcn ....." reacl!ing a peat. and present it in a clear and aPIICaling "ily. Thil talCI!I had l iven lhe sIan 10 many great ItOl)l I]UCIICn in the past. so he was an obviou s chok e fur Ihis new "",dium. As Man: summed up his as~il"nltnt ... W~ a;:1IIIlIy lOY 1 crUlc a . ilU31ion and rMte it htl;","3I)k. 0 worlti"J in I foeld ....ith tremcndous limiwions on YoiIlI you ean do .... ith action. <0 11K .... hol~ Ihing h . a . a picture. and il has 10 be the mome nl when IhinCSbappon . Otherwise. )'00 don'l have an)thing . .. Walt called Marc '~ <.Ira .... ing a " story" clli n, rableau:' "'hicb is reall y jUM anolIKr way "I' de~fib;ng a good story skelch . When lhe inili.al drawinp for rhe mimatroaic lit1b.11

r.

""ere approved. a sculJllor ""as needed 10 catT)" plans il>lo lhrec-dimens;.;.ul form. and who would be beller for I h i~ Ihan a sculptor wi lh a backgrou nd in an"n"tion~ The man scleclcd was Blaine Gibson. "hose hobby " 'as $Culplure and " 'ho already I"l3d "" on
~

u~

OiC" 'ffill pril~~.

Bla"'e was puulcd about designing one sha(X" thai

would "" orIr; for :0 "" hole line of dialoJue: for e,..,n lhough Ihc figure wou ld move, it could"'- change its al1itude utensi"dy Wah told him . .. A good cartoon cun te ll ils story " 'ithout lhe line of dialoll"". and I figure " ';Ih the right expro:ssion and all ilude mruires lillie animal;on 10 lell its Slory." 11 seemed Ihat Walt had been telling his siaff that same Ihing for many years. and it WllS still the right advice. Claude Coats ,,'as mo"cd from <!oinK inspiralional 0 s ketChes. roIor ke)s. and pa.inting backgnJUnds 1 helping design the areas where the animatronic figu~ would be work ing . H ~ comparc..J the II<!w problems to the bac kgrounds he h;wJ p;jinled: " Before the time of The Old Mill. lhe backgrounds had bn washed OUI. flat. Now there " 'as a kind of s~ for lhe characlCT 10 act in. no! quite reality but believable space. We're still doing that On tbesc. rides; we COfI sider the space: tbe (X"OIl1e Il"10\''' through .' lie "'ent on to say lh.at today the public;s so u!iCd to sing Ihi"lls on I TV M"ret'n Ihat when suddenly llIey are thru01 inlO a designt:d area th al lOlally surroonds them n,1II become part icipants in a s~. llIey lire o'-e",hdmed . If planning aclions and designing filum """"' familiar jobs to !he nlen from In,m3Iion. tlley ,... ere in for shock when they began conSlru<:ling tllese figures. Plastic skin h;wJ to be creah:d Ihal would survive ahoost coolin"""s SI"'lching and pulling. and eyebrow. and beards had 10 be buih up by inserting one hair at I time. At lca~l lhe eyes "'~re some thing that could be boughl outright. sint:e the manufacture of glass eye. had long athlc"ed "ery high Mandards . n.. Mudio wrote 10 Amenean Optical Company in Boslon. requesling a calalogue and IoOme SlImples. Roger Broggie Idls what happe ned. "We rcceind a case of some 70 different eyes. which was the method us.ed by op/"IlhalmologiSIS 10 malch a pallCnt'S eye for rolor. Blaine Gibson sc.lceled c)..,s from these sam pies. 001 ,,hen we ordered 37 pai, s of amficial eyes. " 'e ",ceived scnral phone calls from Boston asking if we were ",ally serious .. It seems thaI roo one e"cr had asked for a ptli, of eye. before. si""" the "'hole I""nt a< W to "'~ teh [he patienf. good eye . They r. n into more trouble when lhey asked for heavy "rining in sc.' cral $CIS of eyes . Ai Roger explained. "This " 'as for lhe Pirale Ride. and Mare and Blaine ~I~d bloodshot eyes in the drunken pira1es .

The manufactu~rs evemu~lIy undcrsrood " 'I\;,jl " 'as behind the Str1l~ requnts and producN a nco'" line 10 the studio's lpirtutioos. Roger roncluded. "we betame "n~fk3n OpIical Comp;,")""s largest CU5tOn~r.
TlteSC' mechanical figu~s. carefully designed and programmed to communicate and to involve the audiencc. " 'n"( more succe'u' tlwl an~"OfI(C could ....c amidpalcd . Jolin Hench said u( them. "1'copIc get more OUt of ilthan if lhe~ we~ I real aclor lhere . For

reaJQn. those lhinp projecl_ lhey xw.lly do I bellC' JOb--the~'s _Ihlng SUP" hunun about them ."' Ukc lhe c3noons. the)' touched I.... ij>t<'W world of magic Ihal WI' the real SC'CI"CI ~t l)i~IICy"$. When Dick Hueme. asked hi., fanlOU.I '1UCSI;"'" in the early Ihiniu. "What's Ille Srcl o~er al o.slIC)"sT the answcr should not ha,c !lttn tim,ng. or anoI. ~sis. - ,I WlS, in fact . IlI:It. the dwacIm ,,'c", trutoo to Ji,'c in tile aooicnt"C' s imllgi~tioo.
WIll(

_how.

