The Illusion of Life Disney Animation
Djsm~, AnJnj~¥' Frank Thomas and Olli ~ J 1- The Illusion of life Disney Animation YSNEp 1:01'1"10:' New York
Views 140 Downloads 2 File size 78MB
Recommend stories
- Author / Uploaded
- Georgina Edith Soto Soto
Citation preview
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.
Wa lll),,,,"Y P,od""hOn.
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.
- ......
,....... MrI1t
DIIi, Jo~ItSl()lt .
""fin
Ward K im/xJlI.
:-
W- _
AlIt/Sf Frank Thoma.
,-
iny.m "",ilt
~.
"'" , tJfItra ~B"'"
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 Laugh·O·Grarns and none
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
at all with hl~ li rst film. Alic,.·" Wonder/and. Now he wanted 10 try something that offered a greater outlet (Of
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 aSpeh ar~ d e,u)"Ih"'~ " 'illt u>--I rom rIclight 'n di,"rc sS-~11elcrs' 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 suc«ssful credits in lhis field. Ont: on MU»OIini 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::0.1~. enc ir· d e ;0 larce ,>bjN1. it fTIC'fl:ly "'3> "",,,heIIf'I"'!Cd I() t>cd Minn~ . I]u, .J1on ..... s o f hh ~.m II.,..Je tilt h3nd 111 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\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-
,
~1\1
c-.( ->-
..,',,,.
'''' EId/7,.",
' -Sn(lwWb,(e
w:os ~ftrTlng 10 la"ed It.s Illan a year api«c . 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\ un0 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
TIle audience was ra5Cin.ated with animation thaI reo
pefI.
,"'for( a
",1--)...:':; _.,. ..•
~.a\J'
-"ay.d in brood,
"" b.l' simply in·
dry. Th. 'd fonh be Iween the squash [Xl,ition and Ihe "retch we found we could make each [XlSilion sironger in both action and drawing.
In Ihiu,,"y "" i",,,',,'~ , Ih~ i. w~, wry (i/lid " ",/ >liff. 1"1>",.
",.,i""
.q"","
u>lIk ... _'''~'''''''.I'
....... .. --.'
~"'_'"I>k ....... f/IJ,..ol lNl lo M .i,hlJ (1ft 10.. tarp' .
tI.
... W,"",.· ipd'icM ., 0 ......14 , ,~ ",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
..u.:r
Clnor ""lIi~1I ."pJ MilfJl~ " ... n I~ IIrod rr·
f~..,;n;n'
«,;""'. Tu ......,"tIt",.". at "ali.... . "... N1'I.iM,s _
bJ~ ""iN"", c{ ,/It .../i'14M, .
,
,
./
, An
AN'''A'~.
Sobbil/
- TlIc Cnun!ry Coosin.
f"
... -
,lti,., ,,' " /1_: OM of the _sf 1m_ O~ly do lIN
f'O"unl ",Il l
is "uMi"l
"
of I~ 'Motu.
Tiv .-..,,,. _ f,."", fancy/_
"
H , lipsy
" /' •
""d drink.
(>It "
flirl
~.
of
IOaSI """ "Irs 10
AN_. clullanl. Ht {lip. hi, ~"'. bulla in 'h, "ir, piau. il ill _iii"" INI"', "" iI, and 'WII holds 1M poSilion bri{jly INI"" InT .....Mrl/a brN~ ,/J"""A th, '(Ilri/y "iflr the muu of
,h. d"'''rf HM",/t 101", _ TIns C'OIIIp/ic"'M ,i'IIDII'"" Nsi/y w,,1d bN:omr diJfielll, '0 ,,,,JuJland If no, pt'Dprdy.",pd.
, (, •
,
./;;:;;"'?:;;z ~ :.
,.{y (--!j
""-.
r'
•
'..I
--
~~
~
-'
,,- , , •
..(
'for
/
~,
L-
..
,
--
-Snow Whi! • .
,
~
/ ,(Q. ~ ( )
", '
, •
,
'.
r
•
)',
,
, , )
. . J
' 'i
"
\ .I
, ),
J
(
,
,
~
~jft' ill ....
, b, U6
"".1,-
/~,.,b
1M, " .,., 1ft
,~
"""' if "'" ,., _~: . .. roe 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
..,..}i-
-..,;
-.
,"•,
..,-,-, ~
",.
-'
-1'
--
{
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 the~'i
one pan and then another ," Several different ... ays were evemually found 10 correct these conditions: they WeT.r "Follow Through " or "()o.erbpping Act;""" and no one really I:new "'Mrc one ended and the other began . There seemed 10 be
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: erreri,,~ 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,
4. TIle -..'ay in which an action is cc>mpJet~d "ften
"r
lell~ ~$ n~ .bout the per.\oOn than the drawings Ik lIIO\l:ment ilSelL A golfer lake.• a mighlY swing. -..'hich ('e)-,lld I" an "\'e'n 'I",n~~r 1"''': ,,'"'ylhing ~,,.., fwnl,,"r, Ihe ,-hed,
1"'''',
w",
Arcs \" 'rI f,," ti' i n~ or~~LI'i'"'' are ,·;tr"blc of @wo!, IIt!t h: .. '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 an and i~ always kep4 .ubo... din~.c !.C lhe...: Wl\> I" be a ellange from a painful h" n 10 a helplc. of ........ k . nd in the slo"'er mo"emem~ gal'e I ,11lOO(her appeara fICc 10 Ihe aClion. More Ihan thai. a
11!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_
"",ion
I" '" 01 renl"Ill, One ani'l "na lp .. ,1 il ,·",",«,11 ) "h,' n h,> " I !Ion't think oc 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' wul!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 Illf,Iot~"i_.