The Future
TOOliy. ,he: fUlure of anil'llMion 100ks more neiling w n ally lime in .he las. ron,. yurs . Around the world. yount ,n;sls haVC' bttn cKperimenl;ng witb animation. $Iud)'ing animation . dn:aming animation . WlM:re the Dis~y ."im had 1(> pi~r and discover -<l nd then gradually build up credibility with the audieno;o-Ioday there exists a sophiSlicalion and un derstanding thal,Uows ""nture$ ;nlO many Mw fields . In addition 1 lhe lonJ; liSl of n noon fUI\l~ tho!: 0 rns1ll:Y . nldio his created. the small commefdal SIlldios for ~ars have been producing ~MiV(: Inirrwion for TV. Th;ll mtdium. in ;!$elf. I\u trained viewers to IICttpI and upt(t quict communk;llion. brisk Ctluing. .1Ion ..:c:ne~. and clear picIUn:S. The W<>I'ld is famili .... with animal ion In many forms and ready for great films. A. the audicnu has been maturing . the spatt age lias m:aled many new materials and flnlwk lOols for ani'll' 10 U$C . The video umen , co,wcned to run at 24 fra~ ~ . made a major chln~ in ..-ort. t.abiI5. sin a ,;ccM could N vicwro and ~Ied whil( i, was being animated . New types o f compu ters appear on tile mark~t a lmosl daily: ~ daim only 10 ..,pl ace tile more tw ious fu n<:t ion~ o f getting tile ani nlator' s dnwings on the Kl'ttn , bul OIIIers ha ~e mI>Ch more ~t imulaling potential. E , Cardon Walker, " 'ho I'06C ffQtn tnfrtc hoy 10 prnio.knt of Wall Dis ney Product ion!!, in looking al the variety o f electronic doyicn offered the ~Iudio , conllnented lhat IIvsc de \'icn " . , , will ne,,<:r take the pili o f . , . the g..,al c..,atiyily or IIIe anislic abilily . Whalever fonn it' s ~og.nphnl in , , it's Mill going to mjui.., tile originality , the imagination. and the newness of what you do 10 n... kc il ..,al. to makc il last," Just as important an: the markets opening op on many fronL~. from the horne cntcnainment ~nters 10 ne"" 0!ICS of TV it~lf. For )un, the fiI......ucr has been ..,Slricted to tile len'mioole s holl , tile hoorand len. minnte f~atu.." or the half hoor T V s.pccioJ , Many wonderful stork~ :ue i<kal for a twenty minute film. and almost unlimited ideas uisl for very short sub ~1S of ic Ihan s ix minotes, A cOftl:entr;uw n~SSilge Can ha,-c in,pact . a!! ...'ell as a capabililY10 del ighL ,

I'

""at

tocharm , infonn . pro'~oenteruin , ~ a mar_ ket has bttn fnund that ..,ilI make diffm:nt IengU!s of pictures profitable . whok new arcas of eKpIontion will be open to fenile minds , And as the iOphiSlication of the audicR gTOWll, a ""alcr nnlle of sub~t mat Icr will become lICceplable , Who can pn:dicl whal will be ne~l? Walt was always wly mad of Iny of ns, searching for new produres. new fonns of cnlenainment, and wc never can think of tho:: folore w ithout ..,membering how he !II.--ned ideas oyer in his mind . One IMme lhal kepllllon[ing him was the -I-tOry of Hiawatha , He kept brinllinll il lip over 1M years, Irying 10 find lhe right way 10 do 5<)f1lCthing wilh iI, Ue Aid 10 us, "TIle..,'s somelh inll IIIere . y" know? Somcthinll we cou ld dosomelhing that" s right for liS, I don ' l know wluu il is or how wc 'd do il . Don' [ think ora film . don' l even think of a s/Iow-don' l limil your Ihi nking to a "'IlIlar~ aler. Maybe it's ~ing OUI in 1M woods . 0.- on I moII ..... in , maybe lhe people arc broughl ill--Ol'- I don' l know-bot there' s _thing tM..,! " That is the way we yiew tile fUCII'" loday , In lhe la[e thit1ies , Alexander WooliCOlI, author and c ric ic . vis ited lhe st udio and was llreatly impressed with lhe appearance of the rough peneil lests he was s hown , All the eXIra lin Ihat Mlped conSlrucl tM characters and sel..,h OUI lhe movcnOCII\ wc.., liltle man: than cobwcbs on tho:: SCl'ttn, yel , somehow . LMY sec.--ned to coalnce into a charxter, e .... sinl WooIlevtl 10 Slale that there .... s man: c..,aliyily in Ihis fonn than in any finished animation , Walt alway$ liked tM vi[al ily of the rough animalion. but he ne ver found a way 10 use ie properly in a piclure , COIIld il be combined wilh live lIClion 10 iuggcsl the inne r ideas or d..,lms of some character? Could il "'presenl a f. neasy of wan dcrin, thoughlS. of vis ions. of only haJf_formed nol ions~ Could il be a myst ical Charac:1CT Ihal was not e arthbound and only panially formed ITIOM of the lime1 In one discossion, Mel Shaw conlmented, " It juSt _ms to me thaL !IIe..,'s even more o f an art fonn inan impn:n ioni Slic medium OUI there , somewlle.." We haven't e~perimen!ed , " In addilion 10 the e>;c;lement of experimenting with

unlried
leng~

of ',ying Il) ,"chicve audIence

UM:~ of animalion.

tl\c", IS

"'~~::::"'i::,::::~l Ii

IhI'QUgh od",,' ",,,ans . II"", much s)'mp"lhy can bui ld for a shapeless glob? Whal ttthni4U<: I uS(: to Crcalc "",morablc pcrwnalilic$ OU1 S"'3lches of col0<7 How can you make lhe care aboul a Spool of liShl~ The great " , and d,=10' Fe<Jor Hilruk ha. had UIIIsiderablc cess in building wanmh in a , ""Mion and " . ",.,] fl~ling for hi s characler" u_'ing hmill'<.l 3n;"'''II1)11,
cUI OIm. or hinged figures. and _ ' lyliwJ designs. I much fur1h<:r anyone could go;

known. II would require a ,[>Ccial i in>pinng Iype of dc';gn 10 conjure up a unique "wid. but "h(I kno" S if there are an)' 10 fa nlas), and im~jnal ;on~

a"imalion will Ih"re arc ive lhe preSCIlt Of course. ~ sur.... cmls ha"e PUI picwr.:s like "'" ~yooo anyone' s means. bUI fonuII31el y III<-rt is no son 10 duplicalc dlher o f lhe"" cia"b. They been done. and now il is lime 1 look forward 10 0

son;';':":':":'.::':~:~~~1

challcnges Ih,l awail U!i. ahead . COSI ::'';~'.~~~::l a prime facIO.: W,ll c(>n,i,lcmly looked for "'ay to gel Ihc samc resull. or a le!is e.\pen,i,e that " 'ou ld ~till do "hal " 'as nt....-dcd . The not.,; old Siory mceling. arc full of his admonilion, 10 Ihe COSI down and 10 kecp II moving 001 .ont... , Ihal did not add enough 1 III<- ""'III: 0 be wonh Ihe expensc . No. il is not It..: co>llil;tl hold back Ihe grcal ricwrcs of 10rOOlTOVo'; II

00''''

lack of creative ability or foresiEht or planning. When Ihe uncenainly of the future for animation was being discussed. one alarmed sludeOi uduimed. "I["~ 100 good a medium 10 let ,lip a",ay! It can go "'here nolhing else can go._ il can show Ihings Ihal can'l be seen! h can ,how thing> Ihat ui>l only in Ihe anima!Ors mind!" llIe nn of animalion doe, indeed ",ield nlagk pow_ ers, but compelition i, "oming from IwO unupecled quaners . Firsl. Ihere are lhe inroad, from Imagtn~!lve li"c _ action camera",cn. Wilh filter>. special lenses. e~"tic printing lechnique,. muhiplc exposures. tOlricale mooel, . trick lighling. and e,'cn I~ pushing of a

filmed image through a compulcr. Ihe Cameramen """ daily eroding Ihe private fantasy-world of lhe animator and his hand -drawn craft. To the alen anisi . lhese incur:sions do nOi rob him of anylhing as much as they show him a way to free himself from antiquated procedures--so that he may e~tcnd his own reach . The second and more stan ling invasion comes from ad"anced e<juipmcnt used in scienlific discoveries thaI gradually are revealing lhe true nalUTt: of uur world and our universe. II is becoming harder and harder 10 tell the difference belween reality and fanlasy From unbelievable organisms revealed by electron microscopy. 10 shapes and colors in the undersea world. to

!
p/wlOgrophs of rn ll rr~a/urn ,n 'he ~ In 1M '(XUV <1f ound ''' .

Th~J~ or~ nOllh~ ~'lid U~<1lions of Oll"'::f::~:;'::.':;:

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as tounding pholos from Sp3Ce, ,,-e arc ....,ing ching ~ be)"OfId m:on'5 dreamS. Frum di;lplw>ous. fIlmy sI\rO\I<h 10 knobby. armored animal~. "'e arc dis<:o"cring chac OOr _ 'n world hu more bo:allly, and more . ,""Ci(ImC beings. than anyone e"e. hlJd env isioned . JUSlthe: infi_ nite vari~ l y of lhe: shapes in a sptXKlful of plank"'n would put any designer to " h~me . If phOlogrdphy now ean show uS a real " .... Id of b ma,y, as wdl .~ a (anl~SY " 'orld Ihal appeal1i to be real . what is len (or ~nimal ion 10 do~ 11Ic 3n",'CI , of course. lies in the area of personal inlerprclation , as il doe. with any an fu rnl . II may bt hard 1 find Ihings 0 lhal do 001 really uisl any"hc:re . bul how thc:y are us.ed in a film, whal i~ ..aId abot" [htom. and ho.>wlhe)' relate 10Qlhcr pncnomcna are jobs (0< lhe "ni. t , In Ihi s area. animation will be around f,,, a long time bccau!'e of ill! un;(jue, abilily 10 conlmunicate. Whal is necdctl are anists who have !i<Jmcthing en[enaining to ny. and the: training 1 say it in a ,,-ay llIal in"oh"cs the 0

'r

audieocc. J 11Ic aocienl <;QUnsci .. Kno .... Ih)'selr' iI (ull of wisdom. but. for lhe fmc"ai ... r. II ~ po.'IMibIy jU>i as ,,i.., 10 WUC!oI. " K Il(W,' you. au,.Iotnox: """"n Rod ... y Kict . the I.isl! radioo peDONJoIY, _ illtcrvic" 'ing people al lhe siudio. hc: a,""ed ON: or the Nine Old Men: " I>OCs Ihr.' animator f1 i"""altd from wcicly. living in a dream world?" The 3lIs .... tr was. " No. he has 10 tic p;ln ofl he conmmnily, pan 0( che humM upcricncc. 1 ~""w " 'hal 1 (ornmuniclle. 0 0 and ho.>w 10 do il . l ie ,,'oold be both oul of <.bIc IIIIdI* of louch if he ,sol .. cd hi"""If. Mr . Ro " 'IS iIII" pri~ . " SUI don ' t yuu h....e 1 be wackp\> JC1. 1Midc 0 lhe: ,""ull or I ducky or a Goofy?" In'>lead of1llt I"'ely answtr he had arn""!",led , he ~ Ihc: slral,ht , _ !rulh. " No. lhe Ihin~s lhe .udience lilu abou1l~ c har cICr.; are Ih~ human eharaccri_Ii<;, . They can say, .. < 'That"s just lilt Unclc J~ .. or 'That" S the way I ftll itt school: or 'Some ~ids did Ihal to I1KQII:'" Thac pe.son waiting in the lhealer ~s paid biI monc:y. and is "",,' " 'a;ling 10 be enlena;nr,j. Ik is 1l1li an~iO\l~ 10 hell' you "ilh yoo. job. As Mara:1 M~ Iold his Sludents. " Don 't UJleCIlhe aud~1>l"'r 10 lISe iii energy 1 (0111( lu you- lhe energy should COllIe (fOIII 0 lhe: penon"e ... )'011 mU'1 reach 0111 and louo;h Ibtm." Other ,rca" of lhe cnlenainm~nl wor ld h,t agrttd wid> Ihis anal)".is of Ihe audienct . llw: laIC Jcan iknoir, outstanding fil", direclor. WTOle in his rncmo;ooil"$. '"The speclalor is a human be in,. cap;oble of refloecllOll:and, lherefore . uf IINgII"'IIOO. Belllg huIIWl . he:.~ ",tr1(ICd b)' lhe Ictil efTorI: hII! II..." beill, human . lit IS de"oure4 wllh curlO>IIy ... , If M _ Rt rooo. i. rorftCI. beSI WI)' 1 in"oI'"llIh<- speclalor in I film., by pI')"irIa 0 on thaI ( uri osi ly wilh lhe big idea Ihal has I ~ sion. leading the SpeclalOr in deerer and dpcr, The graphic form u",11 III pre",n! \hi. idea can be IS van.:d a. lhe conc;cpt. I)f lhe ani>!s. bul lho SIIIIt a~0111 pnnc.pks of communicalion still ,"'ill apply lhe)' ha,'t (or lhe: la.1 t" ..., Ihoth.3nd yc;on" TIley .nn no. chan/:<! .. nnl man', c~pen cnces and ~_ ha"c devalcd hltn 1<> a",,'" .lalc of u~andilrc. The ad,-..:rt;'mg agcoclCS. who ha .. e enhcncd 11\0 TV ""''''eIlS wilh all k,nd. ofv lsu;,1 st imul i cre .. cd ",.111 !he aid of "k.....!ronic lechnoluH. "ill "'\"en II) .y",bols lbe " -orld undcr>land .. f.,. lhelr .ub}ecl mallet: '11", rule bab~. lhe ~randparen". family gc1-logelbm, SOI_, a rull moon . a m.scr~bl~ , r~"'y n'ghl. 11\0 00,....