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:: 10 Jlir up in this group of men an cnlh.. s;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 10 Iu~e Don 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 af"!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 OJltd ..... ,,!kilO h~ ,de •. but the bcsll\.',;I"J''''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 \( 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 (11c ""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 ' ----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 approveTIvcl5alion 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-., 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
. 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 uillW«S ,,·tre slumped. Eric l ar>oo aoclw oot lhe ~' I(I htlp Ham captUIl' !hi: m;ay •. . • woOOer why we aren·t doing lhal. We should be able to figure OUI how to do il. maybe even bene .. " And he would Ihink aboul 111ill 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:
pb>f~
IJIIIu lhe YOU"!; amnlal"," ,,.. lhe ~t~dio would lOt ~ And Ham', ~rI(".'k:f,;',",ly)·c I I 'm nol c\"Cn surl"". bu. ;" I more lublle way than ~\"e' d,mo: Ixfcm_ And ,h:., ;, _ of 1100: ,hiogs Ihat maW.' he r Come off Sllcl)', 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' , ,1
~"·'r); - :~" "":IN.'>-
1~~
" '"
..
~ ~
j
/
'~
~
. ,;
- ""
,-",
, ,
\1& . ' \1
'.
,
~\Y
'
/' ~-'
V~ "' " -
'
..
.., ~-'-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 IIIw t....,n animateelors 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
l df~"" in,"! Io.~, ~"d (,,110..' Ihroo Khl Arc Y"" Ir),ing I" ,10 SOffiClhing Ihat should,,'1 be.
,mt"lf"'-.[ ·' ILike Iry ing 10 ~ho... Ille lop of "1k~~y 's lleooJl
'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 Walt·s 'OOSI~nl p«""-"''''' for ...". thinp . On.: ..... y Fml nn", hock from a 1IIr1 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
While Bill"s wOO: c
",,'' '\"'',)I.n ...
_~y~m ...·.
8~I'u,
nne of It... fc",' animat" " ~llho1t lime " .... , 11~,n,n~ . He ...-as [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 no4 funny. if It was not OOffiClhin; tllM could bc IIn0"., "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 ro«IJc""lroJ. ufl. ",,;mlllOr< O/li~ John.",m a"d K"" O'Sri,"
\ \
\ \'
\,J .
'-- --i;
II . c·
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 .. " 0,' ' . . .
V
.j)
,
."" ~lONIJi'1(J( /Itt dwf. MI~r '" rifitn .. ..., ~ ' " II
";/J~ .
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 gpeciflC 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 enginer> .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.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< unit manaj:crs slowed lho: wor\cginning I" realize how mu,:h Cce/! di.-!,I~,II""~un
H,"" dIJJ~r"
,,,,im,,,,,,," Un,l", 'hm ,.Id r""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 ab.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- ""'" 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~-ed myse lf last we ""dime. U~ Ih, Sh"iff cf NOI';n, loti,. p~' ,hi. rojn in hi. f"ITU
a' 'M WIW
Ii""
M 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< 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< en1inuil)", 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, 1ereen, 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 1 panic"i." char""t"- On" new "'a" wa, 'lilt1n,d at as r... t ,~~~ nl ,,\I'n idea,: but Ihe shtch m;1n could conlrollhe appearance or the board, hy "'n, .If n,aLinE c" CI)'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 110.), ""-"I,' h IIIall ,,, mainlall' a f,,"' in~ of dcl;lWc to improw 'Ill Ire .Ia gin~ of ~ No·.., rorker
10..10.
" ~Inry ~kC!ch "Ian at 1M ,;10010 ....."'" IbUaIly ~" .. ho It.1d ~ ~ ....dal i"le~st in iIIU,lr:olinn . ... -""1; .
I,
\
!
fr~
. . . . ..;:1 _
:.t ~~/
U"
.. '
Director ~~ " 'as a g~3te. v","..,t)" in " Mllsic R."",," pnxfdll'c than in an)' othc:r area. with W.Il·. Ica.:~Jn ~;m the fJfOC'.''' of picking up .Ik- pi.:ces and .rying to mal. thc:m all fillogelho: •. Man)" diffcrt:nt men .... cre ,O«j .. ,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~
'" SI~a1llhcir oorne .
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, 10} w.y, ··No.·· when the il' them I ch.ance to listen 10 ...~ they
l~~d':;:.=;,«:.~e~hance makelines 5o&lu, of the10$.lime we I"( ;:~:~ and !hey weI"( numbered Ind I"(femd 10 as One " or "Take Two " (or occasionally
e~n
:
~~~~~;:,:.~"' ~n seleclions later of This wmeli mesweI"( led tomade rallier con-
Ii . ssistlnt director: " T1Iere ' sa take in Take 3. so take Take 2 and CUI off the . .. " . .ok< ."1 third take and take it clear 10 the SeD ICIOfS _med ",·clllocether. giving I natural , _~"'. . quality Ind building t'" whole pie.:e 10
PM
Sdndy DU~~dn .....U ' " Vult in TIlt Fox and the HOIInd. ,,'i.n dITU'OFl AFt Su ..n. f/fft) d~d T~d
S.."".,n .
one oily 10 locate Peter USlioov. who was working only' hal f_mile away a!!be NBC Sludios in Burbank.) We needed lime 10 develop our characlers and build SIns through thdr penonaJities. Jim Jordan. ooce famed as Fibber McGee. was hired 10 do the voice of our . llHolrou in TM RUCWfS . He ~ame alarmed when we oullined our e~tended limetable and snorted. " Huh! You beller get nlr and the productio" unit. H. "'orks in area\ where Ihing., wnstantly c,on go WIIIn,. Fr."".." can b.!com. )o"t morc easil)" than c~t · lie on the r.nFe. and. ~' '''ith the ~ tral' dogie, a nliss· in5 frame mu,-/ be found_which i, incomprchcn:>iblc 10 li"NICli\ln edilon-. wh" me",ur~ Iheir film in arm lettgth" Every I.st frame of " canonn must Ix: c"n· !rolled if Itlcrc i. 10 b.! any' :'IIIC with th~ ""ice'. the musio;,th. '''''00 dfe,,". or e"cn t" match one track 10 1IIOlher. After a !"\!fu~~c"in~" nkcr effect . a ~flc' look. I mo.e inler-.,ti n~ .ha~, and W.h a, ked r-.peale .crtal,' "II) ,.f ~n. "h.I,' " ) In!,' In ~up "I' " ';lh a iOU 'lli ,e.."r,j· '!!' WI ,~, Ih'''''~h ,he I"" Is "nJ J,-ap ~ >l"ould I,,· Clcit;ng . Ol"'iousl~·. SllIII",hinf ~ be ""'"'I""d on hoIh .. "" Ill ""'. ph...IUfe _n,•.' i. II.... ~ii., .... d'e 4'''',inu,n,; "1\;!,,fC' on ,.... :;"'~s. :...oJ ,-... .._,I. r~I.:h.d. ~",t "" "",,1 3. th. ,rarh"1\" I ",,,, , h Iho: OC"" d.~" '":;$ Ihat " ill c"".k'n.~
mu.t oow l.'IC
~I", ...,J
1-10:
I
.t- r'
."'w
.
I
(,'I",,,,
rod
kIft
X1;""j ,,1lI (lp;ind OI hc'~ .
~ ...."'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
":1"'01l~)" ' hc ... ~~ il "d>". ,~ in:.lly pl~nllC"~ "'I'I~ . T he anin1Jl0' .an 'i~U3Iil.c IIi> inte nded ,,«nc~ not "n ly in re!\i(i ... " II! the lime .U" ... hlll tl! the 01llr:r >cenO' in thaI ",,'Ii"", .11'1;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 deofI, '" 'M "~I_1s "" "lII '" rl~ nor l'Ilg,1t of 1M wtUtd",.r! diJ I0OI lIow far lit"
f".rr'"
'lIS'''''''
"''''"It """'''''''''''; ro, ",,~, "wily, 'hi> ""Ii"" ""s ""'" In
a din"""
....
..., "',..".
.~..:
Imaginative Staging Helps the Sequence
,Iot
~ ~
i"il1'1'.
'h~ his roTl
a• •wll,
,· I ••
, Q 1
i
I
a~'" OIIUiIIl,i,,1tM • WirA lay. • riot ......,.
.
........ iii.
,..,.".
"""'fop 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_ think "oout. l"k~n frrn Ihe .",rap~ of !"Iper pinned to ~hei, ks. They cOme primarily from Ken O"C,mn()r an1kall'rinlcr ,,"n d" f"r you, 7 :>'1000 can h, 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 C ,f he 1TIes. A pll'n colored card would be far beller. or juS! 1he rainles' $IIu~stion of lhe 1hongs seen ,n .he long shot AClual· Iy. a li\"c·lI'tri .
.n.. Ju"llt Boot
..-,Jr /kIDil «>
1M idra of ,Jrr , ........ fYNI/Iit"inl T
IIon:/ow«j" ",
....,..,. AI CHMpJur - The: Ju",Le Book .