me

romance. They may have !<"dined the public to accept cuning and camera work and technical ideas that would have been completely confu sing twenty years earlie r. but they can communica te their message only through symbols that have a broad appeal. The popularity of the Disney films around the world is proof that en tertainment values are simi lar every_ where. in spite of geography and cultural differences . People are people. wherever they live . nd while they may bo attracted to a broad variety of activities and subjects. the one thing that al"'ays interests them the most is themM'IYes, Regardless of techniques . !o be successful the idea for a film must be presented in !enns uf universal understanding directly related 10 a person', e'periences: for the most important e'peri_ ences are the individual', own. This iocident was observed one noon hour . on the step" of a building across the way, A girl Wa' waiting imp<l!iently for someone She obviously was annoyed and restte . She was nu! Sen ling down for a long wait but change..! her position constantly. and the positions were all unusual : crou"hed and leaning against the wall. then leaning against the balustrdde. first facing i1. then with her back to it. ,,.i!ing- ..... aiting. Finally the young man came up happily. unsuspect ing, She was accusing: he was unprepared. baffied, lIer frustration bruke uut in IcafS. her head was dropped. She pointed to her watch. he pointed to his---but he had to bend duwn. and twist to <ee into her face, lk was coocerned. loving. but confused . Shc turned away: he followed. pkading. She accepted the ,i(uati,m at I.. t. but she <'ould not forget. They wal ked off(ogether. but when he tried to lake her hand ~he pulled i! b:tck ami thrust her chin up in (he air, This ,ituation could be presented in almost any graphic fonn without altering its basic strength You f~1 for both character<. you understand. you identify, 11>ey can he young. agciess. ugly, anatomical. shape. less. styled . or only torn piecc~ of paper- it "'ould not mailer. The wri~!watchcs arc the only props. and they are nOt necessary: they merely are convcnicll(;es !hat ~hnplify the communication for anyone who is familiar with watches. All the ingredients are there to reach almost an}'one. and this is still without introducing any personalities. That addition would refine the situation to make it

funny or sad. ridiculous or poignant. As the audience's sophistication grows. there is an increasing burden on the young animator or filmmaker. Finding an idea worth puUing on film. presenting it with enough imagination to npture fleeting imerests. and involving the audience cmolionally is a big assigo. ment . It is also the very soul of entenaimnent. Yet. to Walt . there ..... a< one more componen t of his films that cannot be quite classified under just entenainment. That was the uplifting feeling that pervadc, audieoces as they walch Disney pictures . John Hench said of Walt ', philosophy. "I know he looked at entenainment as something nKJre thart escape. There was a kind of reassurance-he alway6 made people feel good." There was no one SCellC . or one action. or onc background that created this seo""tion. bUI the special feeling stayed with people for da}'s. It was the final bit of magic . We hope that the great pictures of the future will have some of this same aUra. regardless of the graphic fonns they lake. This feeling is needed in Our world. and the potential is there. as it is in no other an form. Marc Davis summed it up very well: "Animation is JUS! an incredible medium. and it's JUSt wailing for another great leader . . . and i! will bo "'lually great. And yet. there' s something that came out of the Disney point of view. thi s business of bringing things to life .

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Analysis of Mickey Mouse

I.

Character and Personality

Mickey leem$ 10 be Ihf lver.,. youn. boy of no p;lrlicula. age; liyo", in I small lown. c10ln livilll, fun loYin . basMul around ,i. Is, polile and IS doY" I S he mull be for lhe particular IIOf)'. In lOITIt plclUfU hf hu a louch of F.ed Alllire ; in OIMrs of Charlie Chaplin. and _ of DouaIu Fairbankl, but in aU of t ..... IlInt should be sorrIf o f tht YOU"l

. ,.

II.

Construction
A. Mickey'. head i. drawn u a elrcle; or beuer IS a ball-with the featyrn pl~ on Ihi. ball. The eyeS and Ihe blacks and ,,hiles. al w.1I as IIIe moulh , .... drawn 10 r~ lhe ball . Tile noul ptOl . udins _ from Iht ball, and llIe ..... 10 be drawn u l WO " not q uilt" d"k'l. ~. lappin, Illthlly into Ihe ball. II is n~ 10 keep tM black and whiles fairly well distributed-so .o not have 100 much white or vi<;e"'rSll. !in: illustralion (27). also 4-.... ~b-<Ic . B. The body '0 be drawn u somtwhal pta, shlpe. ,.irly short Ind plump .

Ii,urf llsome po$<$ followi", Ihal.) This is. new procedure on Mickey and is not !manl 10 chanae him $0 much U 10 ;mlllove him. Notic. on (1) and ( Ia) lhe cha"iC i. small bul makes Ihe body pliable. TM body Ihould be pliable al III limes. dfpcndin. on pose desired on """emilY of K\ion . (See Ii,uros 6-7 .... 11.) If Mickcy -.e lak.", a deep tM.,uh Wi: would &i~ him a ehesl . IfM-. SlId Wi: would 100im chesllnd droop shoukkn. fie. The body could be IhOUlhl of as havin,. ~rlain volum so when ill s Ilretched it should 110W thinner or plumper as il Is SQll&&hcd. If lhe body 01 stretched OUI 10 an u trI..... for an)'thin do IJO/ leave it Slmchcd OUI Iont tnOUP IO _ The body can ......... anatomy .. il ;.,; needed; woh as I d>tlt. S1om1ctl, fanny- accordin. 10 1"-*. In dil lOnln. Mickey's body-il il alwa)" I ,ood Idnl 10 compare Ihil new body with IMoid one, (Fi,. I), 10 keep il 'rom ,flli"l 100!ont. For dil10flint Mickcy'l body, _ fi, urn (20-lOa 2Ob-&lso 21 2Ia2Ib)
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III. Handling

of Mickey in Animation

Mic'''' IIa$ alrt:ldy I>n fIOftIparw '0 a you", boy. 50. of courl.e. M should tK h,lIIIkd llI.hal. Hi< poses, 1>01. only hold poses, but posi.ion.l of body while ",alk. in,. runninc, .alki",. etc . should contain ,IK youn, boy fttlin&M ickey I. ctI.er wMn draw n ",j, h small shoulderl, wi. h a ~ion of Ilomach and fanny_and, r li k, him pil\ft .oed. Tho: pi,ton.oes .r~ mort of. s,,""'ion ~_ I ' ike .0 .hink of him .111 . ....,.,y. TMu art mlny .imes when his fM would tK poin.w . oes ou . allll in .~ cases. piacon oes ...ould tK bad. TM small should~r drm can tK IIId by >lan in. rhe arms furlhet do ...n on body. Don'. I~ hi. keep you from usi", the . ho uld ... when needed for. pOft, k . or l ny kind o faerion. See Fl . (7-13- 16.) Ordinarily shoulders are liard .0 make allll arc tKll ... 1tIi off. T heyt:ln tK used .0 bc$I IcIYlnt. if their U$C is rHCr~ for etnplwis in expressions. poses and t.ka . Tho: ......,.cion of st_h and rlllny can tK !lad easi)y ...ith hil back Irclll .