,
- . from lilt cMly u~rimcnts thai dcvdop eM roIor ~ 11)'1.. 10 the doign of 11M: effects animation . . .ilI _ l i d the dlaractcr$ 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"tj{)U WrJJJd
_ ,;,/tIp
Then wllh a sigh. "Now J -"'lIde ~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
-
~ "'~" ~'II"ul J"lurt-'n~ III ,.lwno:H' I""~ ,'nlc, ,,J Ih.1 .'n. '''Ih''ul ,.. , . . . , '"~ 1"1(" r',"I,"~, " " 1. ",'" Iti Ii(oIo., ~"", ,t.< ,I.,,~ JnJ Io~hl 1';011,·"" "t Ill. ! Ih.:u Ih" J " Jet> .; ••1 .'n III< m and OOCr , ...... Iu.' ~ "1, IIo'e onl) 3 h< IN II>< ,'am -
r-:,,, "'"
....... tv! J,,,,~I.-J ,IIn , ~UI .. .-..;,' Ill!uil Tht ,11 "~f" pa lnl~J Ja,t al"". > ;;,'IlIJ " II",I~ ,' cul< !u..- h """I f) anJ ,;.:n,ual u) ,,,. !n("fe 1\1,,,,,,,,,,', b!lln~ mlO a 1"",J t· ~" ,h"".J "".... Inu"s"~ anJ (Of . . III h,. ",n. hul .. ..., .>lu~lI) ... n>II"', '0 ,"" ".ul .k"~,, T~p .. al ", h" ,ir,,,,np .. ... !he- ,'3111'n~ ,,~,·t> ,hOI 1I(• .kJ ~ t ,eh) 's .;,~ml1\on"~ ,n It.... 0.1""111 k~W""" "f"' Tllt S"r"el~I '> Arr"nl"'~ Th ~ t1'fU I,)[ ,,( 'M ""mnlbI~.
...,,1, to , ....p Mr ,.../)· _11
P'''' 1M JtNl were. 'Can you do _,. III 'What can )"ou do here? '" "J'"hc:y ,,'e", calk "nd Pin()("fitio Iry
~
'"
~. ,~ .
""" .____________________
~!
F
{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' '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 r«ords 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
-.
• 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 stagC"lion of any personality almost stan. ,",';(h . C()Sluming has been an essential pan of the
slightly less understood impact and poIenli.l of lhe rolors them :;:::::~'i!~~~";~:;~: · 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
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 supervi-
~~:f.~~:~:~~~:r"j~f'~
~
Ink 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 MouSosc ,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 100 hanh. too ch>llky. Th;.~_ 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.,.]
ha,..,
IIIMI In S"",ial Effecls unnl lhey g.... il: btll he $lil1 paUMW lhe bIockgroono.! himself 10 be su", Ihal il would look ju~ 1br way he " 'anted il . Elmtr explai .... d hi s posirion rhis ,,'ay : " I was a bo.a fdt uri". and h:ld picw",s hanging all o~er lhis roll/llry .... arercolors and oils. aoo ~II of a sudden I "-l1ll)'~lf dOIng. "01')1 ske"h in paslel. bul done: in IUCompromising
y:.
insiSICIIC( On exacl values 300 relalionships 10 gel the .... weHecls he ,,'U ~.king on ,''' ~n . The cornmercial anisl who mighl say. " Th al' s good enough:' ~ would neVer h....e ,''' pc:l'$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\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 .
aooIher"
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 f«ttonll- 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"cry si ngle fra""" Winsor ftll Ihal Ihis ronslanl lracing broughl a life 10 Ihe Iolal drawing Ihal was 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
"',k
,,'.1
••::.'7.,~~'~~;:;~:'
were drJwn on lhe paper I Inslead of being done as simple ink dnw· both "'" ch(ir locales could bc ;.., . all the sh~ of grey as " 'ell as black and AS long n II>( pai", u~ "'n ~ue. lhe •
":~:::::~"'; 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( ink mUSI be ··floaled " 00 ralher Ihan elched in 10 bc ~ ucccs,fu1. 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 Ihuch 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 " 'hly "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 remple.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" 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 "
.,.-1"
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« 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-theS11: 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 \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>IrIc. l>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 11«0"'" mon: like c hoaographcTli, 1)'uI~ 10 1lI"ld ~ un,riC in waler; lIounmc ()n 12 beac .
" OOloge : Undele.mlned, bUI keep bri,k .nd l>II.y .
Slo,,~,
,/w,
J ~88~S'M
,lrrsunt.
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
.ni·
maUM" dccKkd '0 .,;on lhe occ ... .. "h ,hi: alone '" III< wote•. 'hen bring lho
I'Cl,,,ld in on the nimh r..",,, L"tcnlnK 10 ,he rRC,m-
...,.... , "'" dt "'" >huld 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
""1
cP·
.t
'""It '(Jnd'n ~ and iw"'l"ng l'nil """' ...... 8 f"",.." ...... (111;1 ... ..., ,lie pioclu~ drenched. bul boighi",. The whol< ow,.. '-10 ~ fttt 8
or "" ro.
,.....
'''mon.OI'
Thr I.you, ,,'., or 0 ployful pup in • mi",hievou. mooJ. W1>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~
10 think about his ""nco pl.y " 'ith tho idoe •• . and , ..... it all ","'ff in hi. mind ber"", be i, co.mnil1cd to •
-
'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«hot or til< ac· tion of ,II< (ox and hound pI.yin, in Ute " '''ff. Wi,h
no
$Olid
,un..,.,
",,"Ulh
tll ,. ~''''' ~ \o . 'F''''' .' , ,'.
:/( . " . ...",, .
~
- .'
# '
:""..t;
,
. .>" .",""""" •. and ,he mU'tel.n an opponun;ty
.,c."".
Sec"" de"criplioo : Fi..., h.· tie P;I runs iftlO his
$'''''''
houH. slams doof Wel-
come mal I • • n fron, of door. He ope ... door. pull ~ in "... ,I.m~ door .pun. TtmpO: ,woJ 14~. 0.-7 f'"mes
pcr
""'!.
First. we de,ermi"" tbc
nuun
acccnt~
~alt h ,"
,.-t ,.-ant lO
,he 0 "
f...
in very The .....,,"' door ~I.rn rould rome- "" d.. do.....bnL of Menure In A.lln,.ll of 'hI< OU, 10 ,he II.h of lhe ""', .... oornc
.how. ,h., 'h" pa'_
'em is jlUssible. II i, f.st. bul .Ho"",, Ii".., "'..,. ..ery· Ih,n&-,heudted f:>l'c.'he ",och . ore ;1(1)00 ,,",II be brhk. bUI "'hen " " chaned on lhe ul"""'" '''''''' il i< all cleat or in'ere,""& ' II ,. 1>me '" "an .n"nallng
Tho: ..'hole §Klion of S,,,,,,, \vhi,.. th~t ,howed t~ Moo"" lying on her bier while her friend. mourned _
planlld. ,he ,ra ""crc ...-ri"cn "" the >11«1>. alon ~ .... ~ acrmh and iUl)' OIhor place"",n!> ,he difn-· ... or ""~h! """d. Ac{"", OOIe. " 'ere .. fIl'en t» til< P'cries and r""lingl: " £~en in !hose earLy cumedics I SIn»'C (or a mood; IIsually music c realed it An old ~ng ca lled Mrs. Grulld), crealed lhe mood (or 1'ht Immi,ra"', The tunc had • wislful tenderness Ihal suggesled IW(l lonely d"relicls gelling married on a doleful. rain)' I be lrue of the ""fJ'flse ,IK .• he un~_ dIo ",.nling . n..", accent> . too..ld ron .. 00 ,'''' off bt•. .11C~ than when he tried to tkl instant con'jIOSing in the 100m with lbe director . n.: best mllsic was achie'"ed " 'hen it could 'Pring· board from the hours of thought and refinemem that had gone into lhe story dcvclopnlC'nt and arting. If. ""quencc is. well balanced. builds properly. has life . gotxl lc xtun:S. and a flow . lhe musician has a much beuer chance o f " 'riling a wperior M:0Ie than if the picture is dull . lifeless. and spotty . e ",n the grandt$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 !;"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) Chcd agalA" I hUI !h's--Ih" exhau_l, IlIC"" S""h efkel. ~rc no! e,,,lelll"''' plalllca,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 . ! 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' * '"
r/~ m .. ",n' hm .. 1MC , 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. COIhing 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 I«h · 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 n«euary. 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 imaginatiVe finished dra ... io,. (which will be pu. 00'0 ""II and pain,ed. for .noll,ct 460.IIOO!) .
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 •. dod~ . ....,In:h. Ind fi nll. No •••• he 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 .. 50 am~'curi~h _ b u t ;t ""as r... ' "'00,. ~"DI;n,,,~ ",Ii"" ,'''', .. _Id"" diJfint/l to Q~;' mUl, ronl'ir/Ci"gly, K·hilr an ""iJ,n,if/rd rhlltl tJhannl a space. moving them aboul thtir Mtpping QIl eaeh ~her. " 'hiie kttping a
~;~j:[~~:~~~~~~~~~j
if some crit ical ""ling is scrnc the sceneinislhe: 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
.::,~~:~~::~ " 'ilh Snow Whilc-l he: on ly long ~
dimensions of Ihe dwarfs' room char~ctel"l' Ihrough their moveAnimating the decrease in the lirr s size as she
tilt \Cate of the
~
the matchingby,,·or\;perspec;:~~::'''~'':'~'':'''~:•'''butwasronlrollcd Lcs 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 pi«cmeal ...·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~ 10 danu ",ith a young gil l? The 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 10=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 tcOlher carlOOO ftal .... along It., lin~s o( the successful S"" ..' whi,e-1>IIhet lhan anYlhing cxP1 "OK for cleanup" wilhoot (~ He IIlmed to live ac1ion 10 solVecing 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·· . "'" -.I lilt Hound .
.
-'!·lhti:
1IIO\·~nlC'nts
,
I fox~
.-w
and their lim ing . What make. Whal all,ludcs or aclioru; are unique
'
film was a'·ailable on ,,"uall)" any . ~ ofllie sludK)". greal hve·acl,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.
"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, "'l~ms
,h.wu.
mt)l". of a ,heM' '0 ma· j.srk SlOK in Bombi 'han
,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 ~ould
,ha,
bt ,umro in on>" di· r'~"o" '0 "",'eh ,h. ani· """ors dro"·'"g .
339
tt" motkl''''''*''1 N/II -
""ltdGjgi"uJ...-~"
Tails and Ears Are Important Too
,/w~,"•
• JIM aI''''' a~ilft(l/(N, ~·
rNu-lNln. Stnrlt ..., dir«tly from ,,,,. Jil... of· «1' 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.