See F" . 01-6-1-9) About the lIIndIi", of Mick~Y'1 head..... know it il aood .0 kHp the bia.:kl and ....hita well bllallCftllO when Mickey has a smile he is very lillie black . bu. whm he ~hl ...a . 0 I .. cxp.euion wi.h . he mouth Imall, ther. would tK tOO muctl black if w. followed the mouth wltll tilt black the lIII"Ie dista""" I way .. on .Ile smile . So it il belle. ' 0 cheat ,l1li1>01. bri ne Ih, black down 50 f.... Tho: mouth , .. a .uk is better kept inside circle o f held; tll il doesn'l mUn i1 has ' 0 .IWI)'I be d . ..... n till' WlIy-apcciaU, 1>01. In dia 101'" or bi, ..h, et~. "The ....u ar. better kept far bao:k on tile head and onm ICI as balalltt fOf .he

IV.

Minnie Mouse

her Ilc,
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fi,u.e . Ho .....

around 01\ the head jus o bllano.. Mic k.,.'s pann ... to be hlndled 1$ pants and not as mldeofmetal. By that, I mean lh, pantle" should drape O'<tltM leas .1Id tile Plnu betWftn . beltaJ $hOuld >l ret~h IS his IcJS , ~, and ~ .0 .be mo ...nc:nt of body as aU panuda. With. S"IWIl Itt; .hey would lIIn&_with 1be k-. ~ fted Illey would wrinkle and d .. p'
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T IJ l(O A.T

\naiysis of Donald Duck

Character and
Personality
Donald has <kveJoped inlo 011( of the _ int .. SCTttn comics. Tbc altdi . ~ ah' lI)'1 likl:S him. provided he plays true 10 hi, Own character. Hi. best fea_ lures .r. hls oocky.Iho ....... rr, boastful at. titl.lOk lhal 1u,n, to an&<f .. JOOfI as he is croucd; his typical ana.y ""'ure " ' jilt which lh. audi.""C i, familiar, e$pe:cialiy hb fillht;n. pose a oo hi s peculiar qu",,~. ina voio:e and Ihr.all ,,'h(,I an&rY. ".,. Dtatt a bia kick 01.11 of imp<ll'in, on 0I1t(1" people 0' . nnoyinl Ihem; but immedialely " ' - his ,ernpt' when the .. bles are 1urned. In OIM "'o.-ds. he can " dim it 01.. " but he ca n't "'ake iI" ,

nt''''

The , ize or lhe head Is Wppo5110 be half tile size of I'" Iow~ pari o f Ihe body, and is bpi round . To show a...... ,,~ ufOed tH1 OIl 1M he.d ; bul OIhctwise keep 1M head smoorh . The neck Is Ihick~ II lhe Mad Ihan il is al Ihe body end and iliO bt kept -'&Illy. bul nOi 100 Ionl.
C. Eyes. Bill , Ind C1>eek.s

so lhal in I )/4 back ritw half raised we show In ulldn side which ClI1 b painled 10, as ch. "sole" is painted dark'" shack . Whert the Iq fits inlO I'" fOOl. does no! corne "",I at Che btw:k mdo lhe (oot. but leaves a knob or. bil 0 hcel ,

E. Anns, Hands and tail

,eI'

TIlt Duck I.~n himsdr ~ery seriously.

H. has. high opinion of himself, and as

soon

IS

"")'lhi", 10<$ ..... 0<13, hcimmedi.

TIiI' mOSI ;mpOriam Ihina aboul Donald i, hi s e>preWons. A 101 tin be dont- in Ihi, conJleclion "';Ih I'" eyes and lhe ~brows. 'M: aI.so find thai Ih. hal and Ihe pmilion of Ih. bill help th. upression of Ih. eyes. T he oydI.Owt are..sed in , ... $lome way lhal Pluto' s oydI'Owt ... wed. Somelimn th.y p'OIrud. a~ lhe lOp cirel. of Iht held. T IiI' eyes aR nOi 'OUnd IS in pr~. OIlS pictu'es . l"hey arc more 0>111 in shape and are ~.pl 101M sid. Of Iiii' h.ad . In Ihi l wlY more black can be used in , ... eyes for the ""pressions . Whtn lhe eyes ... edosed, "l' break up theei'c'" and animate il inloa ,ound.

The IrIf1$ IR kept chick 10 ...... p in el .... ighl. and II\c h.nds.,. made mOl likt 11 hands- rall\cr Lon" wit Ih.ee fi"&tf1 Ind elIumb. In cbe rlQ d.awinl' lhe hallCb were- limply el .rub of Ih. ",;nas wilh willi roal""'" T he i. JUppOScd co be ~t ..... u'" dllCt 's lail. There;' a tilC"~ pa'i before lhe fco.l""" Sllll on iii lail, Ind Ih,,>, art k"pi curled ,.hen ever possibl .

wi

llely "lintS 10 rol)l! . Whcn he i. pleased ,"'illt lIim..,U, or happy about 5OmClhi",

F. Hal and Jacket

lit has don ........ show his nervou s charae,.. by "'iqJin, hi, tail. I don', think it wiK to _ the tail " 'lui< ..,"""' he ..
ulf}'.

H. hal very suspicious nature; is quick'lem~cd bul ;s j usl dumb moullh 10 be lrapptd ~Itdly ;"10 1,*", his lem~. H~. he ;s nOi as dumb as Pluloor Ihe Goof. Donald cannol be fun. ny if lhe s.inuliiOil does 1101 /"il his peculiu fnlnnn1$ml.

"=. eyes Irc k.pt wide apart 10 live Tho

.. General Construction
A. Body

Donald ;. dra,,-n a. F.td Moore: draw. Mickey. He is OM piece ."Ihe. Ihan Iwo pariS; has a ~a Nhapcd body; il squally. and i, dr''''n 10 I how "eighl in lhe body. Kttt> as mud! "'.... hl in him as possible. 1"" is. feel Ihal h. i. hu"i ... Ihe 1I.0und. To al. lain lhe bel .esubs. on. Iq is btnl and Ih. olhe. kePI .... i'h1. T he ' ''I i&hl Iq is as sllon as possible. ~eep;nllih. bulky mus down close 10 lhe UOUnd . KeeP/III Ih. Iq up imo lhe body and showi", a saa under nealll will hdp 10 ICI a fodinl of "'ilhl.