Ktn Ilndu'(NI_
"ood
~"TtMII·
~;;;.;'".;
""/"''1 SlnpI"1
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 10 be • good famIly =n and I 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 OIher picture, ~:.:,:~.:"~~~~~ no connotations . When Wool", mating lile dillO$3l1l"S in F,mt"siIJ . Walt
~wa",
of an)' human personalit y tr..il$, " 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· bincto tlll".\.C forei~n ~ We kne,,· ...·e cook! make Ihem n:al--th31 itOOied film of deer. looted at pictures. taIted to the: sketch men who had been drawing ~r for ""* of 3 yur (while tM Slory h3d b«n 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 !;,'" ...""",. I••" if " ... " ~ ...II Md IooJ "~".,"al /,j_ " p... .,..Ira .., rMrt " . .... 1Iw< all Mimi III! In • ........ />vJ, J,'""Pf't""ru
... "I"" ,"'''''' .V ....· ......., IN """".... cr·
"'*" ""., "
.'hilt ,h"I'" .., ~ ..d ,ud/,vll." n
tri?-rflltr/ilm Each ....... "ci'W th., it wlS the
way to progress and stay in balaIKe. To lep in any other panem ,ives an i"'kward _,,.;, and a poor base for lIny kind or stability. is pussiblc [0 lrain IIorses and some circus gaits. these are b.uically unnatural of 100000molion. By studying the I"~c ,iwm 10 IIrr
all;,,,d,,. ,
mo,', 10,,,11.
1Ul11y. "mll mDd, rItrttt i,
pl,IU;It,.
..." ... _
f'ro~k
'TItomtu-
Robin llood. TIIi$ *YN e{hJs roi~,_ .1000< .10, ....... bo>w tMd ON e{ .1tntI1otoJ
a"_."" .0
r~ui.yJ
.-a,""'.
..... a
/tom .....
S"'("~ .10, HqW 3nd cnl~ " h,,,,se. Animab ""am dwarfcelles: • 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" ...:!a,m for a "~n: b't of en(eru,nnw:nl ",II h~'-c blondumoo 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 >O1.,.,.." 0fI0 of lhe lop
""",ad
..".... .,.
""-
D • .,,,,,,
".pM.1
"""Ii, ..
.." '..'
-=--------(! 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 discarl' scene$that an: diffICUlt 10 draw and ii«nes thaI call for upcrience and talent, bot lhe bulk of the film should be made up of scenes chat are usy 10 do, should be ~ffect ive and good·tooking on ehe scl'ttn. and should make ehe but possible usc of the anin,atiOfl poIemial, Hell' arc a few guidelines Chat can help anyone joogt' the: material be.fore the animation is st.ar\ed: I . Avoid sce~ Of activities thaI are OfIly ronlin .. i· ey . Thi s type of OoClion is difficult 10 do convincingly and is always judged critically by an audience , If there is a mood to be eseab!ished or scenic almosphere is needed. all in the dwarfs man;hing home from t~ mine or ehe: sequence in Tht RtJcutrJ showing ehe: mice flying on !he back of lhe albatross . chen t~ conti·
-
,
;~- . .!\
,
:\
(l . t U I
..Ai.
-
~
;3.';;:
.,f
.;...
~}i
f:Jt"..c
..... .
, k -i• I
1
S«m ap~IJ al,...,)'. sh",,/J Iv ~"yrq~ippW Iv/ur'
Tit", d,,,,,,·
",,"i~l ""r, inSI",' K,n AmiuSblt n. _
pwu 1M /du '" d ,,«k.
"""" ~""T' mk' rM~l 0'"
•
,.uMiJ fiN ,11m mi..io.rs. T'" _flY FOP' DJi>pthl '" ,Iv ffNfIt ' "d _ ... Ii,., ,0100, .. ",.J snJI" rlwv....· fiI"~tU
/t"_,,
tn""",Iv
IT"
_II.
".I'I,""~ Erk U Lady and (he Tn
P" . tit, jaJnl. Onl ond P()IlY '''amp/oJ{" rita;
II IN/i,"tJbI, "'" 1M"",,,,,,, .....rkIN ''' ..... ptVSSWIU by 1_ "rrol dot'._
,,,i< _
""mr
RQlpIJ H"ltII-...... R""",,,,,,...
f/"11$ 11l",«dt' 0''''' !ofart/WII"" Iwfor, _,It. nK"'''' il "'P" ofd,ommir ,loot aJdJ ,UII... ... , .., 10" _ _ tty dull ''''lNMU of rI.orIKUrs mm"ml"_ 1«0/' W "_It,, e opla... 0,.,.11,
1tNJuo,
'"
OM
Kf'1tN;
can be
oecood~ry
.... the
pic!(Jri~1
effect . Other-
is more ;lIlere,csc wcre f.",iliar 'er",. lho: audic~ undcMOQd , S«ond. show ,ho: doS 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 s /uno' i~B
lif,." "'"
,~,
"Dry"",,.',
-*""'"..........
pld. dT"",.ItII. wod _ 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 " "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 malting it SUCttSsful pan of an outs.tandin& film .
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 pe6ftew 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 characters and more fOO(age 10 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 red·headed girl -she was prettier than me."
Vane,. ,uggmi,
P,"ni' bN in I~
of r~ big"""" in pha"og~.
SAt Iw pamtiU>'" /orodaf Ihis day and i•• il.
a/o", Iryi"g 10 /to, ,At "arl. R.j.,.
cal. b., .... ''''"'''
wrOllg and gIH' 10, con At/p.
Thillrq~~" n,Qblu. ,Itt fHMMt of 'M ti,....·
..... woJ """" ,It,
.""",h
of 1M /,~,Joip bt""'""
'M li,' olld 'M r hDd ,/toll81t1 • ·,,,lnl." ilt Itil pla"";"I. 1M "","ld
w....
,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·
~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 «1'1 Snow Whi'e. Whcn he n",cls SnI,u,
,h".
''''' plou 1t .hat charac.er. Whoa. if "'" had idca~ lhan Flora. especially in lin"CC~ of erhis? the frustr~t ion of having to do il Flor., ,,-ar " 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:tead IIf the litlle camerdcr is t>O! as boid as il fi~ ~rned. bet:allSC you immediately like Ihis individual and)c it note fOf note. musical director George Bruns inserted it r••
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
. /oJuuIOtl .
($ 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 cilaraC'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, C011«il 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 IIj¥aling. 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~
,•
;"'.1
,
1
~ppc:aling?
~~~~::::;I
I.
I
a competent. inteliigent . conceited Itiller " 'ho never
had 10
~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
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,,"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~ s·s . 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" .·s·e~- 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 ixut1I """ "")". ("\.'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 l«lh bcraui>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:
...
1Ia~
is a ITII,lO'I'o¢nt 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 Jino' IIIty ""Ofk inUt'l>t'ntir mIY/(}T ......",usion hf\lt h;toul move menl . Ho,,·~"cr. lhe ~im plf ~il ion of a blink during lhe: kuId m;aplurn lhe " ' -;ng qualily . k«ping lhe: ~~lahlfS from ruliz;n~ ~ i~ only a dn"'ing afier all . Blinb ",ill makc a big visual change ju>l by lhe d
,h,
.. .... lid _,p:n JIlCp.! _ .... Thi. ~i'~. On ilS the ,,-ords b«amc pan of lhe story the animllOf'S were upec teOITy "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 Iri«I nodding the head up W down. but s till there wa~ no feel ing thaI the woi« "';os romi ng from the charaC •.• 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 .
"",,,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."" 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 I»ck'! 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 full·figure shut?" As he 1I)ktd IIInt: qllC's tion • • he ... as thinking uf aO 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 ,IItJUllSC, ruu'"c httn kiTKItD me, I'll gnnl one "'ish, whal shall il b.:?" the
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. _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' ? ·· 113m !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. 10"
Gr:odually It... CXlra"""" • .". arbitrary $O;lions Mgan 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 . "
10
""".. 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 '''' "
dri/ri'"
')IN
of """011 .." ,II
""ItO, llead oc.:~'IU. Til, _ Iy cloud ,,.,, willi 1M
/iJs"''' ~." run., M/(Hd 'M/_"ing of ~.....,lnf"1 ""re."·,,, of ,Ite 1m, '" G o" nl' \' ,I,,; "'".' p',. u,.,j, 10 "",t, /IItI, ,ibba#rJ
. p wu" ,10m roIlrd -r-j.>:. Fm~l TIrOl'lll' Cill'krt lla.
...un
of hi. actions u wcl l as ho.... broad or
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 Vice h.s deopIm/y ~..... ~.INl. altd A,...IIi""du """ rtnllJ poi'" [ubly a, M,.li" aM
,m" fl'''''
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.
,.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 IOfrgcllhe 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 inlIonbhing 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 1)/IUmed about ...Igt ~ns "'him. 1'11ne are tIM: an imator' s tool.:as ,,·eli. ~ ""hile the aoctor can rely 00 hi~ inner feel ings 10 build his ponraYlIl. the animator musl be objecIi,'Cly II\IIy!ital if he is to rea
1)0 the p'sturn arwJ ~lIXnt~ ~m sin«n: . Wlwincin&, clear and properly nl(Jli""ted1 l)roes lhe actiun help to delineat" 11M: charac· ltl> and lheir s;Wali"n for you',' I) the ao:;tion clear·cut. 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 Ii01 no one could devio;e. way to cr!'ttled (or moiSl ~y~5. ,,·tlkh they could do "cry eIT«li,-el)". and lotS of 1o'·~I~. shinong tears running do"n tlK c!ltt ... _· ... llIc"" dc! 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 hn tkJi,,,:
if sIN IrDI H~" """" oJ "';,Ir 'M - - ' ~J ill ,""'" sJoDpn ,...,. t I r - r I~ _14 Iur.e """ ,." .
~depended on Ihis meliculous Iype of work. Ihere was 100100 way 10 do it . As the anilTUltOl'S slid. " No fun 10 do. but n«ded 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 ren«IN in her _menls, which gave the anilTUlLOr slighlly more lIIilude and freedom. bul it was Sli ll an el 'he '~ml"a1i"n '" m«" f\ ''''ph;IIg /';gX'" a",1 ,""'0
~"'g""''' "'h"n ."""