,lion.

betl'" UprtUiOil aJ\d on 3/ 4 vito ... lhe eye on Ih. OppOSi'e side is losl. T he lOP parI of Ihe bill filS inlo Ihe eenl", of lhe head. Inslead or Iller. beina; "'ai&hl line from lhe lop of lhe head down 101M end of lhe bill, Ihe <O.ne. of Ih. bill <urves imo Ihe inlide of I'" head when he 'mil<:s or il happy; whtn Don.1d f.owns o. is ani')'. it prOirudes on lhe OUISKk or lhe d.d. of Ih. h.ad wilh. down. in_ IM moulh (IOtJiIll. We use c heeks on Donald OIlly ",hen we indic.le d>....'n. or blow,,,, .
D. L.IIS and Feel

lion . The sleeves are linle 100lIo .. ow. Ihe w.iS! and Ih. wllar has I strip around the OUI", edge. The hal can be used "ffa:ti.-dy h.lp ,~p'CSlionl and lakes. W hei Donald is meek or when he is lhin~ i",. 1M hal can , il ,craWu on top c his head with IIIe: ribbon IIowiQa I back; bullO show &iliff II is aond' hay. Ihe hal down over hi. eyes an lhe ribbon (allin, down;n f'OIII. Another ntablilhcd charac!erisd of 000aJd', is that w..... his hat nil o ff On la~. or in and land on lhe iJound , he a!lsenl.mindcdl r.ad... down for il without IookiDa 1 il . picks il up, and slams ~ on _ bel before loins inlO lhe I>C~I action.

The jacktl is 10 be ralher loose, bu not so loose lhal il is floppy-IOOI moua;h 10 help in the flow or lnimt

an,,,,

B. Siu of head and nk

The Iqs .... suppOsed 10 be ,hon and sq .... nyand IIIe: feel kept 1lrJ" 10 live mort of. comfdy "ffecl. Th. feel h.ve Ih'ee loes and lhey ar. nrilller pOint! nor 1""1, bul hippy mtdiwn beI-.vcen lhe IWO. He usu.lly plOp$lhem down on .....,k or run . The r_ is dra ... n ... ilh. tIIickl'>Q$

Ill .

Line of Action
When drawi", Donald for ~I>C of. lion, Iry 10 make Ih. wbole Ihina curl f one li,...to live di.CI;Ir>es:s.
A. . ......,kI aJ\d

Run.

In wal kllO show CUlel1C$$, il is bo 10 ha.e him walk pijeonloaI, and t

draw 1M Iq back .nd fonh wilh tM actioft of 1M body .0 il win make il look ~k~. w..sdk. This tan 11.0 h<
in<d in Ihe run.
B. Tilkes

Ind land back on his head.

IV.

Dialogue

v. Fighting Pose
One of Ihech"~(fislics Ihe ~k had 10 'lin 0\11 with and one: we h.~ lried 10 kocp. is his rl&hlilll post. II ...11 ella\>lished by Dick L ..ndy in ORPHANS' BENEFIT. Ind Wt I1Y 10 11K it in twJY pict .. " ",.,"", he IttS mad and "'aim to r1Jl!l . II is III liP Ind down movenwnt of .he ..holt body Ind one arm ;, bold slra;,hI 0IIt wi.h the: rlSl up. Tho 0Ib<r Inn moves as a pmd .. lum. Thr timil\lof .his xtion is lhal lhe body _I",iero. fIlSlISIMarmlh.atswinp. Donald is_ auy in dialocue In lhis ~ion, and his ~ rai&/ll -ollf arm doe!.nt inltTftT~ wilb tilt action 0( lhe I1IO\Ilh . Refer 10 i11uSlrllions on 111 pOinu roIIa'l!d .

On wes. Donald ;. mort xti~ and I>IOIn _ i k than My of our dl>1'ICIUl. Tb J.how h" nat .. ~. Don &!d', lakes ar~ Ilmo5t to 1M UlfnM. ThIll is, 110 j\ll1lPS up in 1Il00 air. I",,,, fasl wltirLs. actS himKIr all OUt of $I\apt, and in amcral is fllSl and furi. 0lIl to show his UC:;llbk nat .. ~. AU
hi$ tIothiAa. Inctudinc ILU Ind jackCl, pOinI iIIllw: dirtion 0"'110 take. Tho hat alii h< UKd 10 ad""lW~ by keePnI il flltC1led 10 his had and pulJcd out of sillPI'. 0. it tan also Oy off iII.o Ihe lir. circle SCVCI'a1 Hmes

To IJCI lhe dr:s.lr~ dfect on "0" and "u" or on I bIowilll xtion. WCdislOr1lhe bill. When lhe bill is ~ wide Ind sIlows 1M inslck o hhe uPPl'r bill. I~ is loh< I bLao;k lhadow effect lbot lhe I~ 10 Ii~~ deplh. Tbm! is a ~M around lhe in _ of lhe biD and also. IhfOlll tiM 10 JiY't lhe painl(f'J a pIaee for chan&e of >lor. IS lhe iMide of lhe "I>PCI" bill i, I dlrker lIIad~ I"'n lhe inside of lIIe lower bill .

"".

The "PP" bill i. to h< kepi more stationary thin tM Iow(f onto but not to lhe: point of , i&idily. The lower biD lhoIILd h< lbibk. bU11'IIM 10 the poinl OfM", rub-

..___Cl '- ... .7lJ

-=- ... = --,

- .~

~-.

""'b.-',~,

-....... .
,

.r

.............. ........ ......" ....-

Analysis of Pluto
I.

Construction
A. Body
I . I n the
roullh_ sha~

Shirtl~

f.om

taiIIO.ud~nttl0

make fXprCMKm definite. Befor. shif.in, ant eyebrow lOCS UP. Olher down. Eyes and t~brows
like a jelLy
I tJai&luen OUL, th ... tyQIO from

,h.

3. In lhe case dumb look . in Ihlff Of

.taCh tile

mild

~" 2. In dunup-pu, in shoulders and $h.~ It oul for. feelin, of bones unck IM: skin. 3. Q,nc-ral ~pI;on; Heavy dOS. Whtn ht leans imo lICIion. too. is lou of anlirip;lIion.
Exampk: PhilO !it,in, down. moves ~ 10 snirr 5OII'It1hin&. BefOfc tit' &eU up. In.icip".ion of. AI wi,h head OUt and body comins up bdor. be al ltmpu to OUt of ,i nine pcni.

sid.

e~plmion.

1 0

side. Head kepI slill duriJlJ;

WII<n Plulo p,auSC$ rOl" uprcs. slon or IlIoUIIII in a sil,,"ion like on his fm In slliftiJlJ; Ille 0")'0$, definite poIU1a should tit madt- .. neh end of III< upt"ossion, "';111. dcfinile moV4' of lhe eyeS flom n ....... 10 a ....... . This lIelps 10 ronny ~l .... ly til< ide, Ihll PlulO is thinki",.

Irri"l 10,",

inON ICE,
D.
E. Nose Wrinklos.: fll:>jbie,
fou. ill numba-.

lion. flead moves Over 10 ne ...

po~lion.

.t'

B. Eyn l. O.ne.,1 Eop.enion: Dumb and .. d~td 2. Nobsovtr eyes tikt prominem eye' browt or furrow" always there.

Euml\k: ON ICE. Pluto slipS. ,.lb, Duck ..",hi orrStage and Plut o looks blc k I. 'Iii. cyt,
brOW$:

clown.

oon~n, IIKIII&lI1:

"Tlwr.', SOfMIhillJ ""01\1 bert."

C . Ean: HandJi", for ... tWlt I. PlulO jumpinl up in ai . Insleld of hlvinl lbe ears carry IhlOlllh lbe ume disla~ as Ihe bead, Ihe fim IwO 01 thl drawinas of the ears are slower to Slar!. Wilen he lands, III. ume holds l nod. The elrs ... Slill quite lonl and tlley ~ome down w'lh I SWcc"p. [n III< n" ..... dowll Ih ... is a slntoll and lhen lhey 10 up imo a normal 'lSIi", position. 2. In fast wrpristd take Ihe ears shoot up faster. bul setlle III< ume w.y.

II . Handling

of

Pluto for Action

A.

In JOIm i be maled IOOmudtlite.smd, OUI any wei&ht to D . f"'* dy value lies ill YSiQC him

PIUI:;'~':::;;:~::~:
b",

nunbuso<lle, .wkward

avoid lbe rffcct or li&hlllla. , be is used I\IIIfliQc. jumpiQI 0 il is wdlto bear in mind \be,

.so.