",," ""'''8 ,i,,"_
..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
The Ju ngle Boo.
j
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 mlul,1 cn;'"c. and ~"'" _ ,ilhoucm' lream",,,, .. ouk! nul have ~en lilr be>! "'IJ ",Iher. hUi ",,'e ,(ill ""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
«,,11>, ...... «JOt/II "'" SU ...-100 ,Iwy """t.
miN. /'i#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 bcsiUs. or wonderful. they all Sa. cnr~plured . In t~ "",x. example . " 'e arc involved through our
.0
,.·",,'m;,,·s
on
""n>aI_
s,,,,,,
.(U~ ~.,
Jut"
khaM
Cr. n~
(/9491 b.\ Jo. HI ·
nuld.
JU"' :\h«t . "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 pz»ing 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 iro«rc. 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 Jlory 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 pt0 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:
I'i
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 ""hil~ b"lng ~Iena whal ~ k",,..,.s j~ his hnd . Third. he mu.;{ lie ahk: In "'t,in 1M n«ti ng . del ;';"t.. lhoughl o( 1M moonenl ,w( r Ihe """clal oIays
"""
""\~f"l·
fJanIQJ,v. "Ijl~u",
-~. Ii • .
c.,,"'"
il may 1ak( I" M inw.le ,he """no::. Whe n I"" I ",110 h.a'·c these reelin,s ak humans. Mnimals. m;>ke·brl~ C"'altfI(CS . ... e'-en i n~nim~'c ,,",,;.x·1S ~i,""n a per>Ollllfo I)" . In each case. lhe p"-.."Cou~h lhe", is oomitlcOIl ... "-Jr1 3hout. •
"lOUIe.
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
_,•.,'
"(',/I'",,,'" ",,,,I,,,,
I on II,.. ( ">I S n', .. AI"""" ,1",,,/1' hr flJl""I" ,.hllr",'· ,,, /tI'.. 'h,,~ h' 1..,,1 "III' I,I/I/r T".". "'", "", """. '"
,m",,·
.."",I II,· ,'11//,·" " \\,~II.
,iIl' Su~"" ,""
1."11,, 111 ...• t,:""J'
rd . l:>rcaking foft y.one .... ~s m Ne"" York . and Ihiny-nllle '" 1.05 Angcl( ~. 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 studl1111 ""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"
1'''''''''''1.(
Olhel1l . Sn ...... Whil~ was done: wllh sofl walereolor ",uho:$ 10 reminiscem 0( old book iliuSUllliorn' 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, 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,
,
good \\'Ofk '" memorahl( , ,\11 of Ihe
p"'~ntcd
~le rncnlS
":::.:'::'.:i::;",::~,~;.::j
__' lory. ,har3Ctcr. lk,ig n--mu.,1 conlrihllle to the ,,'''' 'l"lentent. all ,·one,·pt.
Still Pictures and Limi ted Animation
"ll (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 Lac: 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 Shaw·1i 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 rilant ..,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>lorooe...
,h,
f),,,,.
,,',00 .....
J. •
~~ - -'Clt,'d,~n
NI,.,.."
of
,d,oo/, In Inl'NnUSThe Loch Ne .. Mon"er. C> NlNtr
",,1 SNI_
The al.ck Cauldron F.,VryM Joou looI.nJ 1m" ."..,.". af,1t; boI, ..-IwI, dIN. lit, bollom 1001: iI~, ' Tit" on, " ",'an ,nlmncr ." ~n U'''/N'
"-,,,"pooI.
,It,
,,,,,,lid ...,,"d. "lid M,/', dr~~'in,
"",l ,. II all .",m
IV')' pI"~,,bI~ .
NI,m Ma,.,· Blal'AI"" in Woooed 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
\
...,.,,,.,.... /I"".,,,,J h'i" Pi .... EI~pJw~"-Dumbo .
Th~
Goofy. eu( 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: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 >t pi~r and discover -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
00''''
001 .ont... ,· Ihal did not add enough 10 III 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 e01Uhrs lit.;
opporlllltirks
i.""
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 vi01. 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 Ircll«l .
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
fi,u.e . Ho .....
"' r,
do no, shift . hem
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, pant·le" should drape O'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' ~.
Itt;, fie .
IV.
Minnie Mouse
her Ilc, .~..,
H...
fm
_~,
'H" -....
/:
~'/:
"": . )
S~J
"~..JJ- (\,_~~.u "'0 -.
tot' H ..
W .. "
1>~rt f'''''' . ,..",..-~
..
q::'C"'I"- ,H"
"~"'I.>COpreWons. 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.
wi
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'
F. Hal and Jacket
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
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.
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.
"=. Tho eyes Irc k.pt wide apart 10 live
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 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 pijeon·loaI, 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< inIOIn _ 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: dir«tion 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
Ind land back on his head.
IV.
Dialogue 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-
"".
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 lbo¥t 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 .
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 ill lhe joints rather Ihalllh.oua.h ,.hal $C