<:o._r

YiP~/
,

<>,

~~

,,~,,~c.~

~~~~-~ ~-.:::::.;:,~
~ '" ~ r",. _ . .Jf>-! ......... 1 s-.~ .. ,.... Q ...... -<- ~""+
J .... . _ . . ..

- -

_ - ..----- ....
~"' .

~~

.... .... -.... .... .. -~

hu~y dog ,,ould naturally need mOr~ anlicip.o.lion 10 hi' run 01" jump. and in III< cal<' of a fall hi' land would la k ~ mO'~ " mehing and rceo.'cry Ihan that of a liahleT dog. In Ih( case of a "m Plulo would take half again lhe lim ina of a liiht "'~ighl dog in Ihe !;IIm( kil>(l of run. ' Of COU I<'. ,heTC miahl b .ituatioru "'here il would b '00 s'rai,11t for Plu 1010 anlidl"'te slowly. Fo ample. if Pluto WeTe 10 react v.ry fas' 10 so"", thing thaI happens, the action follow ing his .eaction could Ix handled in an .,,'k" 'l'd 01" slow effcel '0 ai"e Plulo his "'eight. as in hi. jump Out OnlO , "" ~ in ON ICE. His , lip w;u ve,y fMt bYlhls lurn ,)"o'eT in ,'''' air pvethe nee ess.arY "'cight for ,h. land follow;ng. In ajwmp ..heT. a .mall Or ligh' dOg might la ke off quickr . in Plu,o'. ca", aood anticipa'ion w;1I aive you lhe ..'eigh, feel;n, and at the lini.h o. land. a aood sag 10 Ihe body and legs to. 1101' posilion uP. Or follow lake to another action, i, helpful.

good example of ai~ing ,he fetli", Iha. Pluto is a huvy cIoa. (!itt I_A_3) D. Sniff Action: Usually done in 'wo draw ings of two exposures each. One ex"eme do",n On 'he grounU. with nose louching gfOund. anolher ... "erne i. the nos. up and wrin kled. It also can be handled on one exposure ..-ilh four drawings with e' ''emes up and down uSi", inbclwetns-c lose 10 th. e, "eme up On stl'ting down and clOSt to Ihe extreme down on 'he Slart

.,

F. Snort Anion: Anlicipate b",k with

Plutos head and ketp 1>0$( in normal position. In $hOOling head forward Ihe nose wrinkles and the bulb in creases in size . showing lhe nostril, in the extreme position which is Ihe accent of the snon. For a defini'e accent on 'he snor, . draw back ,lo ..ly "i.h a . ..clli'" up of Plulo, body. 100e'Mr wi,h a d,awback of ' he head IUld 'hen ohOOIinll inlo an utreme position with the nose wrin kled . mou1h closed. let,h show ing disgusted upression, a nd bulb show ina nostrils, u.ina One inhe twetn " 'i,h a pause selliina back .Iow. Iy from the utreme position but still in IUl allilude of having snorted.

B. Slip 1il/t'C1." (ON ICE) In all , lip. with

his h(ad, twO d.a"' inas we used ,oina up. When hi. fOOl dipped. hi. body saUed. al the same tim . T he lI<ad ,hot up IUld a f,.. he collapSed. 'M bod) landed very quickly, bul ,he hud came around in an l'C and Ihen ,napped 'hrough. When he hit, two dU"'inas were .quashed. Ihen he came , lowly out of il into a hold. H. did nOt >lOp when he hil ,he ice.
C. Rt bounds: When Plulo lups and Ian'h. he lands (,on, fetl linl and

G. SnH U': Same

1.5 the snor' except an open moulh is u.cd.

,,ill be u.cd . This sometimes means il will Ix T>eCeS$l,y to add fOOlage when , uch ' POlS af< reached in .. imalion . Fo' e~ample. in 'he nypaper sequen ( PLAYFUL PLUTO) as wen as Pluto o n ice ska'es (ON ICE). SO much depended On 'he building up of the ,il" . .tion and the pau"", for Pluto to Ihin k aboUI diffe,ent ..ay. of J(1'ill.ll rid of ,he flypape. 0' J(1ting up on h;" fet' on 'hc ice. G<x>d e'prmion< were ne.:~ry in ,h= ,po" 10 build the gag o. situation 10 a dimax. To a"ive ., Ihe fOOlage needed for ,uch SpO!$. as ",en as 'he follow up in aclion, ,he animltor has 10 fet] ,he situation him self. Of COIl.SC, IheTe can Ix too much ,im. Or "ailing a, nain poinu, al though it has be<:n found e.,ieT tOcul down \1alling in .he rough tnt than to build up undertimed situa,ion, later On. The rel.5On for this is ,ha"heani . mllor work< sponlaneously ..'hen II< feel. the ,iluation, and tryina 10 ~,O>\'d Ihings inlO 1 ai"en foolage han dicaps him to Ihe Ulcnt of bruki", 'he lpontaneity of hi l wor k. Thi, I\>" plies 10 any .ilUl lion in cartool\l, roaardl ... of character. Of course, in buildi", up a s;tuation 01" gag, lhe val". of e",h piece of busin... sllould be d(lermined ... 10 Ihe amoun' of footage il clUl $land.

Ihen bac k fetl. The whole body s.ag5 and in coming uP. if he is still 10 remain in. Cloueh position. a drawing half..'ay b(ol"ietn a linl land position and 'he exlteme saa posilion clUl be used 1.5 a linal posi'ion for a hold . Bu' in brinaing him ou' of hi~ low"" sag posilion, enough drawings are u.cd 10 bring him up slowly inlo it SO ;u to lake up just I ,light rebound. Possibly e,'en in the cale of him con'inuing Ih. leap you could U"" the ... me ,ebound and then continue "ith him leapins forward inlo 1M air apin. Thi, is a

H . Barb:]n a bar k th. 'etth show a ]il lie with the upper lip curvina O\'eT and ,he IUm s/>owinl . ]n shor' bark' which art doroe in 6s. 3s and 45. a turned up effect is used on lhe jowls al ,be e",eme position. giving Ihe fetl. ing of flesh in an extrcme wide open mou,h.

IV. General

Working

Method:
In roughinl OUI I<:tion in a >cene a good method to follow is 10 "'ork from e,treme '0 e,"eme as ,he aClion is 'i, ..aliud. This helps to hold 'he spoma .... ity of the ,ilua lion Or gag and p...... nts Ih. animator from dwelling 100 much On an unimpor. lanl spol in the action. In 101", back "'... thost dra,,i ngs. eXltemes can be euggn lied when ne<:eiSIIr)'. Or a _ $lan' may Ix had On diffe ..m points ,hroughoul .

III.

Handling of Pluto for Expressions

A. In ,he layi!\i OUI of Plu to's aClion on exposure,h""" before anima,ina. it is hard '0 anticipa,. Ihe neecs... ry fetl inl in certain SpOI' whcre ex pres~ions

Jln.4.]936 E.T.

Analysis of the Goof

II is ('\iflicull 10 classify lhe charaaeristM:s o f 1110 Goof in10 columns o f ,he p/lysinl and m_a1, beca...., they inl~"(. ,dleet and ..,hlJltt one a_her. TiI<1"cfQre, i1 .... iII prob ably be beSl to mention everythin, I II al onct'.

Think of the Goof IS a composite of an cvnlaslin. OJ)Iim~. I luUibk (lc)od Samar;liIlI. a h.lf...;' miftkss, JOOd.nltll.cd hick.
lot is Loooe-joinlcd .00 ,.nely. bul no! rubbery. H e can move fut if h. has 10, bUI would rather avoid any ov -exertion, SQ h. takes "'hat 5"" thc .1$~'1 "'ay. H. is a philosoph.. or 1M harbt. shop v,riely. No mailer .""1 happens, he 1oCp1! II r. ...lIyas bcilli rOf the bnl or al ~I amusing. H. i ..... illillA 10

help anyone and off." his assi,tance even

"h". h.; , nO! n<kd and ju.t cTUlesconrusian. fie "cry Kldom. if~. no.,," hi$ objI;~

or romplo:ln ...... t he """ lIaned. His brain brill, Blhor vapory, il i. difforu1! for
e~lremdy

him 10 COO""nI !. on lny one .ubjttt. Any liUI. dislrBClion c.n th,ow him off his t,ain of

r.. t"" Goof i. no! I"" type of half ...it that ;" to be pilied. He donn'l dribble, drool or ,hrick. H. hu mu.le In his he~rl .,.n though il be the .... rn.lun. fortver and I _ him hum. minll 0 himStlfwhile"'orkinaor Ihin ki.... He wb 10 hirrudf becaUSf il is ~ for him 10 t il"'" ...hal h. n IhillkillJl if he ""an it fir~.

c-r 10 kp 10 his purpOse.

tllouaht and il i.

difro<;ul1 for th.

Hi, pOstlire is nil. HiS Nek arches the ""0", " .. y and his lillie Jlomac:h pr.,..rudn. Hi, held , Jlornach and knen Iea<1 hi, body. Hi. ned i. Quit. long and ",awny. Hi. knen Ilg and his f1 are la'll. and flal. H. walk. On hi. heel. and hi. loa lu,n up. Hi houlders ... narrow and dope rapidL civi", y, uppa part or his body a thinMSS and makinl his arm. _m long and h.a..,.. lhaqh ac1uaily nO! drawn that way. Hi. hand. arc ,.ry $tn,i liv. and exprQ.iv. and Ihough hi, geslures art brNd. Ihty ,IIouLd still renee. I"" gentleman. ~ Ihin k of the Goof U 1 ...""'iC ... ith rubber hose l"achmrn15. Thoua.h "" is Vfty I1cxible and tloppy. hi. body .,ill hu a solidily and w.ighl. Th.loosenelS in hi' arm. and leiS .hould be achieved Ihrough ',,"",ion of break> ill lhe joints rather Ihalllh.oua.h ,.hal $C<"fm like the ...avin& of SO much rOpe. H. is not mu~lar and}"CI h. hu I"" " . ength and ilamina of. very wiry pc~n. Hi, dothes ar. mi,fil'. hi. IfOUsers are blU)' al Ih. knen .nd lhe !)oJnl l.p ' lIiv. vainly to touch hi hot lOpS. but n"'" do. H i. palllS d.oop at lhe $tal and Jlrctch tiply ItrOlS _ di"anee bela .... I"" crotch . Hi, .....al.r fill him snugly ~pt for Ihe n<"Ck and hi. v... i. much 100 small. His hat i. of a $Ofl material and ani males a Liule bil . The Goor. head "n be 1.......,,1 of in lerm. of a carlcatur. of a person wilh a poinled

dome-large. dKamy

()U,

buck ItctlI ..

I""

should remain partly closed 10 ""Jp Ji,e iii tlupid. sleepy appeara~. as thouah he 1 MUIanlly Jlrainin,10 remain a .... t. bIi IIOU..,.. lhoy can Open ..-ide for up-..ao. '"tnIS. He blinks quile a bil. He i. very basbful. yet .... htoi somethin& "upid h~s bef~ILen him. he muas lhe like an amalrur lICIor with rdati ... ill aud~~, 'ryi", 10 r;over up his mtnt by mati.,. faces and signaIIina; to He is in c",,", r;OntllCl wilh spritCl, fairie.and other such (anIM. Eac;hO~ piett or me;:h~nism which 10 lIS Is hfe a soul and peuonaJity in tho: mind of Ooot'. The improbabk boalCl real ~ Goof is concerned . , 1le lIu marv.lous muscullr conlrol fanny. He can do numerous ~nle ... i,h illnd hi. fanny should beustd lhere is an opporlunity 10 anp/lllizlo a posilion. This lillie anal)"i. has ".,.,....,.j the f.om lop 10 lotS, and havi",comt 10 his
,", .

;a~~~~:; aa~-::rt!.::=::"'; lll~r on ils .... y 0111 and lurlll up. His I